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Jurnal Seni Tari
Published by Universitas Negeri Semarang
ISSN : -     EISSN : 25032585     DOI : https://doi.org/10.15294/jst
Core Subject : Art,
Arts
Research, comprises scholarly reports that enhance knowledge regarding dance in general, performing art, and dance education. This may include articles that report results of quantitative or qualitative research studies.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 30 Documents
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Form of Urban Dance in Bandar Buyut Village Gunung Sugih District Central Lampung Regency Agus, Zulfa; Daryanti, Fitri; Mariana Devi Lestari, Goesthy Ayu
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/thnj2205

Abstract

This study aims to describe the form of the Bandaran dance in Bandar Buyut Village. The Urban Dance is a tribute dance for  the Bandar Pak dancers as well as the opening dance  of the cangget night  event and is presented at the begawi cakak pepadun event during the night of cangget. This study uses a qualitative descriptive approach and data collection techniques carried out through observation, interviews and documentation. The results of the research are in the form of data analysis using textual study theory by Sumandiyo Hadi. The form seen in the Kebandaran dance consists of the following elements: danced by four men with the status  of traditional dancers, has a variety of movements with a rectangular and circular floor pattern, accompanied by a tuyun rain type of percussion  using the musical instruments talo lunik, talo balak, raragan talo lunik, bendei and  gung. The clothes used are kawai logs, pieces, punduk and head makeup using tijjang skullcaps and nupai cloth. The settings used are  in the form of a rarang cage, cloud telapah, tajalan and four umbrellas in white, yellow, red and black. The structure of this dance is divided into three parts, namely the beginning, the middle and the end. The duration of this dance is determined by  the bengali committee and  the  place where the Bandaran dance is carried out in the perverted nuwo or the yard  of the prospective perverted house  called the perverted nijjangken.                                                                         
Siwa Nata Raja: A Monumental Work From Aesthetic and Heritage Perspectives Kandiraras, Tudhy Putri Apyutea; Saptono, Saptono; Santosa, Hendra; Sasrani Widyastuti, Ida Ayu Gede
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/nk8ksj20

Abstract

Dance arts related to the great dance are the most popular. This beautiful dance is performed in all regions now. Even in the educational environment, which is the epicenter or center of trends, there is a proliferation of essential dances. One of the dances that marked the beginning of the creation of great dance was the Shiva Nata Raja dance at Institut Seni Indonesia, Denpasar. The Shiva Nata Raja dance still exists today and is a form of transmission or inheritance that is still running well. The question that generally arises in dance development is how to teach it. Ideally, the transition process does not reduce the foremost essence of the dance. A person's understanding of the intricacies of dance can be obscured by the assumption that dance is simple. Therefore, another way is needed so that the main parts of the dance are not lost. Every part of the movement is crucial to learn. The method used to conduct this research is a qualitative descriptive analysis method, which reveals the aesthetics and inheritance of the Shiva Nata Raja dance style. This inheritance process has been going on for approximately 34 years, so the Shiva Nata Raja dance still survives today and can be classified as a monumental dance.                                                                        
Meaning of Lesung in Thek Thok Gung Dance Work Astuti, Suryani Dwi; Widyawati, Setya Widyawati
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/s13jc107

Abstract

  Thek Thok Gung is a new creation dance created by Suryani Dwi Astuti and Lina Puspitasari inspired by the activity of togetherness behind the beating of mortar. The activity referred to in this dance work is the activity of togetherness in the ritual of searching for missing people since pre-colonial times. In this dance work, the use of lesung becomes a bridge between practical and symbolic functions, between work and celebration, between the past and the present. This research aims to describe the form and meaning of lesung in Thek Thok Gung dance work. This research uses a qualitative descriptive method. The theory used to answer the problem of form uses the theory of form according to Y. Sumandiyo Hadi. The disclosure of meaning in this study uses the theory of “Ëstetika Paradoks” by Jacob Sumardjo. This research uses a choreographic approach. The research steps taken in collecting data were obtained through observation, interviews, and literature studies. The results show that Thek Thok Gung dance work consists of elements of dance form, namely dance title, dance theme, type or type of dance, mode or way of presentation, dancers, movement, space, dance music, makeup and clothing, property, and lighting. The meaning of beating the mortar is a symbol and ritual that is believed to affect reality. Its aesthetics are not in the form of visual or sound beauty, but in symbolic and spiritual functions.
A Study on the Existence of the Lajher Pandhalungan Dance in Situbondo Regency East Java Dwi Imanda , Fatvil; Wisnu Pamenang, Nandhang; Lestianto Utomo Putro, Renaldi
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/zrpndk19

Abstract

This study analyzes Lajher Pandhalungan Dance, or popularly called Landhung Dance, as a cultural icon of Situbondo Regency in the Horseshoe region, north coast of Java. This dance was developed by the late Regent H. Dadang Wigiarto, SH, and developed by the Situbondo Arts Council. Choreographically, Lajher Pandhalungan Dance is divided into three levels (Landhung Cengker, Landhung Anom, and Landhung) with a complex movement structure, including 5 types of head movements, 16 hand movements, 4 body movements, and 2 foot movements. This flexibility allows the dances to be performed solo or in groups by dancers of various age groups. The dance theme fundamentally represents the socio-economic identity of the Situbondo community, especially the professions of fishermen and farmers, as well as the Pandhalungan cultural identity which is an acculturation between Javanese and Madurese ethnicities. The existence of Lajher Pandhalungan Dance is supported by two main factors: internal and external. Internal factors include the artistic creativity of the dance group and its inherent choreographic elements. Meanwhile, external factors include audience enthusiasm and promotional strategies through social media. The dance is consistently performed, including as the opening dance at the Situbondo Ethnic Festival 2023, and has been integrated into the compulsory extracurricular curriculum for elementary to junior high school students, demonstrating systematic efforts in cultural preservation and regeneration.
Symbolic Meaning Movements Dewi Tri Sekti Dance: A Study Of Denotative And Conotative Semiotics Azizah, Nurul; Indah Pebrianti, Sestri; Indriyanto , Indriyanto
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/xjf2gc26

Abstract

This study aims to examine the symbolic meaning of movement in Dewi Tri Sekti Dance created and performed at the Sekar Kinasih Studio, Kuwasen Village, Jepara Regency. The main focus of the study is to reveal the symbolic meaning of movement, which is studied through the denotative and connotative meanings contained in the dance movements through Roland Barthes' semiology approach. The method used is descriptive qualitative with data collection techniques in the form of direct observation of the creative process and dance forms, in-depth interviews with key informants (choreographers and dancers), and visual documentation. Data analysis is carried out through the stages of data reduction, data presentation, and inductive conclusion drawing. Data validity through triangulation of sources, methods, and theories. The results of the study show that the denotative meaning as textual is contained in the movement structure of the Dewi Tri Sekti Dance, with the beginning, the core, and the end. The dance movements not only function as aesthetic elements, but also have a contextual meaning that represents cultural values, local historical narratives, and women's identities in Jepara society.
Performance Structure of Barongan Kademangan at the Barongan Kademangan Art Studio in Bonang Subdistrict Demak Regency Fachrunnisa, Amaril; Kusumastuti, Eny; Tani Utina, Usrek
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/ayp5r117

Abstract

This study aims to describe and analyze the structure of the Barongan Kademangan performance as presented by the Barongan Kademangan Art Studio in Bonang Subdistrict, Demak Regency. This research employs a descriptive-analytic method with a qualitative approach. Data collection techniques include observation, interviews, documentation, and literature study. The findings reveal that Barongan Kademangan is a form of folk art that integrates elements of dance, traditional music, and theatrical performance, with the barong figure serving as the central focus. The performance is composed of distinctive elements such as movement, musical accompaniment, costume and makeup, props, as well as floor patterns and staging. In addition to serving as entertainment, Barongan Kademangan functions as a medium of social communication that fosters community bonding, reinforces local cultural identity, and acts as a means of preserving traditional values. Thus, this art form plays a vital role in strengthening social cohesion and deserves ongoing support for its preservation.
Production Aspects of Lengger Dance in the Taruna Budaya Art Group Sendangsari Wonosobo Regency Zulia Sukma; Arsih, Utami; Pramesti Putri, Rimasari
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/mme92r56

Abstract

Arts groups that grow from the community have a big role in maintaining and preserving local cultural heritage. Even so, the way they manage performances, especially in the Taruna Budaya Arts Group, is still rarely discussed in depth. This research tries to describe how the production management of Lengger Dance performances is carried out by a group that has existed since 1996 in Sendangsari Village, Garung District, Wonosobo. With two main divisions - dance and karawitan - this group involves cross-generations in its implementation and management. With a descriptive qualitative approach, data were obtained through observation, in-depth interviews, and documentation techniques. The data were then analyzed through the stages of data reduction, information presentation, and conclusion drawing. The study findings show that the group's success in managing performances is supported by the application of the four main principles proposed by George R. Terry: (1) planning such as the preparation of training schedules, open recruitment, and increasing the intensity of training, (2) the organizing stage through delegation of roles in production, (3) the movement stage through coordination involving the dance division and, and (4) the supervision stage with regular collective evaluations. The results show that this art group applies classical management whose process consists of four principles.
Process of Transmitting the Babalu Dance at Putra Budaya Studio Batang Regency Kusumaningtyas, Chandra Dewi; Cahyono, Agus; Lestari, Wahyu
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/q7vsa050

Abstract

Babalu Dance is a traditional art form from Batang Regency that carries significant historical meaning related to local resistance against colonial powers. As globalization advances, the younger generation's interest in Babalu Dance has decreased. This study describes the inheritance process of Babalu Dance conducted at Sanggar Putra Budaya. A qualitative method with an ethnographic approach was applied. Data were collected through observation, interviews, literature review, and documentation. The research shows that Babalu Dance consists of various movements, themes, make-up, costumes, musical accompaniment, properties, floor patterns, and stage formations reflecting resistance values. The inheritance process follows a diagonal system, using non-formal education that includes regular training, cultural value dissemination, and active youth participation. Sanggar Putra Budaya serves as a crucial institution in maintaining Babalu Dance preservation amidst modernization challenges.
Meaning of the Bedhaya Tirta Ritual Dance Form in the Odalan Ceremony of Tirta Empul Temple Surabaya I Nengah, I Nengah Mariasa; Sekti, Retnayu Prasetyanti Sekti; -, Enie wahyuning Handayani; I Gede, I Gede Dharma Utamayasa
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/yes6hn67

Abstract

The odalan ritual of the Tirta Empul Surabaya temple is held once a year, every month of Purnama Kasa. Since 2017, every temple odalan event has presented the Bedhaya Tirta ritual dance. The dance delivers five main dancers dressed in green, and the presentation involves the ritual of pouring tirta (holy water). This research aims to describe the form and meaning of the Bedhaya Tirta ritual dance in the odalan of Tirta Empul Temple, Surabaya. This research used an ethnochoreological approach and Pierce's semiotics in qualitative research. Specifically, the form of dance movements was studied through pure and meaningful movements. Data were collected by observation, interviews, and document studies. Bedhaya Tirta dance is a choreography in the form of a ritual full of meaning. Iconically, this dance work is an imaginative manifestation of the combination of God and Goddess in the holy water dance. Symbolically, it contains the meaning of prosperity. The index explains that the grace of sacred prosperity was present at Tirta Empul Temple when performing the Bedhaya Tirta dance. The solanugerah movement as a sign means that at the time the performance takes place, the tirta puruṣa descends from akasa (space) and the tirta pradhāna waits on pertiwi (earth), then unites into holy water called tirta ardhanareswari. The conclusion is that the Bedhaya Tirta dance is a ritual dance for the presence of the holy water for spiritual well-being at the Tirta Empul Babatan Temple, Surabaya.
Narrative and Aesthetic Values in Wayang Bocah Arjuna Wiwaha: A Strategy for Interactive Cultural Education Suparti, Suparti; Lanjari , Restu
Jurnal Seni Tari Vol. 14 No. 1 (2025)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/mv4xjp52

Abstract

This study explores the narrative and aesthetic values embedded in the Wayang Bocah performance of Arjuna Wiwaha at Padhepokan Tjipta Boedaja, and examines its function as an interactive cultural education strategy for Generation Z. Employing a qualitative case study approach, data were collected through participatory observation, in-depth interviews, and performance documentation. Findings reveal that the adaptation of the Arjuna Wiwaha story aligns effectively with the values, language, and visual expectations of younger audiences, enhancing both engagement and cultural relevance. Moreover, the incorporation of interactive learning strategies—where children actively participate in the performance—proves instrumental in fostering cultural appreciation and critical reflection. This research contributes to the discourse on arts-based pedagogy by offering a model for integrating traditional performance arts into contemporary educational practices.

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