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INDONESIA
Jurnal Seni Tari
Published by Universitas Negeri Semarang
ISSN : 22526714     EISSN : 25032585     DOI : -
Core Subject : Art,
Arts
Arjuna Subject : -
Articles 328 Documents
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Gambyong Lengger Dance in the Lengger Graduation Ritual Ceremony in Giyanti Helmet Wonosobo Regency Kristina Dwi Handayani; Sestri Indah Pebrianti
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.68284

Abstract

Gambyong Lengger dance is a dance created specifically for the Lengger Graduation Ritual Ceremony. This ceremony must be attended by Lengger Giyanti dancers. The dance has a distinctive form performed through its performance elements. The purpose of this research is to examine the performance form of the Gambyong Lengger dance. This research used a descriptive qualitative method with an Ethnocoreology approach. Data collection techniques are observation, interviews, and documentation. Data validity techniques were tested through triangulation of time, techniques, and sources. Data analysis techniques include data reduction, data presentation, and data verification. The results show that the Gambyong Lengger dance performance form is classified as a traditional folk dance in Giyanti Hamlet. The movements were adopted by the Gambyongan movements. In addition, the accompaniment used Cakepan Ladrang Pangkur Padhang Bulan, the makeup uses is corrective makeup, and the costumes use Lengger Giyanti costumes. The suggestion to Sanggar Rukun Putri Budhoyo is that there is a need for variations and additions to the variety of Gambyong Lengger dance movements. Therefore, after the dancers legally become lengger dancers, they can demonstrate their skills in dancing lengger with a dance duration that is not short.
Community Perception of Kuda Lumping Art in The Simpang Kiri Sub-District Subussalam City Mifta Rahmawati; Maimun Maimun; Hasbi Ali
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.70013

Abstract

This research is about "public perception of kuda lumping art in Simpang Kiri District, Subulussalam city". The researcher tries to describe: (1) the implementation of kuda lumping art in Simpang Kiri District, Subulussalam city. (2) the public's perception of the presence of kuda lumping art in the city of Subulussalam. The purpose of this study was to find out the implementation and public perception of kuda lumping art. This research belongs to the type of descriptive research with a qualitative approach. While collecting data using interview techniques. Informants in this study amounted to 8 (eight) people. The findings of this study indicate that the implementation of kuda lumping was performed by 8 or more young people who rode horses made of woven bamboo and then dressed in typical Javanese traditional dress and accompanied by musical instruments that were played on the spot. At the end of the event some players will experience a kind of possession. The community accepts the existence of kuda lumping art and is quite enthusiastic about watching this art. Of course, this art reaps good and bad responses from the community. But the community still accepts and expects the preservation of kuda lumping art. The conclusions of this study are: (1) The art of kuda lumping in its implementation is dancing using a piggyback made of woven bamboo directly accompanied by traditional Javanese musical instruments. (2) the art of Kuda Lumping is well received by the people of Subulussalam City without neglecting the existing arts.
Mahardika Dance Creation Process I Wayan Sutirtha; Hendra Santosa; Tudhy Putri Apyutea Kandiraras
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.72022

Abstract

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.
Batin Dance from Ritual to Performing Arts in Liwa Community West Lampung Regency Lampung Province Nur Sintia; Erlinda Erlinda; Surherni Surherni
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.73391

Abstract

Batin dance is an expression of the people's joy in welcoming the sultan's arrival. Batin dance has developed from a ritual function to a performance function. This research aims to determine the development of the function of the batin dance from ritual to performing arts. This research used a descriptive analysis method, and it was guided by facts found during the field research. A historical approach was used to determine the development of a ritual function to a performance function. The research results show that the batin dance has developed from a ritual function to a performance function starting from the props, music, performance venue, and performance time. It can be seen through the batin dance performance at the GSMS event. The development of the batin dance is present in society, but Saibatin still maintains the batin dance in the kingdom as a prominent guest without reducing its sacred value.
The Form and Development of Jaran Kepang Dance in the Langen Budi Sedyo Utomo Association from 1996-2018 Lukluil Maknun Al-izza; Eny Kusumastuti
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.73448

Abstract

The Langen Budi Sedyo Utomo Association is located in Sombron Hamlet, Tlompakan Village, Tuntang District, Semarang Regency. The Langen Budi Sedyo Utomo Association in the course of the Jaran Kepang dance experienced development after the entry of the Songo dance in 1996. The problem that arose was the existence of external obstacles in the form of a lack of support from the people around regarding the views of dance art and maintenance of inventory of costumes, accompaniment or gamelan, and others. This study aims to analyze and describe the development of the form of the Jaran Kepang Dance at the Langen Budi Sedyo Utomo Association from 1996-2018. As well as the factors that influenced the development of the Jaran Kepang Dance form at the Langen Budi Sedyo Utomo Association from 1996-2018. The method used in this study is a qualitative research method that produces descriptive data. The research method used a qualitative method. Data collection techniques in this study used three techniques, namely observation techniques, interview techniques and documentation techniques. Interviews in this study were conducted 4 times with different informants. Based on the results of research conducted at the Langen Budi Sedyo Utomo community and the results of the discussion in chapter four, it can be concluded that the Jaran Kepang dance in the Langen Budi Sedyo Utomo community experienced development after the entry of the Songo dance, developments took place from year to year. From 1996-2013 the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community still used movements that resembled Surakarta style dance movements, there was one dancer as the leader, then in 2013-2016, the Jaran Kepang dance form in the Langen Budi Sedyo Utomo community began to experience a variety of developments. movement and mining 1 Manggolo Yudho and 3 lead soldiers. In 2016-2018 the development of dance moves has been detailed because the movements have been updated by trainers who are more professional in their field. Developments can also be seen in costumes, makeup, and accompaniment.
The Characteristic Analysis of Characters in Gatotkaca Gandrung Dance by R. Ono Lesmana Kartadikoesoemah Sarah Sampepadang; Trianti Nugraheni; Putri Lilis Dyani
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.74407

Abstract

It started with the appreciation of a dance artist from Sumedang, R. Ono, for the Gatotkaca Gandrung dance in the Solo style. Then, he attracted his attention to create a Gatotkaca Gandrung dance piece in the Kasumedangan style. Different from the Solo style, the dance created by R. Ono is played by four dancers, namely Gatotkaca, Pergiwa, Pergiwati, and Cakil, with their distinctive characters full of meaning in life. The purpose of this research is to analyze the characteristics of the characters in the Gatotkaca Gandrung dance by R. Ono through the study of choreography, makeup, and costume. This study used a descriptive analysis research method using a qualitative approach. The researchers collected data using observation, interviews, documentation, and literature study. The data obtained is analyzed by reducing the data, presenting the data in narrative form, and drawing conclusions. The results obtained are Gatotkaca, as the main character, has the character of monggawa lungguh from his hiber movement, makeup, and costumes reflecting his independence, strength, toughness, responsible, courage, sacrifice, agility, and calmness in dealing with problems. Pergiwa and Pergiwati, as supporting characters, have the character of putri lungguh who reflects a graceful and cheerful nature. In addition, Cakil is a symbol of the lust of human anger. As a supporting actor, he also reflects the nature of cunning, mischievous, crotchety, agile, and brave. This character research can be used as an artistic reference in formal and informal learning that can be applied in life.
The Organology of Pencak Silat and Reog Ponorogo Dance Septa Dwi Saputro; Anggono Kusumo Wibowo
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.75358

Abstract

Pencak Silat is one of the well-developed sports in Indonesia, pencak silat is also a self-defence art that teaches spiritual and physical education to its devotees in living up to the moral values in it. The material object of this research is pencak silat and the formal object is the aesthetics of pencak silat. Through the collaboration of the Reog Ponorogo dance with the pencak silat movement, the aim is to create beautiful new creative movements. The implementation method uses training, practice and history through description, analysis and synthesis. The results of the research are martial arts styles which consist of mental-spiritual aspects, self-defence, arts and sports, and also arts in martial arts divided into wiraga, wirama and wirasa as well as collaboration with the Ponorogo reog arts. The art in pencak silat includes every attitude and movement that is shaped and regulated to achieve maximum artistic beauty. The criteria for art, especially dance, have been used as a guideline. The criteria are formulated with the words wiraga, wirasa, and wirama, which have the meaning of harmony and harmony between the body (raga), taste, and rhythm in displaying every attitude and movement of artistic martial arts which consists of three parts, namely exhibition arts, recreational arts pencak silat, and performance arts pencak silat.
Symbolic Study- Representation in Nyongsong Dance Widyanarto Widyanarto; Febrianti Febrianti; Mega Lestari Silalahi
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.75430

Abstract

Nyongsong dance tells of the activities of clove harvesting farmers in the Anambas Islands. Harvesting cloves includes climbing, picking, crushing, and drying cloves. This research is qualitative. The data collection technique was carried out by researchers through participatory observation, and the data analysis stage used qualitative descriptive methods. The presentation of the Nyongsong dance consists of three rounds, act 1 presents the farmers climbing and picking cloves symbolized by up and down movements exploring the clove tree setprop, act 2 presents the activity of crushing cloves symbolized by female dancers exploring the movement of ukel and exploring the properties of the jute sack by male dancers, and in act 3, the activity of farmers drying cloves is presented, symbolized by seven dancers exploring brown cloth together. This Nyongsong dance used corrective makeup with brown and green clothes. The props used in this dance are inspired by the tools farmers use when harvesting cloves, such as bags, winnowing, and burlap sacks. Danced by seven dancers, including two male dancers and five female dancers. The accompanying music is created life using Malay musical instruments such as selondang, serunai, violin, mong, gong, bebano, darbuka, flute, multiped percussion, and sequencer. This research aims to examine the Nyongsong dance from the perspective of representational symbols as enriching knowledge about the study of choreography through symbols and representations.

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