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<![CDATA[BENTUK PENYAJIAN TARI SATYA BRASTHA SEBAGAI PERTUNJUKAN PARIWISATA DI UBUD BALI ]]>
<![CDATA[Chairunnisa Rochmawati]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.344
<![CDATA[Penelitian dan pengkajian yang dilakukan berfokus pada bentuk penyajian tari Satya Brastha sebagai pertunjukan pariwisata di Ubud Bali. Tari Satya Brastha adalah tari kreasi baru karya I Nyoman Cerita yang semula diciptakan sebagai Tugas Akhir di STSI Denpasar, dan saat ini mengalami perkembangan menjadi pertunjukan pariwisata. Sebagai pertunjukan pariwisata tentunya tari Satya Brastha mengalami beberapa perubahan yang disesuaikan dengan konsep pertunjukan pariwisata di antaranya berdurasi singkat, tidak termasuk tari sakral, dan memiliki keunikan sebagai daya pikat wisatawan. Konsep struktur digunakan untuk memahami tatahubungan yang membentuk keutuhan bentuk penyajian tari Satya Brastha, selanjutnya untuk mengurai masing-masing elemen tersebut digunakan pemahaman konsep koreogafi meliputi isi, bentuk, dan teknik. Kata kunci: Satya Brastha, pertunjukan pariwisata, perubahan]]>
<![CDATA[TATAG DE PENYAWO ]]>
<![CDATA[Usman .]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.345
<![CDATA[Tatag De Penyawo dance work is work that pours stylist experience. Tatag de Penyawo comes from Tidung. Tatag means losing, which in this work is meant losing the Dayak identity, while De Penyawo mean that in the sense of the heart's deepest. Anxiety on the identity of questionable and even questioning his own identity, as is customary to be lost because of religion stylist is believed to be the theme of this work. Anxiety within the stylist to maintain and preserve the tradition is so strong Dayak, Dayak tradition itself while the conflict with Islamic values. This dance is danced in groups, with 9 dancers. Properties used are Hudoq We, Hudoq-Kublo, and loincloth. It rests on the dance dance Hudoq us. Presentation mode used symbolic representational. This dance work can be classified as a type of dramatic dance, which means that the idea is communicated full allure, dynamic, cause tension and possible conflict between the people involved in her or with others. This dance work processes involving several parties that help, both in the search and in the creation of works of reference as a medium for the stylist to socialize and interact with their surroundings. Through the work of this dance, stylists feel emotional or spiritual closeness to the tradition and culture of the Dayak ancestors. Form of gratitude and love for the cultural traditions of the ancestors are expected to be realized through the work of this final. Keywords: Tatag De Penyawo, Identity, Hudoq]]>
<![CDATA[PROSES KREATIF PENCIPTAAN TARI JATHILAN GAUL KARYA SATRIYO HANDRIYATNO ]]>
<![CDATA[Diah Rini Susilowati]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.355
<![CDATA[This research is aimed for knowing and expressing Satriyo’s creative process when he made a jathilan Gaul choreography, This dance is based on folkartistry that we called Jathilan. The collecting data method for these research are observation, interview, literate studies, and documentation.The observation has been done with direct monitoring in the research subject, the interview has been done with structural interview, method, so the data could be right and acurat information. Literatur studies has been done to get the data from some writeen sources and books that have direct related to this research, and the last but not least documentation has been done with collected method in video and photography. The outcome of this research showed that there are a lot of creative ideas in a Jathilan Gaul choreography that creativity are emerged to gives a new soul and divercity so this dance is more interest and unique. The dance movement had an acrobatic movement and breakdance combination the performance concept that can be perform anywhere, then they wear a uniquely costum / uniform which inspirated by punk community, they also use some property that have important things to get interested audience, till some fire dance with an amazing fire attraction in the other hand, there is specific method when Satriyo’s made a choreography he made the music composition first then he made movement to respond the music so he made a choreography by music interpretation. Keyword: Creativity making process, Satriyo’s, Jathilan Gaul.]]>
<![CDATA[BENTUK PENYAJIAN TOPENG IRENG TUNAS KAWEDAR DALAM ACARA PERESMIAN MASJID DI DUSUN KRAGEMAN DESA KRADENAN KECAMATAN SRUMBUNG KABUPATEN MAGELANG ]]>
<![CDATA[Dita Eka Pertiwi]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.356
<![CDATA[This study focuseson the study of art froms Topeng Ireng Tunas Kawedar the inaugurationof a mosquein the hamlet village Krageman Kradenan Srumbung district Magelang regency.Art Topeng Ireng Tunas Kawedar this is dance populartraditions tug by male dancers is the group.This study aims to identify and describe the presentation of the Topeng Ireng Tunas Kawedar the inauguration of the mosque. This research presentation style approach. Presentation style approarch is an approarch by reviewing the research objects covering various aspects, amog other, aspects of dance, gesture, space and time, property used, the music, make up and costum. So that the performing arts are integrated into unity. Key words : Topeng Ireng, presentation style. koreografi]]>
<![CDATA[ATIS ]]>
<![CDATA[Firsi Juniantha]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.357
<![CDATA[ATIS is a dance that reflects the experience that has over been felt by all the creature, every single person on the surface of the earth about cildness, whether it’s a kind of coldness as expression or as effects that subjectively appeared by the coldness it self are, so that it is interesting to be input into parts of the dance. This kind of choreography in group that is performed by seven dancers, including four female dancers and three male dancers. This dancer consists of four main parts with suite concept. Performance art with suite concept which is applied in a choreography, will create a short work of dance art with more than one stories in one dance, which each part of the dance doesn’t relate to the others, but over all it is in one theme. In this ATIS dance the story or the impression that is wanted to be delivered to the audience, is different from one part to the other, but it is talking about the same main theme, that is coldness. Key word: ATIS, Coldness, Suite]]>
<![CDATA[SELEMBAYUNG ]]>
<![CDATA[Indah Ratna Sari]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.358
<![CDATA[Selembayung in other word is sulobayung and tandukbuang which has meaning adornment that cross locating at both of roof ofmelayuRiau house. Selembayung contains a symbol which has a meaningful, that is why the relief is as power of the house that can shine up the building till the sharp-end of the roof. Selembayung relief gives an inspiration to the maker to invent great work of art by themes are meaningful and philosophy point that in selembayung which is aplicating from the corak balam dua setengger application. The selection of melayu Riau culture andSiak especially as an orientation in dance project, because the background of the artists are from Siak. The work of art is expected can give some advantages to Siak society. Key Words: Koreografi, Selembayung, Garis]]>
<![CDATA[SURUP SURYANING TAYUB ]]>
<![CDATA[Ria Ayu Wahyuni]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.359
<![CDATA[Surup Suryaning tayub is the title of the final dance work is motivated by tayub performances. Words have meaning Surup Suryaning is twilight, twilight symbolized in this work as a parent. This dance works depict dancers tayub about parents who still have the spirit and soul of high art. Cultivation of this dance work inspired by Physical tayub old dancer who worked as a farmer, so his physical hunchback. But the hunchback physical and twilight age is not a reason for them to be weak, and sickly. Identical to the old one's sickly, weak and no longer fit to dance again. Thus the stylist wants to show that it is not like the old dancers who think and imagine all the people. Coreografer trying to build image through dance work titled Surup Suryaning Tayub to build character tayub tough old dancer who will be shown by combining the style and nuances of the type of rock music. This dance piece danced by six women dancers and two sons dancers. three dancers tayub daughter as a young dancer. While three other young dancers and two dancers would imitate men wearing make-up and dressed in old characters and extra costumes property stooped to strengthen competition between old dancers. This dance tell the story abaout beattle character tayub old and young dancers. Keywords: Tayub, Old, Rocker]]>
<![CDATA[PENGARUH ‘EDAN-EDANAN’ DI DALAM TARI NIRBAYA KARYA SETYASTUTI ]]>
<![CDATA[Risang Ayu Agustin]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.360
<![CDATA[Nirbaya dance is created by Setyastuti, it is a new oriented dance on tradition ‘edan-edanan’ as source her creation. ‘Edan-edanan’ as tradition ritual in temanten agung Kraton ceremony Yogyakarta, which has function as repellent of bala. The configuration of ‘edan-edanan’ describes two crazy people (women an men) who are believed able to expel supranatural things,which can annoy this event. In Nirbaya dance will seem result of influences affecting, it is influence of ‘edan-edanan’ as creation isource object in new dance creation. That influence can be seen from ‘edan-edanan’ elements which it can still be identified in nirbaya dance. Visual effect is in make up, costume, property and motion, whereas from point aspect is in tolak bala which is still in Nirbaya dance. Keyword: ‘edan-edanan’, nirbaya, influence]]>
<![CDATA[SHE’S ]]>
<![CDATA[Rosalia Novia Ariswari]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.361
<![CDATA[She’s is a dance work inspired by personal experience that seeing from a mother figure. Gentleness, have high fighting spirit, and have a responsibility beyond the weakness of woman seen from the figure of mother. This work is a dance piece performed by two young dancers with different roles, the portrayal of a mother by a dancer, and describe a child by another dancer. Excitatory idesional is the beginning of making this work. Dramatic dance type used in this work with the presentatin of symbolic representational mode. Issue that are closest to life stylist of choice in making this work. Interest and admiration inthe eyes of a mother figure to inspire artist to create and dedicate this work to formidable mother in their daily lives. Keywords: mother, woman, fighting spirit]]>
<![CDATA[TARI DOLALAK SEBAGAI IDENTITAS MASYARAKAT KABUPATEN PURWOREJO ]]>
<![CDATA[Sentri Captian Ningsih]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Seni Tari ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.362
<![CDATA[This journal will discuss about Dolalak Dance as a symbol of identity, in several simultaneous dance carries information channels of a community has a great potential to communicate something about themselves, especially in different situations where people interaction. That complex characteristics are used to mark or identity that emerge in the community is a style. Forcely composed of symbols, shapes, and orientations underlying value. Shapes and symbols openly put clothes, language, music dance, type house, and religion are supported by such values of friendship, and education. In other words, a dance that grows and develops in a society has the style and context of each accordance with occurs in society. To the analysis that will be discuss namely the elements of motion, makeup and fashion, as well as the musical accompaniment that included a poem with a pattern as a commuting Purworejo to bring up the context of their communities.The context relate with the Dolalak dance as a behavior of Purworejo populations is an expression of live society as a society Purworejo. Keywords: dance, Dolalak, Purworejo.]]>
