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
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
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.
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.
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
The Inheritance Pattern of Geculan Bocah Dance in Tanon Hamlet, Ngrawan Village, Getasan Sub-District, Semarang Regency
The people of Tanon Hamlet have developed folk arts, one of which is the Geculan Bocah Dance. Geculan Bocah dance is a manifestation of a children's game. This dance is developed and maintained through a process of inheritance. Inheritance pattern is an activity that has the purpose of maintaining and developing an art object from time to time to keep it alive in the development of the times. The purpose of the study is to describe the inheritance pattern and performance form of the Geculan Bocah dance in Tanon Hamlet. The method used in the research is a descriptive qualitative method, using sociology and ethnocoreology approaches. Data collection used observation, interview, and documentation techniques. Data analysis was conducted using data collection techniques, data reduction, data presentation, and conclusion. The data validity test used triangulation techniques. The results show that the inheritance pattern of Geculan Bocah dance in Tanon Hamlet adheres to three inheritance pattern systems namely "vertical transmission", "diagonal transmission" and "horizontal transmission". The presentation form of the Geculan Bocah dance has three presentation sequences, consisting of the beginning, middle, and end. There are two-floor patterns, namely straight lines and curved lines. The accompaniment used is bonang barung, demung, saron, kendang, bende, gong, and jedor with witty vocals. The makeup used is witty character makeup and uses warok ponorogo costumes consisting of headbands, vests, pants, jarik, and lilit belts.
Dance presentation, the pattern of inheritance, the Geculan Dance
Form of Urban Dance in Bandar Buyut Village Gunung Sugih District Central Lampung Regency
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.
Charisma Production Dance Studio Management
The purpose of this writing is to understand the management of the Charisma Production Studio as a studio that only operates and focuses on the entertainment/business sector. The research method used is a descriptive qualitative research method. In this research, the main data source is qualitative research, and collection techniques using observation, interviews, and documentation. Data analysis by data reduction, data presentation, and conclusion. The results of this research are the background of the Charisma Production Studio. This studio was established in 2003, was founded and chaired by Mr. Haris, is located in Surabaya, and has high popularity. The management function at the Charisma Studio is to regulate the running of all aspects of the Charisma Studio's organizational lines and marketing methods at the Charisma Production Studio. Conclusion The marketing system of the Charisma Studio, which is a studio following the business sector, keeps up with the times, maintains quality and quantity, is selective in choosing dancers, and does not escape the already highly-experienced Charisma Studio, these aspects create its branding. Charisma Studio, because this is what makes Charisma Studio considered a good and quality studio among studios in general
Preserving Bun Ya Ho Dance: A Bun Ya Ho Dance Procession Analysis in the Apitan Tradition in Kudus
Bun Ya Ho dance is a colossal dance brought by KH Abdul Jalil Tamyiz around the 1950s from Bumiayu, Brebes Regency. He responded to the condition of the Megawon community. At that time, many hobbies were contrary to religious law. The revitalization of Bun Ya Ho dance is based on the need for a typical Megawon art form to be performed on religious holidays, one of which is the Apitan tradition. The following note will explore more deeply the meaning and cultural values of the Bun Ya Ho dance procession in the Apitan (alms of earth) tradition in Megawon, Kudus Regency, the dynamics and challenges faced by dancers in the Bun Ya Ho dance procession, and the role of the younger generation of Megawon in preserving Bun Ya Ho dance. The research method carried out by researchers is literature. Results of this study explain that first, the meaning of Bun Ya Ho dance movements, namely: tayub (drunkenness) movement, war movement, and standing movement on a jug. Then, the cultural values in Bun Ya Ho dance are social value, aesthetic value, and educational value. Second, the dynamics of Bun Ya Ho dance, namely the dynamics of the Bun Ya Ho dance performers, the dynamics of the number of Bun Ya Ho dance personnel, and the dynamics of Bun Ya Ho Dance costumes. Third, the role of Megawon's young generation in preserving Bun Ya Ho Dance, namely paying attention and studying Bun Ya Ho dance, disseminating Bun Ya Ho dance information through social media, and participating in Apitan events actively.
The Influence of Digital Media Usage on Students' Creativity Skills in Creative Dance Arts Through Extracurricular Arts
This research is motivated by the limitations in the dance learning process during the COVID-19 pandemic, extracurricular activities became inactive and constrained the practice of dance in cultural arts and crafts learning itself. The purpose of this study is to determine the effect of using digital media on the creativity of student creation dance at SDN Sudimara 7. The use of digital media in this study is in the form of TikTok. The research method used is a quantitative experimental one-group pretest-posttest design with data analysis techniques using an independent T-test. Sampling itself is done by purposive sampling. The subjects in this study amounted to 24 students with criteria, namely 6th-grade students of SDN Sudimara 7 who participated in dance extracurricular activities, had smartphones, and used the TikTok application. The results of data analysis found that the average score of digital media pretests in the experimental class was 63.54 with an average score of digital media posttests in the experimental class of 75.42. Meanwhile, the pretest average score obtained by the creative dance creativity variable was 65.21 with a posttest average score of 80.83. The results of the t-test calculation obtained a score of 3.787 greater than the table, namely 2.064 with a significant level of 0.000 <0.05, which means that the results of this study are that there is a difference between before and after treatment. Thus, it can be concluded that there is an influence in the use of digital media on students' creativity abilities through extracurricular dance.
The Prajuritan Dance Preservation of the Wahyu Kridha Budaya Association in Sumogawe Village, Getasan Sub-District, Semarang Regency
Prajuritan Dance of Wahyu Kridha Budaya Society is still active for three generations. The first generation is Mr. Noto Kayitno, the second generation is Mr. Srikoyo, and the third generation is Mr. Sumadi. Objectives, 1) to study the preservation of Prajuritan dance using aspects of protection, development, and utilization. 2) to describe the supporting and inhibiting factors of Prajuritan dance preservation of the Wahyu Kridha Budaya Association. The research used qualitative methods of emic and etic approaches. The research location is in Sumogawe Village, Getasan Sub-District. Data collection techniques include observation, interviews, and documentation. Data validity is in the form of source triangulation, technique triangulation, and time triangulation. The results showed, that 1) Preservation is carried out using three aspects in the form of protection from the village government, hamlet heads, associations, and the community. Development in terms of quality with the development of a variety of horse war movements, tidier makeup, and renewal of costumes, property, and musical instruments. Utilization is in the form of Prajuritan dance performances as entertainment and unification of the Magersari Hamlet community. 2) Supporting factors for the preservation of Prajuritan dance in the form of a sense of enthusiasm of members, financial assistance from the village government, and enthusiasm of the community in appreciation. The inhibiting factors are a vacuum during COVID-19, limited funds, and no social media to disseminate Prajuritan dance.
Preservation, Prajuritan Dance, Folk Dance, Wahyu Kridha Budaya Association