<![CDATA[This study examines the symbolic meaning contained in the Ronggeng Bugis Dance as practiced at Sanggar Tari Kencana Ungu, Cirebon, using Marco De Marinis's performance semiotics approach. The background of this research is the shifting public perception of Ronggeng Bugis, which today tends to be seen only as a comedic folk performance, while its deeper historical and philosophical values receive little attention. Previous studies on Ronggeng Bugis have mostly focused on dance structure and existence, while studies on its symbolic meaning through a performance-semiotics lens, especially at Sanggar Tari Kencana Ungu, are still limited. This research uses a qualitative approach with 3wea descriptive method. Data were collected through in depth interviews, observation, and documentation involving the studio owner and a senior dancer. The results show that every element of the performance can be read through three interrelated domains proposed by De Marinis, namely textual analysis of movement, makeup, costume, and music, co-textual analysis of the performance's relationship with its historical source, and contextual analysis of its position within Cirebon's broader cultural and social life. The studio also acts as a nonformal education institution that passes these symbolic meanings on to younger generations through structured teaching and partnerships with schools. This study is expected to support the preservation of local cultural values and to enrich the literature on performance semiotics of Indonesian traditional dance.]]>
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