<![CDATA[Tari Laras Depokyan is a newly formulated creative dance designed to address the cultural identity deficit in Depok City, West Java, an urban borderland sociologically characterized as Betawi Ora. This study aimed to deconstruct the choreographic structure of Tari Laras Depokyan across its 25 core movement repertoires and examine its underlying pedagogical values for secondary arts education. Employing a qualitative descriptive design based on ethnochoreological textual movement analysis, data were collected through frame-by-frame audiovisual observation of master performance recordings, participant fieldwork at Sanggar Tari Larasati, in-depth interviews with key choreographers, and institutional project archives from the 2026 Indonesian Arts Innovation Program (Program Inovasi Seni Nusantara [PISN]). The findings demonstrated that the choreography organically reconciled the grounded and assertive martial footwork of Betawi traditions (Nandak and Silat) with the fluid pelvic and torso articulations characteristic of Sundanese 4G movement idioms (Gitek, Geol, Goyang, and Gaplek). Furthermore, the traditional cukin (a chest-covering scarf) was functionally recontextualized as a dynamic choreographic prop that governed spatial projection, balance, and defensive aesthetic accents. Pedagogically, the deliberate structural simplification, bilateral symmetry, and tripartite phasing (initial, core, and terminal sections) fulfilled the choreographic requirements for kinesthetic accessibility across diverse educational levels, fostering motor coordination, cultural pride in local pluralism, and alignment with formal secondary dance curricula.]]>
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