Estetika ESTETIKA KOREOGRAFI LINTAS TRADISI PADA KARYA TARI PRASNAYA PRAMI

Ni Made Liza Anggara Dewi (Institut Seni Indonesia (ISI) Bali)
Melissova Diana Kaisarovna (Kazakh National Academy of Choreography 43/1 Uly Dala Avenue, Astana Z05K7Y2. Kazakhstan)

Panggung
Vol 36 No 3 (2026): Reimagining Arts and Culture: Tradition, Innovation, and Social Transformation

The development of dance demonstrates that tradition is not a static cultural inheritance but a dynamic practice continually reshaped through creative transformation. Prasnaya Prami, a Balinese welcoming dance, exemplifies this process by maintaining the Balinese choreographic system as its primary framework while drawing upon movement vocabulary from Yogyakarta classical dance as a source of creative inspiration. This study examines the cross-traditional choreographic aesthetics of Prasnaya Prami by investigating how movement transformation constructs its artistic identity. This qualitative study adopts an ethnochoreological perspective. Data were collected through participant observation, semi-structured interviews, documentation, and literature review, and were analyzed using the interactive model proposed by Miles, Huberman, and Saldaña. The transformation of movement qualities was examined through Laban Movement Analysis (Body, Space, Effort, and Shape) and further interpreted using Susan Leigh Foster’s concept of corporeality. The findings demonstrate that Prasnaya Prami preserves the presentation structure and bodily techniques of Balinese dance as its dominant choreographic identity, while integrating selected movement vocabularies derived from Yogyakarta classical dance through processes of selection, adaptation, and transformation. These transformations involve changes in body orientation, spatial organization, movement dynamics, body shape, scarf manipulation, and choreographic phrasing, resulting in a new choreographic language without displacing the fundamental identity of Balinese dance. This article argues that cross-traditional choreographic identity is constituted not by the visible proportion of different cultural traditions but by the creative transformation of movement vocabularies within a single dominant choreographic system. Accordingly, the study proposes a conceptual model of cross-traditional choreographic aesthetics in which serves as the principal mechanism through which artistic identity is constructed.