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Selly Oktarini
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INDONESIA
Jurnal Pendidikan Tari
Published by Universitas Negeri Jakarta
ISSN : -     EISSN : 2807887X     DOI : https://doi.org/10.21009/JPT
Core Subject : Humanities, Education, Art,
Arts Humanities Education
This Journal is about Creation of Performing Arts or Performing Arts Study as well as the research result of Innovation in Dance and Dance Education
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 89 Documents
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Peningkatan Keterampilan Dasar Menari Melalui Pembelajaran Berbasis Gamifikasi Pada Mata Pelajaran Pendidikan Lingkungan Budaya Jakarta Kelas IV-A SDN Jatinegara 15 Pagi Handayani, Tiara Putri
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.617

Abstract

This study aims to improve basic dancing skills through gamification-based learning in Jakarta Cultural Environmental Education learning for IV-A students of SDN Jatinegara 15 Pagi with a total of 30 students. The research method used is Classroom Action Research which adapts the Kemmis & McTaggart model and is carried out in two cycles where each cycle consists of four stages, namely planning, implementation, observation, reflection. The results of the study showed that there was an increase in basic dancing skills after the application of gamification-based learning in the Jakarta Environmental and Cultural Education (PLBJ) content which was marked by an increase in students' dancing skills in each cycle. The basic dancing skills of students in cycle I reached a percentage of 70%. In cycle II it increased to 83%. Thus it can be concluded that if the application of gamification-based learning is applied, it can improve students' basic dancing skills.
IMITASI DAN TRANSFORMASI BUDAYA NGUBEK SITU DALAM KARYA TARI RENGKAK AYAKAN MENURUT PERSPEKTIF SUSANNE K. LANGER Marsya Frista, Nona; Nursilah; Selly Oktarini
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.618

Abstract

This research discusses the process of imitation and transformation of the NgubekSitu tradition into the dance work Rengkak Ayakan, from the perspective of SusanneK. Langer. Rengkak Ayakan is a form of art inspired by community traditions,creatively processed into a symbolic expression of human emotion. According toLanger's theory, art is not merely a copy of reality, but the result of imitation andtransformation that creates symbolic meaning from felt emotions. This studyemploys a descriptive qualitative method, using observation, literature review, andin-depth interviews with choreographers, dancers, community figures, musicians,and the management of Sanggar Tari Gandes Pamantes. The results show thatRengkak Ayakan does not simply replicate the physical activities of a tradition, butrather interprets values of togetherness, joy, and gratitude through elements ofmovement, costume, props, and performance structure. This transformation resultsin a dance work that symbolically represents the meaning of the Ngubek Situtradition, in accordance with Langer’s concept of emotional expression. This,Rengkak Ayakan becomes an effective medium for cultural preservation byintegrating traditional elements with artistic creativity, and bridging local culturalheritage with the context of modern performance through a symbolic and expressiveapproach.
PROSES KREATIF PENCIPTAAN TARI AMBREG KARYA KOREOGRAFER BATHARA SAVERIGADI DEWANDORO Siregar, Malik; Ida Bagus Ketut Sudiasa; Nursilah
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.612

Abstract

This research is grounded in the importance of understanding the creative process of choreographers in developing dance works. The study aims to: (1) background of Bathara Saverigadi Dewandoro, (2) explain the structure and characteristics of the Ambreg dance, and (3) analyze the creative process involved in its creation. A qualitative approach with a phenomenological method was employed, using interviews, observations, and documentation as data collection techniques. Bathara Saverigadi Dewandoro, who comes from a Javanese cultural background, began exploring Betawi dance in 2016 as part of his search for artistic identity. Although not ethnically Betawi, he created the Ambreg dance as a reinterpretation of Betawi movement, offering a fresh perspective on its form and dynamics. Out of the 81 choreographic works he has produced, Ambreg stands out as a significant piece that led Jakarta Province to win first place in the national FLS2N competition. Bathara's creative process is analyzed using Peter Abbs' theory, which includes five stages: creative impulse, working with the medium, realization of final form, presentation/performance, and response and evaluation. Although Bathara does not rigidly follow this framework, his personal approach enriches the creative process and offers a new perspective in developing contemporary Betawi dance. These findings are expected to serve as a valuable reference for choreographers, dancers, and dance educators. Keywords: creative process, choreographer, AmbregDance, Sanggar Swargaloka.
PELATIHAN TARI LEGONG SEMARANDANA GAYA PELIATAN OLEH NI KETUT PUTRI MINANGSARI DI WULANGREH OMAH BUDAYA Ida Ayu Julia Maharani; Ida Bagus Ketut Sudiasa; Sulistiani
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.614

Abstract

This research was compiled by Ida Ayu Julia Maharani with the title "Legong Semarandana Dance Training Style Peliatan by Ni Ketut Putri Minangsari at Wulangreh Omah Budaya". This research is the preservation of traditional Balinese dances, especially Legong Semarandana in the Peliatan style, outside the area of origin. The training conducted showed a unique and authentic training strategy at Wulangreh Omah Budaya, South Jakarta. The purpose of this study is to explain the process and results of the training of the Peliatan style Legong Semarandana dance carried out by Ni Keut Putri Minangsari, there are methods, strategies and design of training and examine the effectiveness of training in forming skills. This study uses a descriptive qualitative approach. Data collection was carried out through direct observation of the training process, interviews with trainers and students, and documentation. Data analysis was carried out with reference to training theory by Dale S. Beach and the principles according to kamil. The results of the study show that the training is carried out in a structured and tiered manner based on the level of students' ability. The superior strategy in the form of direct training in Peliatan village has a great impact on technique and character appreciation. Evaluations are carried out periodically to improve performance. This research proves that the training conducted by Ni Ketut Putri Minangsari is effective in preserving the Peliatan style Legong Semarandana outside Bali.
TARI GITEK BALEN SEBAGAI REPRESENTASI KESENIAN BETAWI Maulita Meysanti Setiawan; Ida Bagus Ketut Sudiasa; Sulistiani
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.615

Abstract

The Gitek Balen Dance is a Betawi dance created from the development of the Betawi Mask movement. This dance has become a medium of representation of Betawi culture and continues to develop until now, both in movement, musical accompaniment, and costumes. This study explains how the Gitek Balen Dance represents Betawi culture through movement, music, and costumes, as well as how the form of its presentation has evolved since its creation until 2025. Using a descriptive qualitative approach and Ferdinand de Saussure's semiotic theory. Data collected through interviews, observations, and documentation studies of creators, dancers, and three dance studios, the Gitek Balen dance features elements of Betawi culture through a system of signs on movement, gamelan mask music, and distinctive costumes. This dance has three versions of presentation and is now part of the curriculum in one of the studios and art schools. The Gitek Balen dance is a new dance creation that reflects the dynamic soul of young girls. The simplification of movement and the form of the dish shows adaptation to needs, but its essence and existence are maintained until now.
PENINGKATAN FOKUS PERHATIAN DALAM PEMBELAJARAN TARI MELALUI KEGIATAN ROLE PLAYING BERBASIS KINESTETIK (PTK SISWA EKSTRAKURIKULER SMPN 76 JAKARTA PUSAT) Ivana, Esa Aura; Elindra Yetti; Selly Oktarini
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.613

Abstract

This study aims to improve students' focus of attention in dance learning through the application of kinesthetic-based role playing methods. Focus of attention is an important component in achieving learning objectives, especially in dance learning that requires concentration and coordination of movement. Kinesthetic-based role playing was chosen because it combines elements of movement exploration and active student roles which are believed to be able to stimulate optimal mental and physical involvement. This study uses a classroom action research (CAR) methodology with the John Elliot model, using quantitative statistical analysis and descriptive qualitative analysis. Data collection techniques through observation, pretest, interviews and documentation on collaborators and dance extracurricular students of SMPN 76 Central Jakarta. This study was conducted in 3 cycles on 35 students. Improvements can be seen from students' active participation, concentration when following instructions, and creativity when exploring dance movements. Based on the results of the N-Gain analysis in this study, a value of 0.7 was shown in the high category. Through Kinesthetic-Based Role Playing Activities, students' focus of attention in dance learning in the dance extracurricular of SMPN 76 Central Jakarta is improved.
MENINGKATKAN KEMAMPUAN INTERPERSONAL DALAM PEMBELAJARAN TARI KREASI MELALUI MODEL PEMBELAJARAN STAD PADA SISWA USIA 15-17 TAHUN DI SANGGAR TARI CANDIK AYU Maharani, Rejna Azhara; Deden Haerudin; Selly Oktarini
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.619

Abstract

This study aims to improve interpersonal skills through the application of the cooperative learning model, Student Teams Achievement Division (STAD), in creative dance training, specifically the Merak dance. The research employed Classroom Action Research (CAR) using the Kemmis and McTaggart model, which consists of four stages in each cycle: (1) planning, (2) acting, (3) observing, and (4) reflecting. The research subjects were 9 training participants aged 15–17 years. Data were collected through observation and interviews, with research instruments in the form of an interpersonal skills observation sheet covering indicators of openness, empathy, positive attitude, and equality. The results showed that interpersonal skills consistently improved in each training session, from the pre-cycle to Cycle II. The average score increased from 27 in the pre-cycle to 42 in Cycle I, and reached 57 in Cycle II. The N-Gain analysis showed a score of 0.8, categorized as high. Based on these findings, the implementation of Merak dance learning through the STAD model proved effective in improving the interpersonal skills of training participants aged 15–17 at sanggar tari Candik Ayu.
Penguatan Literasi Seni Melalui Pembelajaran Tari Tradisional dalam Mewujudkan SDGs 4 (Quality Education) Maharani, Lissa; Imma Fretisari; Ni Ketut Santi Sukma Melati
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.611

Abstract

This study aims to analyze the empowerment of arts literacy through traditional dance learning in realizing SDGs 4 (Quality Education). The focus of the research is directed at the implementation of Traditional Dance at SMA Negeri 1 Tempunak, West Kalimantan. The research method used is qualitative with a case study approach. Data were collected through observation, interviews, and documentation of teachers and students, then analyzed using the Miles and Huberman model which includes data reduction, data presentation, and conclusions. The results of the study indicate that traditional dance learning makes a significant contribution to improving the quality of 21st-century education. Teachers have integrated local cultural values ​​into teaching and learning activities despite being limited by learning resources and understanding of arts literacy. Students showed improvements in critical thinking skills, creativity, communication, collaboration, and understanding of cultural meaning. Traditional dance learning has proven to be an effective arts literacy medium in developing students' cognitive, affective, and psychomotor potential while fostering character and love for national culture. Thus, the conclusion is that the implementation of traditional dance-based arts learning not only strengthens arts and cultural literacy but also supports the achievement of Sustainable Development Goal (SDG) 4 through inclusive, contextual, and sustainable education.  
ANALISIS KONSEP NGUNDA BAYU PADA TARI REJANG DESA, DI DESA TISTA, KECAMATAN ABANG, KABUPATEN KARANGASEM, BALI Santi Sukma Melati, Ni Ketut; Tampubolon, Rines Onyxi; Maharani, Lissa; Radiana Putra, I Gede; Bang Sada Graha Saputra, I Putu Bagus
Jurnal Pendidikan Tari Vol 6 No 1 (2025): Inovasi dan Penguatan Metode Pembelajaran Seni Tari yang Berorientasi Pada Keterl
Publisher : Program Studi Pendidikan Tari FBS UNJ

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21009/JPT.616

Abstract

The Rejang Desa dance has become an important cultural heritage in Tista Village, Abang District, Karangasem Regency. This dance is characterized by its distinctive and classical makeup and costume design, which continue to uphold local wisdom as the central element of their aesthetic arrangement. Rejang Desa can only be performed and appreciated during the Kuningan and Manis Kuningan ceremonies, making it distinct from Rejang Dewa, which may be performed in various religious ceremonies across different villages. The term dance is inseparable from the concept of movement technique, as every dance composition employs movement as its primary medium of expression. In dance movements, the control of breath and energy is essential to maintain the integrity and fluidity of motion. This understanding is commonly referred to as the Ngunda Bayu technique, which is an inherent practice among Balinese dancers across various dance forms. Therefore, this study aims to examine and understand the application of the Ngunda Bayu concept in the Rejang Desa dance of Tista Village. The presence of this concept can be observed through the duration of the performance and the structure of the presentation. To explore this issue, a qualitative research method is employed, supported by the theory of form. It is expected that the findings of this research will reveal and substantiate the use of the Ngunda Bayu concept within the Rejang Desa dance of Tista Village. In line with this objective, the author seeks to develop a scientific discussion that examines the embodiment of Ngunda Bayu in the performance of Rejang Desa in Tista Village.

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