Jurnal Seni Tari starting in 2024 migrates to better secure from various unwanted things, including journal hacking and so on. To submit, the author please visit the new website page of our journal at the link https://journal.unnes.ac.id/journals/jst MIGRATION OFFICIAL STATEMENT HERE Jurnal Seni Tari [P-ISSN 2252-6714 | E-ISSN 2503-2585] publishes original research and conceptual papers on dance study and dance education [see Focus and Scope]. Editor accepts the article has not been published in other media with the writing format as listed on page manuscript writing guidelines (see Author Guidelines and Template Manuscript] Abstracting and Indexing: DIMENSION | SINTA | GARUDA | DOAJ
The Creative Process of Creating Eracycle Dance Works in the Development of the Current Era
The creation of Eracycle dance works is based on the aesthetic spirit of Remo Bolet dance, which is known for being dynamic, expressive, and embodying the value of struggle. This work does not attempt to reconstruct the form of Remo, but rather to transform its principles of energy, feeling, and movement quality into a new language of movement relevant to the development of contemporary performing arts. The method used was qualitative research with data collection techniques through observation, interviews, and literature studies. Data analysis was conducted using a creative process theoretical framework to examine the stages of creation, as well as dance presentation analysis to describe the supporting choreographic and artistic elements. Through a creative process and analysis of dance performances that complement each other, a narrative emerges about the dynamic nature of humans in facing changing times. In conclusion, Eracycle's dance work shows that tradition can serve as an adaptive and relevant source of inspiration in the creation of contemporary dance.
Eracycle, Tari Remo, proses kreatif, koreografi, tari kontemporer.
The Development of Creative Dance Based Anti Bullying Educational Media to Foster Children's Empathic Imagination in the Laboratory Kindergarten of Universitas Negeri Malang
The phenomenon of bullying in early childhood, especially among Generation Alpha who have minimal direct interaction, requires creative and interactive educational media to develop empathy. Although dance has proven to be effective in social development, the specific implementation of creative dance as an anti-bullying medium in Indonesia is still very limited. This study aims to develop and test the feasibility (validity and practicality) of creative dance-based anti-bullying educational media to foster empathic imagination in children in KB-TK Lab UM. This research uses a Research and Development (R&D) approach by adopting the ADDIE (Analysis, Design, Development, Implementation, Evaluation) model. The product developed is in the form of a creative dance video with the song "Kita Teman Kita Hebat." The research subjects involved experts (materials, media, early childhood education) and 88 students of the UM Lab Kindergarten. The data was analyzed in a quantitative descriptive percentage. The results of expert validation show that the feasibility of the product is very high with an average of 90.47% (Very Valid). Meanwhile, the field trial recorded a practicality level of 89.85%. Dance art media facilitates children to imagine anti-bullying situations through movement and expression. This encourages the simultaneous development of cognitive and affective aspects of empathy. By dancing and playing, children learn to be aware of the differences in perspectives and feelings of friends, fostering mutual respect and solidarity. This medium is effective for strengthening the empathic imagination, a crucial skill to prevent bullying and support social-emotional development.
Creative Dance, Bullying, Empathic Imagination
Narrative and Aesthetic Values in Wayang Bocah Arjuna Wiwaha: A Strategy for Interactive Cultural Education
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.
Wayang Bocah, Narrative Aesthetics, Cultural Education, Generation Z, Interactive Learning
Choreographic Process of the Batik Ponoragan Dance in the Work Larastika Larang
This study This study explores the choreographic process of Tari Batik Ponoragan as an artistic response to the local culture of Ponorogo, particularly through the integration of Reog batik motifs into contemporary dance performance. Developed under the Larastika Larang collaborative project, the work applies a practice-led research approach, in which artistic practice serves as the primary method for producing knowledge and cultural reflection. The choreographic process is based on Alma M. Hawkins’ theory, consisting of three stages: exploration, improvisation, and composition. Through exploration, dancers interpreted batik-making gestures and Reog symbols into movement. The improvisation stage allowed the body to respond spontaneously to visual, auditory, and emotional stimuli. In the composition stage, the findings were arranged into a three-part choreographic structure: batik production, its connection to local arts, and the collaborative conclusion. Findings indicate that dance can serve as a medium for cultural revitalization through reflective and participatory methods. The work not only presents aesthetic values but also offers a contemporary narrative of cultural identity and memory within the Ponorogo community.
Project Based Learning Model in Class X.9 of SMA Negeri 1 Semarang
Project-based learning (PjBL) has been widely applied in science and technology education, but its use remains limited in the context of arts education, particularly dance education. This study aims to describe the implementation of the PjBL model in dance education in class X.9 at State Senior High School 1 Semarang. The study employs a qualitative method with a phenomenological approach to understand students' subjective experiences in the process of creating original dance pieces. Data was collected through observation, interviews, and documentation, and then analyzed using triangulation. The results of the study indicate that the implementation of the PjBL model takes place systematically through three stages: planning with the development of teaching modules, implementation by adapting the planning from the teaching modules, and evaluation conducted collaboratively by the teacher and students through class discussions or feedback sessions. Each stage facilitates active student participation, encourages collaborative problem-solving, and produces original dance works. This study confirms that PjBL is effective in enhancing students' creativity, independence, and critical thinking skills in art education. These findings contribute to the development of project-based art pedagogy practices at the secondary education level.
Meaning of the Bedhaya Tirta Ritual Dance Form in the Odalan Ceremony of Tirta Empul Temple Surabaya
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.
Islamic-Javanese Syncretism in the Sunan Kalijaga Dance by Wahyu Santosa Prabowo
This research aims to analyze Islamic-Javanese syncretism reflected in Sunan Kalijaga's dance works. Sunan Kalijaga, as one of the Wali Sanga, played an important role in the spread of Islam in Java by integrating elements of local culture into religious practices. This study uses a qualitative approach with textual analysis and observation methods of dance performances inspired by the teachings of Sunan Kalijaga. The results of the study show that the dance presented is not only a form of artistic expression, but also combines Islamic values with Javanese traditions. The symbolic elements in the movements, costumes, and music reflect the blend of Islamic teachings and local culture. This research also identifies the social and cultural impact of this syncretism on the Javanese community, as well as how dance becomes a medium to strengthen religious and cultural identity.
Syncretism, Islam-Java, Sunan Kalijaga Dance
Process of Transmitting the Babalu Dance at Putra Budaya Studio Batang Regency
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.
Inheritance Process, Babalu Dance, Sanggar Putra Budaya
Production Aspects of Lengger Dance in the Taruna Budaya Art Group Sendangsari Wonosobo Regency
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.
Management of Tiara Dance Studio in Banjarnegara Regency
This research aims to describe and analyze the management of Sanggar Tari Tiara in Banjarnegara Regency in maintaining its existence and developing traditional and creative dance arts. This study uses a qualitative approach with a descriptive method. Data collection techniques include observation, interviews, and documentation involving the studio head, trainers, and administrators. The results show that the management of Sanggar Tari Tiara encompasses four main functions: planning, which is proven to be systematic and adaptive and focuses on human resource (HR) recruitment; organizing, which is carried out to divide tasks and responsibilities; implementing, which aims to divide age and experience categories in conducting learning; and supervising, which aims to observe the implementation of activities, assess results, and evaluate after training and events, all of which are carried out synergistically and continuously. The studio's success in achieving various local to international accomplishments is inseparable from its structured management, the commitment of its members, and collaboration with art communities and local government. This research affirms that good management is key to the preservation and development of local arts and culture.
Performance Structure of Barongan Kademangan at the Barongan Kademangan Art Studio in Bonang Subdistrict Demak Regency
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.
Barongan Kademangan, local culture, performance structure.
Symbolic Meaning Movements Dewi Tri Sekti Dance: A Study Of Denotative And Conotative Semiotics
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.
Dewi Tri Sekti Dance, Roland Barthes' Semiotics, Symbolic Meaning
A Study on the Existence of the Lajher Pandhalungan Dance in Situbondo Regency East Java
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.
Existence, Lajher Pandhalungan, Dance, Situbondo
Meaning of Lesung in Thek Thok Gung Dance Work
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.
Implementation of the Assalamualaikum Dance in Developing Kinesthetic Intelligence of PIAUD Students
This research aims to determine the implementation of the Assalamualaikum Dance in developing the kinesthetic intelligence of students. The study employs a descriptive qualitative approach. The data collection techniques used in this research are observation, interviews, and documentation. The subjects of this study are fifth-semester students from the Early Childhood Education Study Program at UIN Mataram. The data analysis techniques used in this study include data reduction, data display, and conclusion drawing. Based on the data analysis results, it was found that the implementation of the Assalamualaikum Dance was conducted according to the learning objectives to develop students' kinesthetic intelligence. The application of the Assalamualaikum Dance was carried out in the following steps: performing body exercises first, demonstrating movements with counts, demonstrating movements accompanied by music, and conducting movement evaluations. Based on the data obtained, it can be concluded that these activities can develop students' kinesthetic intelligence. It is evident from the movements performed, such as body strength in executing movements, body flexibility in performing movements, body balance during movement, body coordination while moving, and movement skills while dancing.
The Popularity of Tayub Dance in Pati Regency
Pati Regency has several traditional dances, including Puriance, Tayub Dance, and Topeng Tani Dance. Tayub Dance is considered a form of gratitude for blessings, but it is now only performed during the Earth Alms tradition in a few villages, such as Jakenan, Sejomulyo, and Kedongpancing. This study aims to identify the causes of the decline in Tayub's Dance popularity and strategies to preserve it in the modern era. The research uses a qualitative method with a phenomenological approach. The findings show that Tayub's Dance's popularity has decreased due to shifts in the public interest, the influence of technology, lack of digital promotion, and competition with other art forms. To revive its popularity, creative promotion, government support, and the use of technology to reach a wider audience are essential. Collaboration among artists is also crucial in preserving Tayub Dance in the modern era. The study recommends active involvement of the younger generation through social media platforms such as TikTok, YouTube, and Instagram to ensure Tari Tayub continues to grow and regain its popularity.
Creation of the Iqra Colossal Dance at the Opening Ceremony of the National MTQ in Banjarbaru City
This research aims to explain the creation process, the history of the colossal dance “Iqra” in Banjarbaru City, South Kalimantan, and the function when creating the colossal dance. The method used in this research is qualitative. These methods focus on the location of Banjarbaru from early March to mid-June. Primary data are from direct interviews with choreographers, dancers, and head of education services. The analysis results show that this dance has a historical background in religion that can increase faith in God Almighty and has functions that range from art to Islamic. The dance creation process starts from the exploration stage, namely the stage of searching for forms of various movements. The second is improvisation, the stage of practicing the various obtained movements. In addition, the next stage is composition, the entire series carried out by the choreographers in creating the dance work “Iqra”.
Presentation Forms of the Usung Bausung Dance by the Nuansa Seni Studio in Banjarmasin City
The Usung Bausung dance is a new traditional dance creation with a folk theme that depicts the life of the Banjar people when using the Bausung tradition in Banjar traditional weddings. The purpose of the study was to describe the form of presentation and factors that influence the form of presentation of the Usung Bausung dance. The study used the descriptive qualitative method. Data collection techniques were interviews, observation, and documentation. The data analysis stage used data reduction, data presentation, and conclusion. The results obtained from the form of presentation in the Usung Bausung dance include presentations on movements resulting from developing dance movements in Banjar and several meaningful movements such as Ba`akad and Bausung movements. The music used is in the form of Banjar gamelan music. The make-up used by female dancers is catik in Matahagi. The clothes used are a combination of Banjar dancer clothes with a folk theme and Banjar traditional wedding clothes. In addition, accessories used are yellow cloth, gepang horses, cupu, and scarves. The floor pattern is arranged creatively with vertical, circular, horizontal, and diagonal shapes. The lighting arrangement is more dominant in bright yellow mixed with white. The performance venue is in the form of a proscenium. Factors that influence the form of dance presentation are internal factors originating from the arrangers in influencing the form of presentation in the process of its creation. External factors are the habits of the Banjar community in carrying out the Bausung tradition at Banjar traditional weddings.
form, Usung Bausung dance, dance presentation factors
The Existence of Female Dancers in the Development of Dolalak Art in Purworejo Central Java
Dolalak is a traditional dance that appeared and developed in Purworejo, Central Java. In the beginning of its appearance, this dance was performed by men. In the 1970s, the government intervened to promote the art as a regional asset. Soepanto Regent's initiative, which encouraged women to be able to dance Dolalak, received positive support from society. Dolalak is considered more attractive and has greater marketing potential by women. So, 1970 became the first stage of Dolalak's rapid development. At the same time with the presence of Dolalak Putri or Female Dancer of Dolalak, the male Dolalak dancer began to be less desirable and even forgotten. This research will analyze the existence of female dancers in Dolalak art with a modern Sociology approach using the theory of Phenomenology from Peter L. Berger. This analysis is based on Berger's formulation of the interrelationship between objective social reality and subjective knowledge based on reality and social interaction in daily life. The existence of Ambarwati's case as a Dolalak preservationist figure with high popularity with her predicate as "Ratu Dolalak". Ambarwati's popularity as a Dolalak dancer is not only utilized on her body but also accompanied by experience and knowledge from art education that makes her role in the performance more interesting. This makes Ambarwati's presence idolized.
Analysis of the Results of the Application of Dance Technique Movements as a Strategy for Developing Student
This research aims to reveal the strategies used by SMP N 32 Bandarlampung in developing the talents of its students to face the FLS2N creative dance competition. This research is research that looks at and describes how SMP N 32 Bandarlampung as an educational unit develops its students' interests and talents in dancing to face the National Student Arts Festival and Competition (FLS2N) creative dance branch. To support the dance movement skills of students at SMPN 32 Bandarlampung, it is necessary to carry out physical exercise regularly and correctly before dance training takes place, so that the body can be optimally prepared to carry out dance activities. Strategies for developing student talent interests in aspects of practical facilities for talented students, selection systems for students and trainers, management systems, as well as aspects of time allocation given by schools to students for supporting extracurricular activities. This research used a qualitative method that emphasizes observing the research object paying more attention to the substance of the object being observed and targets class VII and VIII students at SMPN 32 Bandarlampung. Data sources include observations, interviews, and documentation related to dance and sports training. The data analysis techniques include data reduction, data presentation, and conclusion. The results obtained in this research were the discovery of constructive strategies developed by schools in developing their students to develop non-academic achievements, especially in facing the FLS2N creative dance competition.
Siwa Nata Raja: A Monumental Work From Aesthetic and Heritage Perspectives
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.
Dance Learning Model in the Education of the Independent Curriculum
Until 2024, at least four curricula have been used as a reference for implementing learning in schools. Currently, the curriculum used is the independent curriculum. This curriculum covers learning from early childhood to the tertiary level. All lessons at school are regulated in the independent curriculum, including dance. The word independence in the curriculum invites teachers and students to freely choose materials, learning models, methods, media, and evaluation techniques in implementing learning. It intersects with the educational dance learning model. This research looks at how dance learning in the independent curriculum is implemented with an educational dance perspective containing two main things, namely creative and expressive dance. This research used a qualitative descriptive method using observation, interview, and documentation data collection techniques. This research presents a description of dance learning at the high school level. The research results show that several schools in Lampung have implemented learning as stated in the independent curriculum before this curriculum existed in Indonesia. This research describes how this learning takes place.
Choreography of Turonggo Seto Tunggal Wulung Dance by Eko Wahyu Prihantoro
Turonggo Seto Tunggul Wulung dance choreography adapts the story of Prince Diponegoro's struggle against the invaders. The choreography of the Turonggo Seto Tunggul Wulung dance by Eko Wahyu Prihantoro is a creative dance. The research aims to explore the choreography in the Turonggo Seto Tunggul Wulung Dance and find the supporting factors for the choreography and the factors inhibiting the choreography. The research method used is a qualitative method with a choreographic approach. Data collection techniques were carried out using interviews, observation, and documentation. In addition, the data validity technique is carried out by source triangulation. Data analysis techniques use data reduction, data presentation, and conclusions. The research results of the Turonggo Seto Tungul Wulung Dance Choreography had the idea from the folklore of the people on the slopes of Mount Merapi and Merbabu which interpreted the spirit of cooperation and tenacity of the community and as a form of Prince Diponegoro's struggle against the invaders. Exploration and movement vocabulary are based on the spirit of the community and are reflected in Prince Diponegoro's horse riding skills. Work on music using original musical works for the Turonggo Seto Tungul Wulung dance choreography composed by Jungkung Darmoyo. The supporting factor lies in the management system and the choreographer's ability in the choreography process. The inhibiting factor lies in the dancer's ability, but the choreographer has a concept to anticipate the lack of the dancer's ability.
Dance Training Methods at Bangkit Sekar Budaya Cilacap Art Studio
Training is a teaching and learning activity that has the aim of improving a person's understanding, skills, and expertise in a particular field. This research aims to analyze the training methods applied and the factors that influence dance practice at Sanggar Bangkit Sekar Budaya (BSB). Training methods are closely related to training activities,therefore they are very important to use. This research uses descriptive qualitative methods. The research was conducted at Sanggar Bangkit Sekar Budaya Cilacap. The data collection techniques used were observation, interviews, and documentation. The data analysis techniques used are data reduction, presenting data, and drawing conclusions. The data validity techniques used are source triangulation and methodology triangulation. The results of this research show that several dance training methods are applied as follows, the methods used to convey theory are lectures, questions, and answers, while the methods used to improve skills in training are demonstrations, questions and answers, and drills. , assignments, peer tutoring, and outdoor study. Factors that influence dance training in studios consist of supporting factors, namely the instructor's family, parents, environment, students' physiological factors, desires, determination, talent, students' self-confidence, etc. Inhibiting factors include students not being serious, time conflicts, student fatigue, lack of discipline, progress not following the vision and mission, and location of the art studio.
Laskar Muda Organizational Management of Wayang Orang Ngesti Pandawa Performance in Semarang
Organizational management is formed to achieve common goals. Management is necessary in the artistic journey process. Laskar Muda is a forum for young people who are members of Ngesti Pandawa, the activities of Laskar Muda in Ngesti Pandawa are in the field of and become the wheels of Wayang Orang Ngesti Pandawa activities. The research aims to analyze how the Laskar Muda organization is managed and the obstacles that exist in the Ngesti Pandawa puppet show. The research method used is a qualitative method with a phenomenological approach. A phenomenological approach was used by researchers to observe phenomena related to the Management of the Young Warriors Organization in the Semarang Ngesti Pandawa Orang Puppet Performance. Data collection techniques use observation, interviews, and documentation techniques. Data validity techniques use data reduction, data presentation, and conclusions. The results of the research show that the management of the organization formed and supported by the Ngesti Pandawa leadership is mutually cooperative which can help the development of the wayang arts of the Ngesti Pandawa people. Work programs that support the pandemic era are still running even though conditions are difficult. Suggestions for the Laskar Muda organization are that organizational management is formed in a definite manner so that, in the process of managing mutual understanding, it is recommended that the Laskar Muda work program be more formatted in a regular period. Systematic management of the organization will run smoothly. The hope is that Laskar Muda will always be active in the Ngesti Pandawa organization.
Organizational management, Art Performance, wayang orang
The Creative Process of Creating The Badik Dance Film
This research discusses the creative process of creating a film work of Badik dance. It aims to describe the creative process of creating the Badik dance film created by the creator. The data presented is qualitative descriptive data about the creative process of creating Badik dance films, using data collection techniques such as observation, interviews, and documentation. The data sources in this research are primary data sources, namely Badik artists, and secondary data sources in the form of documentation of the creative process of creating works. To find out the creative process of creating the Badik dance film, the researcher carried out an analysis using Jacqueline Smith's choreography creation theory with 5 stages, namely Construction I, Construction II, Construction III, Construction IV, and Construction V. To find out the analysis of cinematographic creation, the researcher used the theory of cinematographic creation by Gerzon R. Ayawaila with 3 stages, namely, Pre-Production, Production, and Post-Production. Researchers calibrated the standards for creating choreography with cinematography and it was found that the creative process for creating Badik dance films went through 3 stages, namely Pre-Production which included Construction I and Construction II, Production which included Construction III, and Post-Production which included Construction IV and Construction V.
Creative Process, Creation, Dance Film Badik
Preservation of the Klana Udeng Mask Dance at the Mulya Bhakti Studio in Indramayu
The Klana Udeng Mask Dance is a dance created by the development of the Babangan mask in Indramayu. This dance is one of the materials taught by Sanggar Mulya Bhakti led by Wangi Indriya for beginner dancers, both teenagers and children. This research will examine conservation with three main questions, namely who is preserving, what is being preserved, and how conservation is carried out. To answer this problem, Raymond Williams' Sociology-Culture theory is used which consists of three main components, namely institutions, content, and effect. Institutions (cultural institutions) ask who is involved in preserving the culture. Content (cultural content) asks what is produced and what values ​​are expected, then effect (cultural norms) asks how preservation efforts are carried out. The research method used is a qualitative descriptive-analytical method, namely research whose aim is to describe and analyze the object being studied as it is, as well as provide systematic, factual, and accurate reasons regarding the facts of the object being studied so that it can be analyzed according to the circumstances. Cultural institutions are the Mulya Bhakti studio, the community, and the government. Cultural content produces tangible and intangible values, and cultural norms produce a cultural identity that is characteristic of the Klana Udeng Dance and other mask performances.
Preservation, Klana Udeng Mask Dance, Mulya Bhakti Art Studio.
The Pros and Cons of Lengger Lanang in Banyumas Society
This research examines the pros and cons and the existence of Lengger Lanang dance in Banyumas society today. Lengger Lanang is a traditional dance in which male dancers dress as women, which has its roots in the Dutch colonial period. Using descriptive-analytical qualitative method with snowball sampling technique, this research conducted interviews with dance studio owners and lengger house managers. The results showed that there are pro and contra views towards Lengger Lanang in the community. The pros see it as a cultural heritage that should be preserved, while the cons are concerned about the moral and religious aspects. This controversy impacts the existence of Lengger Lanang, with a decline in preservation and training efforts. To address the controversy, strategies such as providing understanding to young dancers and efforts to embrace dancers experiencing gender identity change are proposed. This research reveals the complexity of gender and sexuality issues in the context of traditional arts, as well as the tension between cultural preservation and changing social values. Despite the challenges, there are still efforts to preserve and adapt these dances to remain relevant in contemporary society.
Instilling the Value of Cooperation in Dance Arts Learning for Deaf Students at SLB Negeri 1 Demak
Dance learning at SLB Negeri 1 Demak for deaf students uses learning materials determined by the teacher according to the student’s abilities. The dancers, children with special needs (ABK) or hearing impairments, are very different from normal children in general, such as in adjusting the tempo and the intensity of energy in dancing. Cooperation in dance learning is necessary to create a unified and beautiful dance. This research aims to analyze the cultivation of collaboration in dance learning for deaf students at SLB Negeri 1 Demak. This research used qualitative methods with data collection techniques, namely interviews, observation, and documentation. It used source triangulation and technical triangulation to validate data. In addition, data analysis includes data collection, data reduction, data presentation, and conclusions. The results show that dance learning for deaf students at SLB Negeri 1 Demak is conducted in three stages. The first stage is pre-learning activities by students and teachers through prayer and attendance. The second stage is core activities carried out by delivering learning materials using teaching materials and learning methods that support learning. The third stage is closing activities with questions and answers from students and teachers regarding the material and prayer. The cultivation of cooperation in dance learning was shown in the attitudes of students and teachers in collaboration, caring, and sharing.
Learning Curriculum for Dance at Sayu Wiwit Art Studio in Banyuwangi
The curriculum is a guideline for implementing learning in the world of education, both formal and non-formal education. Non-formal education has an important role as a complement to formal education. It’s for supporting, strengthening, and developing the learning process, especially in empowering the skills practice of children or students at the institution. An example of non-formal education is a training institution which in the arts field can be called an art studio. Moreover, Banyuwangi is known for its diverse cultures and preservation of traditional arts, one of which is through optimizing art studios, which in this research analyzes the Sayu Wiwit art studio. This research aims to describe and analyze more deeply the planning and implementation of the dance learning curriculum at the Sayu Wiwit art studio. The methods used in collecting data are observation, interviews, and documentation. Analyze the data by reducing, presenting the data, and drawing conclusions. The results of the research show that the dance learning curriculum at the Sayu Wiwit art studio is complex, from the planning to implementation stages. At the planning stage, there are objectives, curriculum content, learning activities, learning resources, and learning evaluation. As for the implementation stage, it is also complete, starting from various types of learning methods, arranging training schedules, management, various studio activity programs, and communication with student parents, to complete facilities and infrastructure owned by the Sayu Wiwit Banyuwangi art studio