Jurnal Online Program Studi S-1 Pendidikan Seni Drama, Tari Dan Musik - Fakultas Bahasa dan Seni UNESA
Prodi S1 Pendidikan Sendratasik FBS Unesa
Baladewa Baladewa Studio in the Virtual Era: The Dynamics of Traditional Art Preservation in Digital Space
Abstract: This study aims to examine in depth the dynamics of the activities of Sanggar Baladewa, a traditional art studio located in the city of Surabaya and focuses on the training and preservation of puppet and karawitan arts. This studio is a representation of efforts to preserve Javanese culture in the midst of a growing urban society. The COVID-19 pandemic situation that has hit since early 2020 has forced significant changes in the pattern of artistic activities, including activities carried out by Sanggar Baladewa. The transition to virtual space is a challenge as well as an opportunity that must be faced by a traditional art community like this. This research uses a library research method with a descriptive qualitative approach, which allows the exploration of data from various sources such as scientific journals, books, online articles, and documentation of studio activities. The focus of the analysis is directed at the adaptation strategies carried out by the studio in maintaining the existence of traditional art in the digital era. The results of the study show that although art activities can be transferred to an online format, this process is inseparable from a number of obstacles, including limited technological devices, uneven internet network access, and a decrease in the quality of artistic interaction between performers and audiences. However, Sanggar Baladewa continues to show high initiative and resilience in maintaining cultural practices through virtual performances. The use of social media and online video platforms such as YouTube is an alternative solution in delivering performances to the public. This adaptation is not only an effort to survive, but also opens up new possibilities in the spread of traditional arts to a wider society, including the younger generation who are more attached to digital technology. Thus, this study highlights the importance of strengthening the digital capacity of the traditional arts community and the need for synergy between art actors, educational institutions, and policy makers to support the sustainability of cultural heritage in the era of digital transformation. Keywords: Studio, Virtual, Pandemic, Traditional Arts, Karawitan, Cultural Adaptation
Copyright (c) 2025 anugrah putra, Dr. Arif Hidajad, S.Pd., M.Pd http://creativecommons.org/licenses/by/4.0
Tradisional Dance Training And Performance At The Indonesian Embassy Manila Through Joyful Learning Strategy
This study describes the application of Joyfull Learning strategies in the traditional dance training program at the Embassy of the Republic of Indonesia (KBRI) Manila, Philippines, through the Surabaya State University internship program. The research used descriptive qualitative method with training technique in the form of direct demonstration. The trainees were adult Indonesian women who were taught materials such as Lenggang Surabaya, Githek Balen, and Saman. The results showed that the Joyfull Learning strategy was able to increase trainees' engagement and motivation. This strategy helps participants learn effectively through and increase participation. The program successfully resulted in dance performances in various Indonesian diplomatic events, while strengthening cultural preservation and diplomacy.
Copyright (c) 2025 May Mey Monica, Retnayu Prasetyanti http://creativecommons.org/licenses/by/4.0
The THE FUNCTION OF MUSIC AS A MEDIA OF DAWAR IN GAMBUS MISRI PERFORMANCES
Gambus Misri is an Islamic art form originating from the Jombang region. Gambus Misri originates from a genre of gambus music that historically originated in the Middle East. Over time, gambus music entered the Indonesian archipelago and became a distinctive form of Malay music, giving rise to classical Malay gambus music that became the forerunner of music in Gambus Misri performances. Gambus Misri music is not only an accompaniment to a performance, but also contains values. The values contained in Gambus Misri music convey a message about Islamic teachings that originated from an Islamic culture that developed in Islamic boarding schools in the Tebuireng area in the 1960s. The messages contained have deep meaning in Islamic teachings, which is a primary function of music, which aims to serve as a medium of da'wah in spreading Islam in society. Gambus Misri music has an important function in community culture. Music is not only a complement, but an inseparable part of the entire form of the performance. Through its integrated structure and function, Gambus Misri music asserts itself as a living, meaningful cultural heritage worthy of continued preservation.
Copyright (c) 2025 Rizki Firmansyah, Arif Hidajad http://creativecommons.org/licenses/by/4.0
LEARNING DANCE ART THROUGH A CULTURALLY RESPONSIVE TEACHING APPROACH FOR GRADE 3 IN SDS ST. MARY ELEMENTARY SCHOOL
This study aims to describe the implementation of Culturally Responsive Teaching (CRT)-based dance learning for third-grade students at SDS St. Mary Surabaya, a National Plus curriculum-based school with a majority of students from Chinese-Indonesian backgrounds. The problem formulation in this study is how the CRT approach is applied in dance learning and how the results of student engagement in the learning process through this approach. The research method used is a descriptive qualitative approach with data collection techniques through observation, in-depth interviews with teachers, principals, students, and parents, as well as documentation of learning activities. This research is also accompanied by coordination with external institutions such as the Department of Culture and local art studios to enrich the authenticity of the teaching materials. The results show that dance learning that refers to the six syntaxes of CRT: building cultural identity, creating inclusive classes, using culture as a learning resource, balancing academic and cultural skills, building critical awareness, and using authentic assessment, successfully increases student motivation and participation. Evaluation is carried out formatively and summatively, showing that students are not only able to perform dance movements well, but also understand the cultural values contained therein. Furthermore, there was a positive change in students' attitudes toward local culture, marked by an increased sense of pride and belonging in East Javanese culture. This study concludes that implementing the CRT approach in a multicultural school context can create meaningful, inclusive learning experiences and strengthen students' cultural identities within a National Plus-based educational framework.
Copyright (c) 2025 NATASHA JULIAN PERMATASARI, Eni Wahyuni Handayani http://creativecommons.org/licenses/by/4.0
Choreography Exploration of Sekar Lodra Dance: Concept, Process, and Presentation Form
This study aims to explore the choreography of the Sekar Lodra dance developed at SMAN 8 Malang, focusing on its concept, creation process, and presentation form in the 2017 Student Art Creation Week (Pekan Cipta Seni Pelajar). The research employs a qualitative descriptive method with data collection techniques including observation, interviews, and documentation. The results show that the concept of this dance was inspired by the values of discipline, resilience, and grace, reflecting the character of the students at SMAN 8 Malang. The choreography creation process was carried out collaboratively between art teachers and students through stages of movement exploration, improvisation, and composition. The presentation of the Sekar Lodra dance during the 2017 Student Art Creation Week adopted a dramatic structure with a dynamic storyline, symbolic costume and makeup, and spatial arrangements that highlighted unity and the spirit of togetherness. This research is expected to contribute by helping audiences learn about local folklore or legends from the Malang area and appreciate the uniqueness of local artistic traditions.
Copyright (c) 2025 Andri Muhammad Rehan, Jajuk Dwi Sasanadjati http://creativecommons.org/licenses/by/4.0
Revealing the Character of Gunungsari in the Tyasing Utomo Script in Wayang Topeng Jatiduwur
This research discusses the character of Gunungsari through the analysis of the Tyasing Utomo script in Wayang Topeng Jatiduwur (Jatiduwur Mask Puppet). This is motivated by the lack of understanding of Jatiduwur artists towards the character of Jatiduwur Mask Puppet. The problem of this research is how the character of Gunungsari if analyzed through the Tyasing Utomo script. The purpose of this research is to describe the character of Gunungsari through the Tyasing Utomo script. This research uses qualitative methods with data collection techniques in the form of interviews, observations, and documentation in the form of literature, videos, photos, and audio recordings. The results showed that Gunungsari has characters such as assertive, responsible, loyal, self-respecting, firm, brave, and unyielding. Gunungsari is described as having an ideal body portion with a dashing, agile, and handsome physique. Gunungsari in Tyasing Utomo has an important role in the unification of Panji Asmarabangun and Dewi Sekartaji.
Copyright (c) 2025 Rachmalia Ayu Agustine Pratiwi, Welly Suryandoko http://creativecommons.org/licenses/by/4.0
The JARANAN TURONGGO YAKSO DONGKO DISTRICT TRENGGALEK DISTRICT IN AN ETHNOGRAPHIC APPROACH
Jaranan Turonngo Yakso is an art form originating from Trenggalek Regency in 1976 and created by Mr. Pamrihanto. This study focuses on understanding the art of Turonggo Yakso which is influenced by several daily behaviors in the lives of the people surrounding the art. This study is a qualitative descriptive study with research data in the form of sentences containing the ethnography of Turonggo Yakso. The purpose of this study is to describe Jaranan Turonggo Yakso in an ethnographic approach. Data in this study were collected using observation, interview, and documentation methods. Research data were analyzed using data reduction and data presentation. Based on the data analysis, it was found that Jaranan Turonggo Yakso is one of the series in the culture of the Baritan traditional ritual community (bubar ngarit tanduran) in Dongko District, Trenggalek Regency. The Jaranan Turonggo Yakso dance visualizes the activities and ethnicities of the people of Trenggalek Regency who work as farmers, so that the composition of various movements is the activity of farmers going to the rice fields then experiencing problems until returning home. The local values inherent in and inseparable from the cultural traditions of the Dongko District community in Trenggalek Regency. The selection of materials, motifs, and clothing styles incorporates local values found in Dongko District, Trenggalek Regency. The musical accompaniment also includes a special instrument, the kereg, made from bamboo, which produces the "kreg krog kreg" sound. Keywords: Baritan, Turonggo Yakso, Ethnography
Copyright (c) 2025 Rhesa Jaya, Bambang Sugito http://creativecommons.org/licenses/by/4.0
"NGGADUNG" VISUALIZATION OF THE DEDICATION OF THE NGAGLIK COMMUNITY THROUGH DRAMATIC DANCE IN THE PROCESSING OF GADUNG TUBERS
The dance work "Nggadung" was inspired by the dedication of the people of Ngaglik Hamlet, Kediri, in processing gadung tubers into chips. Gadung tubers, which contain natural toxins, require special skills and careful processing stages to be safe to consume. Through the choreographer's empirical experience and direct observation of the processing process, this work presents a visualization of cultural values in the form of precision, hard work, and mutual cooperation of the Ngaglik community in the form of dramatic dance. The process of creating works uses Jacqueline Smith's construction method approach I I, with stages of exploration, improvisation, evaluation, and the formation of motion motifs that describe the process of "nggadung" in a representative-symbolic manner. This work involves 7 dancers with the use of distinctive properties, natural makeup, and clothing in shades of gray and white as a symbol of the gadung processing process. The results show that the transformation of the process of processing gadung tubers into a form of performing art is able to become an educational and reflective medium for local wisdom. In conclusion, the "Nggadung" dance not only displays aesthetic beauty, but also functions as an effort to preserve culture and strengthen community identity through visualization of the value of dedication in daily life practices.
Copyright (c) 2025 OBY AMADENTA, Jajuk Dwi Sasanadjati http://creativecommons.org/licenses/by/4.0
Choreography of Pelangi Surabaya Dance by Pujianti Catur Siwi
Pelangi Surabaya dance is a dance work created by Pujianti Catur Siwi in 2018 at the Surabaya City Dance Creation Festival. The beauty of the Dancing Fountain tourist attraction became the symbolic inspiration behind the creation of this dance. Pelangi Surabaya dance is composed of supporting elements such as movement, dance music, makeup, costume design, and properties. This study aims to describe the choreography of Pelangi Surabaya dance. The problem is analyzed using choreography and representation theory approaches, employing qualitative research methods. The selected object is the choreography, with data collection techniques including observation, interviews, documentation, and data analysis through the stages of reduction, data presentation, and data validity using source, technique, and time triangulation. The research results indicate that in the choreographic structure of Pelangi Surabaya dance, in addition to meeting the aesthetic requirements and artistic principles, the choreographer must also consider dance elements such as theme, title, movement, makeup, costume, and accompaniment.
Copyright (c) 2025 Naila Sabrina Syah, Retnayu Prasetyanti Sekti http://creativecommons.org/licenses/by/4.0
Bajidor Kahot Dance in the Embassy Got Talent Competition as a Representation of Indonesian Cultural Identity in International Internship Program
Abstract: The phenomenon of the International Internship Program at the Indonesian Embassy in Manila is an interesting subject for research, particularly in terms of the implementation of training and traditional dance performances. The focus of attention is on the involvement of students as trainers and dancers, as well as the role of the Bajidor Kahot dance in strengthening the cultural identity of Indonesian citizens residing in the vicinity of the Indonesian Embassy in Manila. The purpose of this paper is to describe the training process and presentation of the Bajidor Kahot dance in the Embassy Got Talent competition and other artistic activities during the program. This research uses a qualitative descriptive approach with a field study method based on experience. The Embassy Got Talent training process was conducted over 11 days and included training strategies such as demonstrations, drills, evaluations, and self-learning. The Bajidor Kahot dance performance was presented by three interns, featuring varied floor patterns and emphasizing strong dance elements. The performance received positive feedback from the competition judges, particularly regarding unity, costumes, and movement composition. In addition to the competition, training activities were also provided to members of the Dharma Wanita Persatuan, the Indonesian diaspora, and staff of the Indonesian Embassy in Manila. Through workshops, performances, and the use of traditional music and attire, the Bajidor Kahot dance serves as a means to strengthen the cultural identity of Indonesian citizens residing in the KBRI Manila environment. This study indicates that traditional dance training and performances during the internship program contribute to cultural preservation, emotional connection of Indonesian citizens with national culture abroad, and strengthening the representation of Indonesian cultural identity in an international context. Keyword: Bajidor Kahot Dance, Embassy Got Talent, Cultural Identity, Internship Program
Copyright (c) 2025 Deajeng Ramadin, Retnayu Prasetyanti Sekti http://creativecommons.org/licenses/by/4.0
DAILY CRACKERS DANCE : SYMBOL OF CRACKER WRAPPING ACTIVITY
Karya tari Daily Crackers merupakan sebuah karya yang terinspirasi dari Toto sebagai pedagang kerupuk yang sedang melakukan aktivitas keseharian, yaitu membungkus kerupuk. Daily Crackers menggunakan pendekatan properti secara visual seperti plastik 15 meter, plastik bening, kaleng kerupuk dan tali rafia yang didukung dengan musik nuansa keseharian membungkus kerupuk dengan mengkolaborasikan alat musik dari kaleng bekas dan plastik besar serta musik digital langsung diatas panggung. Tujuan terciptanya karya “Daily Crackers” yaitu untuk mengkomunikasikan ide gagasan atau konsep dari bentuk aktivitas bungkus kerupuk yang dikerjakan Toto setiap harinya. Dalam karya ini, koreografer menggunakan metode konstruksi 1 Jacquellin Smith yang telah diterjemahkan oleh Ben Suharto sebagai sebagai langkah-langkah untuk mengkonstruksi sebuah tarian yang terdiri dari rangsang awal, menentukan tipe tari, menentukan metode penyajian, eksplorasi, improvisasi, analisis dan evaluasi, serta finishing. Koreografer mengeksplor gerakan keseharian membungkus kerupuk yang distilisasi dengan ketubuhan atau latar belakang koreografer.
Copyright (c) 2025 Nia Anggraini, Setyo Yanuartuti http://creativecommons.org/licenses/by/4.0
Social Construction Of Jaran Jenggo “Aswo Kaloko Joyo” In Solokuro Village
Jaran Jenggo is a traditional art form that originated in Lamongan Regency, specifically in the Solokuro region. During circumcision ceremonies, this art form takes the form of a procession in which the bride, who has undergone circumcision, rides a horse controlled by a handler and accompanied by various attractions. This tradition began in 1907 and continues to this day. This study aims to describe how the Jaran Jenggo community shapes and maintains its cultural identity through language, symbols, and social interactions. The study employs a descriptive qualitative method, using data collection techniques such as direct observation, in-depth interviews, and documentation. According to Berger and Luckman's social construction theory, there are three stages: externalization, objectification, and internalization. This study aims to describe the social construction of Jaran Jenggo art. According to the research findings, the externalization of Jaran Jenggo art originated from the tradition of using horses during the missionary activities of Sunan Drajat and Sunan Sendang Duwur. This tradition was then inherited and developed into a unique performance art in Lamongan. Jaran Jenggo's objectification is reflected in the symbolic, spiritual, and local cultural identity values inherent in its movements, costumes, and language. Internalization occurs through primary and secondary socialization, which involves individuals from an early age and integrates them into the wider community. This ensures that the art form is preserved and accepted as an integral part of the Lamongan community's social life.
Copyright (c) 2025 alvina yudistira, welly suryandoko http://creativecommons.org/licenses/by/4.0
Piano Learning Techniques by Agra Dipoardhi for ADHD and Autism Children at Gita Nada Music Course
: This research examines Agra Dipoardhi's piano learning technique for children with ADHD and Autism at Gita Nada Music Course. The background is the lack of studies on effective methods for these children, despite the potential for music to improve their quality of life. These children face challenges with fine motor skills, concentration, and abstract comprehension in music. The purpose of this study was to identify Agra Dipoardhi's specific techniques, analyze their impact on piano playing ability, and her strategies to overcome learning barriers. Using a descriptive case study qualitative approach, data was collected through interviews, observations, and documentation, then analyzed by reduction, presentation, and conclusion drawing, and validated by triangulation. The results show that Agra Dipoardhi applies very specific and adaptive techniques. For ADHD students, strategies such as varied short sessions, multisensory approaches, and visual aids improve focus, self-control, and perseverance. For students with autism, an emphasis on clear structure, predictability, pattern recognition, and visual communication builds resilience and confidence. Patience, flexibility, individualization and parental collaboration are key. The application of these techniques had a significant positive impact on the piano playing ability, attitude, and musical understanding of children with special needs. This research is expected to inspire an inclusive music curriculum.
Copyright (c) 2025 Claudia Revlin Ayu Harfianti, Tomy Agung Sugito http://creativecommons.org/licenses/by/4.0
Body of Evolution: Visualization of Bodily Characteristics in the Dramatic Dance
Body of Evolution is a choreographic exploration that visualizes human bodily characteristics through a dramatic approach, grounded in the structure of scene divisions within the traditional Jaranan performance from Trenggalek. This work is based on the idea that the evolution of the human body across different stages of life childhood, adolescence, and adulthood, closely aligns with the three core scenes in Jaranan: kiprah, budalan, and perangan. The choreographer interprets these scenes as representations of physical and psychological development. The kiprah scene symbolizes childhood through playful and exploratory movement; budalan reflects adolescence with its curiosity and search for identity; and perangan illustrates adulthood, marked by emotional control and a sense of responsibility. Using a dramatic structure, this piece emphasizes expression, emotion, and bodily language in each scene transition to deliver a strong aesthetic experience for the audience. The primary aim of this creation is to reinforce corporeal language in contemporary performance art based on tradition, while also offering a creative innovation that repositions the existence of Jaranan in today’s modern and entertainment-driven era. Through this work, the choreographer encourages communities and artists to explore local cultural assets in a creative and contextual manner so that traditional arts continue to live and evolve.
Copyright (c) 2025 Ari Chandra Pamungkas, Jajuk Dwi Sasanadjati http://creativecommons.org/licenses/by/4.0
LEARNING THE KEMBHANG RADDIN DANCE IN EXTRACURRICULAR ACTIVITTES OF SMP 2 TENGGARANG BONDOWOSO REGENCY
This study aims to describe the learning process and method of Kembhang Raddin Dance in extracurricular activities at SMPN 2 Tenggarang, Bondowoso Regency. The Kembhang Raddin Dance is a regional creation dance created by the Bondowoso Regency Cultural Arts MGMP which is full of cultural values and aesthetic expressions. This study uses a descriptive qualitative approach with data collection techniques in the form of observation, interviews, and documentation. The research subjects consisted of dance coaches and 25 students participating in extracurricular activities. The results of the study show that the learning process takes place in three stages, namely dance introduction, technique training, and evaluation. The learning methods used include demonstration methods and drill methods. The demonstration method is effective for building visual understanding of movement, while the drill method strengthens motor skills through repetitive exercise. These two methods are able to improve mastery of dance techniques, build student confidence, and foster discipline and cooperation. In addition, these activities contribute to the preservation of local culture through art education in schools. Thus, the application of the right learning methods can support the achievement of dance learning goals optimally in extracurricular activities.
Copyright (c) 2025 maharani puspita kasih, Welly Suryandoko http://creativecommons.org/licenses/by/4.0
Management of Traditional Dance Preservation at the Indria Tatari Studio, Trenggalek Regency
The preservation of traditional dance is an important part of maintaining the nation's cultural identity in the midst of modernization. This study aims to analyze preservation efforts, teaching methods, and the role of education in maintaining traditional dance techniques and cultural values among students; identify the presentation of traditional dance movements; and describes the process of creating dance works in a contextual and creative manner at the Indria Tatari Studio, Trenggalek. This research uses a qualitative approach with participatory observation techniques, in-depth interviews, and documentation. The results of the study show that the studio implements gradual learning based on local cultural values, adjustments to dance movements to facilitate students' understanding without losing philosophical meaning, and the creation of new works such as the Trenggalek Kinasih Dance as a form of traditional cultural actualization. The Tatari Indria Studio has succeeded in forming an adaptive, innovative, and sustainable dance preservation ecosystem through non-formal education.
Copyright (c) 2025 Salma Aula Ni'am, Warih Handayaningrum http://creativecommons.org/licenses/by/4.0
BELIBIS POTÈ ROSI’S AS A DHÂLÂNG MASK DANCE OF THE RUKUN PEWARAS IN SUMENEP
Abstract Rosi is the name of a young man in Sumenep Regency who is engaged in the profession of dancer in the performing art of topèng dhâlâng. As a dancer of the topèng dhâlâng performance, he is able to play various character characters ranging from princess characters, subtle sons, to dashing male characters. Her expertise in portraying all the characters was able to lead her to become a famous topèng dhâlâng dancer and many fans. This study aims to describe Rosi's professionalism as a topèng dhâlâng dancer in the Rukun Pewaras community in Sumenep Regency. The research method uses a qualitative approach with data collection techniques through observation, interviews, and literature studies, and documentation studies. The results of the study show that Rosi in pioneering the profession as a topèng dhâlâng dancer began when Rosi was studying in 2012. With the support of her family, her enthusiasm, her great interest and interest in the performance of topèng dhâlâng made her more steady and diligent in practicing as a dancer in the Topèng Dhâlâng Rukun Pewaras community. Rosi's professionalism as a topèng dhâlâng dancer is shown through the ability to bring various characters, be it the role of a princess, a subtle son character, and a dashing son character overnight. For Rosi, becoming a topèng dhâlâng dancer is a life calling, has a strong dance style, and always maintains the professional code of ethics. As a dance artist, Rosi is also known in the world of Tayub Madura performing arts through her distinctive dance style influenced by the technique and movement pattern of the topèng dhâlâng dance. Through Rosi's profession as a topèng dhâlâng dancer, she can strengthen the existence of the Topèng Dhâlâng Rukun Pewaras community in Sumenep Regency.
Copyright (c) 2025 Eva Ristiana Ristiana, Eko Wahyuni Rahayu http://creativecommons.org/licenses/by/4.0
ndhuh-Undhuh Tradition from the Perspective of Historical Traces of Inculturation of Javanese Culture and Art to Christianity
The Undhuh-Undhuh tradition is an annual celebration carried out by Christians more precisely at the Jawi Wetan Christian Church (GKJW) in the village of Mojowarno Jombang. The tradition symbolises the community's gratitude to God for the crops in the form of fruits, vegetables, animal husbandry, and others. The celebration existed and developed into a tradition in 1930 and in 2025 this tradition is 95 years old. However, in reality the Undhuh-undhuh tradition is still not widely known, especially outside the Jombang Regency area. This research not only aims to document and analyse in depth how this tradition is carried out but also to introduce and promote the Undhuh-undhuh tradition to the wider community especially outside Jombang Regency. The problem will be formulated as follows: 1) What is the background of the Undhuh-undhuh tradition. The purpose of this research is to analyse the background and structure of the Undhuh-undhuh tradition at Jawi Wetan Christian Church Mojowarno. This research uses descriptive qualitative research methods. Sources of data obtained in the form of writing from the results of interviews and observations. Data collection techniques are: observation, interviews, photos, videos, and audio recordings. Data analysis techniques through data reduction, data presentation, and conclusion drawing. Data validity using source triangulation and technique triangulation. The results of the research on the background of the Undhuh-undhuh tradition at GKJW Mojowarno are rooted in the life of an agrarian Christian society, where most of its members work as farmers, a form of acculturation between the Javanese harvest tradition and Christian teachings that reflect the integration of local culture and Christian spirituality in the life of the GKJW Mojowarno congregation.
Copyright (c) 2025 christmasela yuni haryati, Welly Suryandoko http://creativecommons.org/licenses/by/4.0
ication of Management Function in Training at the Sanggar Dapur Seni Probo Wengker in Ponorogo Regency
This study aims to describe training management at Sanggar Dapur Seni Probo Wengker Ponorogo. This study uses a descriptive qualitative approach with data collection techniques in the form of observation, interviews, and documentation. The results of the study indicate that training management at this studio encompasses four main functions: planning, organizing, directing, and controlling. During the planning phase, the studio develops a training schedule for instructional materials and divides classes based on students' age levels and abilities. In the organizing stage, the studio establishes an organizational structure, arranges facilities, develops training materials, and assigns tasks to trainers according to their respective classes. The motivating stage includes motivating participants, coordinating between trainers and participants, and encouraging enthusiasm among students to participate in the training. Meanwhile, monitoring is conducted through administrative and financial evaluations, training implementation evaluations, and evaluations of facilities and infrastructure. Training evaluations are conducted periodically, including through UKKM (Competency Achievement Assessment) activities. These findings indicate that the management of dance training at the Dapur Seni Probo Wengker Studio has been implemented systematically and effectively in accordance with management principles, thereby supporting the optimal development of students' artistic potential.
Copyright (c) 2025 Debriena Ones, Arif Hidajad http://creativecommons.org/licenses/by/4.0
EMBELAJARAN EKSTRAKULIKULER KERONCONG DI SMP KATOLIK SANTA MARIA KEDIRI MELALUI LAGU “Kr. TANAH AIRKU”
Penelitian ini mengungkapkan metode pembelajaran ekstrakulikuler keroncong di SMP Katolik Santa Maria Kediri, dengan fokus pada lagu “Kr. Tanah Airku”. Tujuan dari penelitian ini adalah untul mendalami pendelatan pembelajaran, respons siswa, dan dampak positif yang dihasilkan melalui program ini. Dalam pengembangan ekstrakulikuler keroncong, sekolah menerapkan metode pembelajaran yang mencakup pengenalan alat musik keroncong, pembelajaran teknik dasar, dan interpretasi mendalam terhadap lagu “Kr. Tanah Airku”. Penelitian ini mencakup pendekatan khusus dalam mengajarkan lagu tersebut termasuk latar belakang sejarah dan nilai nilai yang ingin disampaikan. Respons siswa terhadap program ini sangat positif, dengan tingginya antusiasme dan minat dalam memahami keroncong serta makna lagu “Kr. Tanah Airku”. Indikator keberhasilan seperti peningkatan pemahaman musikal, keterampilan bermain alat musik, dan rasa kebersamaan berhasil diukur. Penelitian ini juga meinci harapan guru terhadap masa depan program ekstrakulikuler keroncong, dengan fokus pada pengembangan lebih lanjut dan peningkatan partisipasi siswa. Kesimpulannya penelitian ini menyajikan gambaran menyeluruh tentang metide pembelajaran ekstrakulikuler keroncong di SMP Katolik Santa Maria Kediri melalui lagu “Kr. Tanah Airku”. Program ini tidak hanya meningkatkan pemahaman siswa terhadap musik tradisional indonesia, tetapi juga memberikan pengalaman berharga dalam memahami dan menghargai warisan budaya negara.
Copyright (c) 2025 Vicenza Farriel Totti, Moh Sarjoko http://creativecommons.org/licenses/by/4.0
Realization of Extracurricular Magnet Theater: Character Education Media for Students of MAN 1 Ngawi
The Magnet Theater extracurricular introduces the world of performing arts to students to learn more about playing drama, exploring a role, teamwork and others. The Magnet Theater extracurricular uses a family system to make it easier to find out the background of students. Although MAN 1 NGAWI is an Islamic school, students are often still wavering and easily influenced by free association outside of school. For that reason, the Magnet Theater Extracurricular MAN 1 NGAWI has a prominent difference from theater extracurriculars in other schools, namely spiritual activities such as Khataman AL-Qur'an, Dzikrul Ghofilin and Pilgrimage to the Tombs of Wali or Ulama Experts. It is very rare for extracurricular activities in the arts to shape the character of students in pursuing spiritual activities. This is very interesting to study in depth. This study aims to describe the realization and results of the realization of the Magnet Theater extracurricular as a medium for character education for MAN 1 Ngawi students. This study uses a qualitative descriptive research method, with data collection techniques using interviews, observations, and documentation studies. Data analysis techniques consist of stages of data reduction, data presentation, drawing conclusions and data verification. The results of this study are that the realization of extracurricular magnetic theater has proven to be an effective means in shaping students' character. Through a creative process involving the values ​​of discipline, responsibility, cooperation, and empathy, this theater is not only a space for artistic expression, but also a holistic character education medium. As a result, students showed an increase in positive attitudes, both in school and social life, proving that performing arts can play a significant role in strengthening character education in the madrasah environment.
Copyright (c) 2025 putrialia rahmawati, Arif Hidajad http://creativecommons.org/licenses/by/4.0
CONCEPTUALIZATION OF THE DANCE WORK "COMIC SPACE" IN INTERPRETING THE IMAGINATIVE SPACE OF COMIC BOOKS
The dance work titled Comic Space is inspired by the imaginative space found in comic books. The choreographer explores several visual elements commonly found in comics such as panels, gutters, illustrations, speech balloons, and sound effects. These elements form a compelling two- dimensional space that can be utilized as material to create artistic dance movements. One of the key concepts highlighted is closure, the ability to interpret comic stories from separate images. This idea is applied to choreography by creating an illusion of transition between movements and assembling fragmented, seemingly disconnected movement pieces that, when observed as a whole, convey meaning. This is manifested through body gestures that may appear disjointed individually but form a coherent message when viewed collectively. The creation process follows Jacqueline Smith's Construction Method I, which includes stages such as finding inspiration, determining the type of dance, choosing the presentation mode, exploring movement, evaluation, and refinement. This work is categorized as pure dance, which emphasizes the beauty of movement rather than storytelling. The resulting performance presents contemporary dance that visualizes the world of comics through movement. The choreography emphasizes fast, staccato movements, with a characteristic black and white tone reminiscent of comics. This work aims to inspire further development in contemporary dance creation that blends visual arts with performing arts.
Copyright (c) 2025 Retno Palupi, Setyo Yanuartuti http://creativecommons.org/licenses/by/4.0
Forms of Presentation of the Sandur Manduro Mask Dance
The Bapang Sandur Manduro Mask Dance is a single dance that is part of the Sandur Manduro performance, which developed in the area of Kabuh District, Jombang Regency. The dance features firm and simple movements, reflecting the character of the local people who are known for being brave and a little haughty. This study aims to examine the form of presentation of the Bapang Sandur Manduro Mask Dance using the theoretical approach of the form of presentation. This study uses a qualitative method, with data collection techniques in the form of field observations, in-depth interviews, and documentation. The data analysis process is carried out through the stages of data reduction, data presentation, and conclusion drawn. The results of the study show that this form of dance presentation has its own uniqueness, which comes from the local culture of the Manduro people and the personal style of the dancers. Elements of local culture are reflected through various elements such as stage arrangements, costumes, use of masks, musical composition, and movement patterns. In addition, the dance style is also influenced by the dancer's body expression, which emphasizes strong and distinctive movements, with individual characteristics such as body rotation and movements that tend to be limited.
Copyright (c) 2025 Nur Aldilla, Warih Handayaningrum http://creativecommons.org/licenses/by/4.0
Learning Using Maestro Application Media to Make It Easier to Read Notation in Class X at SMKN 2 Buduran Sidoarjo
Vocational School is a vocational school that provides skills and competencies and also provides other general subjects such as arts and culture subjects. These subjects are taught theoretically and practically. The learning method that teachers often use is explaining the material without using media and then students are given assignments with limited material. Therefore, a solution or media is needed to overcome this. This research is 1) to know the learning process using the Maestro Application Media to make it easier to read notation in Class X at SMKN 2 Buduran Sidoarjo. 2) Want to know the results of learning using Maestro Application Media to make it easier to read notation in Class X at SMKN 2 Buduran Sidoarjo? This research uses descriptive qualitative research methods with an empirical approach. A research method that attempts to describe real-world situations as they are. The primary data source in the research was interviews with class X students at SMK Negeri 2 Buduran Sidoarjo. Documents and notes on learning outcomes, such as archival data documents, documentation, and data from research, are secondary data used. The subjects of this research were students of class The data collection techniques are observation, interviews, and documentation. The results of the research and conclusions, at the first meeting, many students said that when they were in junior high school they were only given numeric and letter notation material. Then the teacher gives the task of finding literacy about notation using a smartphone or searching Google. In the second meeting, after reviewing the material, the teacher instructed the students to write block notation using the paper provided, but the results were less than perfect. In the third meeting, the students were given the task of installing the Maestro application on their respective smartphones. The teacher explained and guided the practice of the maestro application little by little. The students were happy and were able to apply it in reading notation. The conclusion is that with the maestro application, students enjoy learning and can make it easier to read notation.
Copyright (c) 2025 farah salsabilla, Agus Suwahyono http://creativecommons.org/licenses/by/4.0
A Development Of The Jaran Bodhag Arts Perfomance In The Panji Laras Studios Of Probolinggo City
This study aims to examine the development of the Jaran Bodhag art of the Panji Laras Studio, Probolinggo City, which includes movement, properties, players, and music. Art is recognized as an Inheritance Culture, Not an Object, in Indonesia in 2014. Jaran Bodhag was inspired by the Jaran Kencak art form, which is usually performed at circumcision ceremonies. However, underprivileged communities often modify it by creating Jaran Bodhag as an alternative. This study uses qualitative research to explore how Sanggar Panji Laras packaged the Jaran Bodhag art form into a performance. The results of this study reveal that the Jaran Bodhag art performance at the Panji Laras Studio includes a variety of movements. The props used are very simple, allowing dancers to use them in Jaran Bodhag, and the music consists of various kinds, giving the Jaran Bodhag performance vibrant color. It is hoped that the results of this study will contribute to a better understanding of traditional art in Indonesia and provide suggestions for the preservation and development of Jaran Bodhag in the future. Keywords : Development, show, art Jaran Bodhag
Copyright (c) 2025 Aulia Nanda Arsyika, Anik Juwariyah http://creativecommons.org/licenses/by/4.0
This study discusses the empowerment of karawitan as a medium of social communication in the Lidah Kulon community, Lakarsantri District, Surabaya City. Karawitan, as one of Javanese cultural heritages, not only functions as a means of entertainment, but also has social, educational, and spiritual values ​​that can strengthen inter-community communication. Through a qualitative-descriptive approach, this study reveals how local karawitan groups in Lidah Kulon are empowered as a medium for conveying moral messages, preserving culture, and increasing social cohesion. The results of the study show that karawitan activities actively involve various levels of society, from the younger generation to community leaders, so that a harmonious social interaction space is created. In addition, the use of karawitan in traditional, religious, and community events shows its effectiveness in building inclusive and sustainable social communication. Thus, the empowerment of karawitan has proven to be a relevant cultural strategy in strengthening local identity while building social solidarity in urban communities.
Copyright (c) 2025 Biyanca Tiara, Tomy Agung Sugito http://creativecommons.org/licenses/by/4.0
VOCAL LEARNING AT THE GANESHA DHEVA MUSIC NON-FORMAL INSTITUTION IN TULUNGAGUNG REGENCY
This study discusses the vocal learning process at Ganesha Dheva Music. The purpose of this study is to describe the vocal learning and learning outcomes of Ganesha Dheva Music as a non-formal institution in Tulungagung. The study was conducted using a descriptive qualitative approach. Data were collected through direct field observations, interviews with relevant parties, and activity documentation. Data analysis techniques were carried out using steps such as data collection, data reduction, data presentation, and drawing conclusions. To test the validity of the data, the researcher used triangulation techniques. From the results of the study, it can be concluded that the implementation of learning at Ganesha Dheva Music is based on the curriculum used as a reference by the trainer. In delivering the material, the trainer utilizes lecture, demonstration, and drill methods so that students can understand vocal techniques more effectively. Seven learning components were identified, namely: objectives, materials, students, teaching staff, methods, media, and evaluation. Learning outcomes are achieved through holding an annual concert, which also serves as a forum for assessing student abilities and student achievements in various competitions. This study shows that non-formal music course institutions can be an effective forum for developing vocal abilities and students' overall character.
Copyright (c) 2025 Erika Dwi Anggreini Erika, Eko Wahyuni Rahayu http://creativecommons.org/licenses/by/4.0
Learning Regional Music Expression through PJBL Using Instagram at SMP Negeri 10 Surabaya
This qualitative study examines the implementation of Project-Based Learning (PjBL) integrated with social media (Instagram) in teaching musical expression at Public Junior High School 10 Surabaya. Against the backdrop of contemporary student behavioral challenges including aggression, substance abuse, and digital overexposure the research positions arts education (mandated under Indonesian Law No. 20/2003) as a vehicle for positive expression, empathy development, and socio-emotional learning. Leveraging Surabaya’s "smart city" infrastructure, the school employs a 7-week music program where Grade 7 students master traditional Indonesian songs (e.g., "Gundul-Gundul Pacul," "Ampar-Ampar Pisang") through a structured PjBL framework: foundational rhythm/instrumental training (Sessions 1–2) transitions to collaborative ensemble projects (Sessions 3–7), culminating in digital showcases on Instagram. Data from participant observation, interviews, and document analysis reveal that this approach not only enhances technical musicianship but also fosters cultural stewardship, teamwork, and critical digital engagement. Challenges like screen-time management are acknowledged, yet the model successfully merges experiential learning, local wisdom preservation, and 21st-century skills, empowering students to reinterpret cultural heritage while navigating modern platforms responsibly.
Copyright (c) 2025 Muhammad Gosa Lukman Susilo, Warih Handaningrum http://creativecommons.org/licenses/by/4.0
RECONSTRUCTION OF SANDUR PERFORMANCE AT SANDUR SEDHET SREPET IN BOJONEGORO
Sandur Sedhet Srepet is one of the Sandur groups that still exist in Bojonegoro Regency. This group is present in the community to strengthen the position of Sandur by rearranging the form of Sandur performances without composing the contents contained therein and adapting to the times. This group is led by young people, creating, and rearranging the form of Sandur peformances so that they can be well received by the community. The researcher took the problem formulation (1) How to reconstruct the form of Sandur Sedhet Srepet performances in preserving Sandur Bojonegoro. This research theory uses the theory od reconstruction. This research uses a qualitative approach. Data collection uses (1) Observation Techniques, (2) Interview Techniques, and (3) Documentation Techniques. The results of the study show that the reconstruction of the Sandur performance in the Sandur Sedhet Srepet group contains differentiation, namely differences with the previous form. The second stage is desacralization by reducing or eliminating sacred forms. The third stage is deterritorialization, namely the expansion or spread. The fourth stage is distortion, namely the reduction or cutting. The last stage is degradation or a decrease in value.
Copyright (c) 2025 Bagus Indra Cahya, Arif Hidajad http://creativecommons.org/licenses/by/4.0
The Style Of The Celengan Dance In The Jaranan Art Performance In Kediri
This research explores the style of Celengan dance within Jaranan performances in Kediri, East Java. Celengan dance represents the wild boar character, traditionally performed by male dancers with vigorous and aggressive movements. This study aims to describe the form, symbolic meaning, and role of Celengan dance in the context of Jaranan. Using a qualitative approach, data were collected through field observations, in-depth interviews with dancers, leaders of Jaranan groups, and literature review. The findings reveal that Piggy bank dance incorporates low postures, dynamic gestures, and expressive facial movements, representing characteristics of cunning, greed, and spontaneity. In contemporary performances, female dancers have also begun performing this role, contributing to a new interpretation of the Celengan character. This study highlights how the Piggy Bank dance not only serves as entertainment but also as a medium for symbolic expression and cultural preservation.
Copyright (c) 2025 Rahm Aprila Agoes Moeryanto, Anik Juwariyah http://creativecommons.org/licenses/by/4.0
Bahasa Inggris Tracing the Development of Banjar Kemuning Dance in Sidoarjo Regency
Banjar Kemuning Dance is a form of traditional art originating from Banjar Kemuning Village, Tarik District, Sidoarjo Regency. This dance was originally created as a representation of the life of an agrarian community, especially farming and rice harvesting activities, which then developed into an important part of local cultural identity. This study aims to trace the development of the Banjar Kemuning Dance performance from time to time, both in terms of function, presentation form, to its social and cultural context. Using a descriptive qualitative approach, data was collected through field observations, interviews with local art figures, and documentation studies. The results of the study show that the Banjar Kemuning Dance has experienced a shift in function from a traditional form of expression in traditional ceremonies to a performance medium at various art festivals and formal events. Changes are also seen in the aspects of choreography, make-up, costume, and musical accompaniment, which are adjusted to the needs of the modern stage without eliminating the local values ​​contained therein. This development shows that there are efforts to preserve and innovate from the community and artists to maintain the relevance of this dance amidst changing times. The Banjar Kemuning Dance is a concrete example of how traditional art can adapt and survive through socio-cultural dynamics.
Copyright (c) 2025 rosa robby, Tomy Agung Sugito http://creativecommons.org/licenses/by/4.0
DRAMATIC DANCE WORK WITH THE TITLE " PUNARBHAVA " AS AN EXPRESSION OF THE MEANING OF THE CAKRA PALAH BATIK MOTIF
The dramatic dance work “Punarbhava” is an artistic expression born from deep contemplation of the meaning behind the Cakra Palah batik motif, a cultural symbol of Blitar Regency that holds profound philosophical values about the cycle of human life. The primary inspiration for this work stems from the philosophy of Cakra Manggilingan, which conveys the idea that life continuously turns — from glory to downfall, and then rises again with newfound wisdom. In this piece, the choreographer seeks to express the spiritual message that true fulfillment in life is not defined by luxury or power, but by the awareness of one's limitations as a creation of God. Using a dramatic dance form with a double-climax structure, Punarbhava presents intense emotional dynamics in each scene. Rather than delivering a linear narrative, it emphasizes moods and inner conflicts through explorations of movement, expression, makeup, costume, and stage patterns that blend into one cohesive whole. The creative process incorporates Jacqueline Smith's Construction Method I — starting from exploration, improvisation, and evaluation, to refinement — to convey the concept fully and aesthetically. As an expression of love for local cultural heritage, Punarbhava serves not only as a personal form of artistic expression but also as a contribution to introducing the cultural values of Blitar to a broader audience. Through this work, the Cakra Palah batik motif is no longer confined to visual patterns on fabric, but transforms into living, touching, and inspiring body movements. This dance is hoped to open a dialogue between traditional arts, spirituality, and local identity that remains relevant in today's evolving era. Keywords: dance work, punarbhava, batik cakra palah.
Copyright (c) 2025 Aditya Putra Atmaja, Jajuk Dwi Sasandjati http://creativecommons.org/licenses/by/4.0
“MBUJANG” DANCE WORK IN DRAMATIC FORM AS A VISUALIZATION OF THE PROCESS OF SELF DISCOVERY
Abstract: The Mbujang dance work is a dramatic visualization of teenagers' search for identity through reflection on the choreographer's empirical experiences. The character of Bujang Ganong in Reyog Ponorogo art is used as a basis for exploring movements to describe the emotional and social dynamics experienced by teenagers in the process of growing up. The purpose of this work is to present a symbolic representation of the journey of adolescents in finding their identity. The creation method uses Jacqueline Smith's Construction I, which includes the stages of initial stimulus, dance type, presentation mode, improvisation, evaluation, selection, and motif discovery. These stages are applied systematically to produce a complete choreography. The result of this creation is embodied in the dramatic dance work Mbujang, which combines the distinctive movements of Bujang Ganong with contemporary processing. This work depicts the struggles of teenagers between anxiety, social interaction, and the effort to find balance within themselves. Elements of tradition and modernity are combined through movement, music, and artistic design, resulting in a new expression that is contextual to the lives of today's teenagers. The work Mbujang is expected to enrich the repertoire of dramatic dance art as well as serve as a reflection for individuals to understand the importance of the process of searching for one's identity. Keywords: Dramatic dance, search for identity, youth, Bujang Ganong, Mbujang
Copyright (c) 2025 Adam musthofa Musthofa, Jajuk Dwi Sasanadjati http://creativecommons.org/licenses/by/4.0
Regeneration of Jatiduwur Mask Puppet Performance Artists at the Tri Purwo Budoyo Studio, Kesamben, Jombang.
Wayang Topeng Jatiduwur is one of the traditional performing arts with high historical and aesthetic value in East Java. The continuity of this art form is highly dependent on the success of its practitioners' regeneration. This study aims to examine the process of regenerating art practitioners at Sanggar Tri Purwo Budoyo, Kesamben, Jombang. Using a qualitative descriptive method, data was collected through observation, interviews, and documentation. Data validity was ensured through triangulation, while data analysis included reduction, presentation, and drawing conclusions. The results of the study indicate that the transmission of the Wayang Topeng Jatiduwur performance has undergone various eras, thereby the regeneration process has experienced vertical, horizontal, and diagonal transmission processes. These findings suggest that Sanggar Tri Purwo Budoyo applies an adaptive and contextual cultural preservation model.
Copyright (c) 2025 Arina Rimba Puwargati, Setyo Yanuartuti http://creativecommons.org/licenses/by/4.0
Klono Sandur Mask Dance Style Manduro in Kabuh District, Jombang Regency
Tari Topeng Klono Sandur Manduro merupakan tari tunggal yang ada pada bagian pertunjukan Sandur Manduro di Kecamatan Kabuh Kabupaten Jombang. Tari Topeng Klono Sandur Manduro memiliki gerakan sederhana, hal tersebut mencerminkan kehidupan masayarakat Desa Manduro yang sederhana. Penelitian ini bertujuan untuk mengkaji gaya Tari Topeng Klono Sandur Manduro dengan menggunakan teori gaya. Metode yang digunakan adalah deskriptif kualitatif dengan teknik pengumpulan data observasi, wawancara, dan dokumentasi. Teknik analisis data terdiri atas tahapan reduksi, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa gaya Tari Topeng Klono Sandur Manduro mencerminkan adanya gaya budaya yang didasarkan atas budaya Manduro selain itu juga tampak gaya yang dibentuk oleh seorang penari. Gaya budaya Manduro disebut dengan gaya eblimic tersurat dalam bentuk tata pentas, iringan musik, dan gerak. Gaya yang dibentuk oleh tubuh seorang penari dapat dikatakan sebagai gaya asertive yang tersurat pada ekspresi pribadi yang unik dengan meliuk – liukkan tubuhnya dan memberikan ruang gerak yang tidak terlalu lebar.
Copyright (c) 2025 Siska Ima Nur Ayunda, Setyo Yanuartuti http://creativecommons.org/licenses/by/4.0
Character Development of Celengan Movements in Jaranan Turonggo Yakso
The dance work Tomak is an exploration and development of the celengan segment in the traditional Jaranan performance, approached through the form of dramatic dance. This piece emphasizes the characteristic movements of celengan, which are developed into dramatized forms within a folk performance framework. The choreographer expands upon movements such as budalan, gejug gantung, nyruduk ngiwa nengen, sengkrak pundak, and perangan. The creation of this work adopts Jacqueline Smith’s Construction Method 1, which includes several stages: initial stimulus, dance type, mode of presentation, improvisation, evaluation, refinement/selection, and motif development. The primary references include Kala Srenggi (produced by the Trenggalek Department of Tourism and Culture) and Body of Evolution (by Ari Chandra Pamungkas, 2023). Theoretical frameworks used in this creation are the choreographic theory by Sal Murgiyanto, developmental theory by Soedarsono, and the construction method by Jacqueline Smith. The structure of the performance follows a double-cone dramatic design, consisting of six parts: an introduction, four scenes, and a closing section. Supporting elements such as costume and makeup, lighting design, and musical accompaniment contribute to the overall presentation. Tomak aims to provide space for innovation in traditional arts and to inspire young generations and artists to preserve and develop cultural heritage through fresh, communicative performance formats.
Copyright (c) 2025 Gymanstiar Valen, Jajuk Dwi Sasanadjati http://creativecommons.org/licenses/by/4.0
Metode Pembelajaran Kegiatan Ekstrakurikuler Nusa Octave Orchestra SMA NU 1 Gresik
This research aims to analyze the learning methods applied in the Nusa Octave Orchestra extracurricular at SMA NU 1 Gresik. This research uses a qualitative approach with descriptive methods. Data was obtained from the extracurricular activities of the Nusa Octave Orchestra which was trained by Mukmin Efendi. Data collection techniques are carried out through interviews, observation and documentation. Data analysis techniques include data presentation, data reduction, and drawing conclusions. The research results show that several learning methods applied include the lecture method, demonstration method, peer tutoring method, drill method, and imitation method. The drill method is the most dominant method used, especially in warm-up exercises, musical instrument playing techniques, intonation and ensembles. The application of various learning methods in the Nusa Octave Orchestra's extracurricular activities contributes significantly to improving students' technical abilities and musicality. Through a systematic and structured approach, students are able to develop in mastery of musical instruments and ensemble performance. Therefore, the learning methods applied in this extracurricular can be used as a model for teaching music in other educational environments.
Copyright (c) 2025 Iqbal Muhammad Syahrizal Maulana, Welly Suryandoko http://creativecommons.org/licenses/by/4.0
THE THE SYBOLIC MEANING OF THE DANCE MOVEMENT OF BEDHAYA AMBADYA TIRTA BY ANUGRAH NATALIN NILAWATI THE SYMBOLIC MEANING OF THE DANCE MOVEMENT OF BEDHAYA AMBADYA TIRTA BY ANUGRAH NATALIN NILAWATI
Abstract: This study aims to describe the movements of the Bedhaya Ambadya Tirta dance created by Anugrah Natalin Nilawati and explain the symbolic meanings contained within it. The focus of this study is on the structure of the movements and the cultural and spiritual messages conveyed through the dance. The method used in this study is a qualitative method with a descriptive approach. Data collection techniques were carried out through interviews with dancers and music arrangers, direct observation of dance performances, as well as relevant visual and written documentation. The results of the study show that the Bedhaya Ambadya Tirta dance has highly structured, gentle, and meaningful movements. These movements represent elegance, harmony, and the connection between humans and nature and the spiritual dimension. Each movement not only reflects aesthetics and traditional values but also serves as a medium for conveying profound messages about purity, peace, and inner balance. The symbolism embedded in this dance depicts the process of uniting the human soul with the universe, making it not only a form of artistic expression but also a means of spiritual contemplation and cultural preservation. Symbolic Meaning of the Movements in the Bedhaya Ambadya Tirta Dance by Anugrah Natalin Nilawati
Copyright (c) 2025 Indah Putri Fatmasari http://creativecommons.org/licenses/by/4.0
The Existence Of Jaranan Sentherewe Turonggo Safitri Putro Tulungagung (A Diachronic Study)
Abstract: Jaranan Sentherewe Turonggo Safitri Putro is a Jaranan Sentherewe group based in Tulungagung that developed between 1997 and the 2000s. This study aims to describe the resilience and sustainability of Jaranan Sentherewe Turonggo Safitri Putro Tulungagung in a diachronic study, and the existence of Jaranan Sentherewe Turonggo Safitri Putro Tulungagung after experiencing resilience and sustainability. This study was analyzed using the theory of sustainability and continuity, as well as the theory of existence, employing a qualitative descriptive research method. Data collection was conducted using observation, interviews, and document analysis techniques. Analysis involved data reduction, data presentation, and conclusion drawing. To validate the data, the researcher used triangulation of sources, techniques, and time. The research findings indicate that, through a diachronic study, changes in leadership serve as an important indicator that influences the direction and strategy of a group. The Jaranan Sentherewe TSP group has also gone through three stages of existence according to Soren Kierkegaard's theory, namely the aesthetic stage, the ethical stage, and the religious stage. Thus, the diachronic study has revealed that the interactions that have occurred have influenced the dynamics of the Jaranan Sentherewe Turonggo Safitri Putro Tulungagung (TSP) group. Furthermore, the current existence of the Jaranan Sentherewe Turonggo Safitri Putro Tulungagung (TSP) group has demonstrated success in preserving and continuing the Jaranan Sentherewe art form.
Copyright (c) 2025 Lutfi Yahya, Retnayu Prasetyanti Sekti http://creativecommons.org/licenses/by/4.0
The Management System of Gedhang Godhog Arts Studio, Campurdarat District, Tulungagung Regency
This The Gedhang Godhog Art Studio is a place or place to gather and practice the arts, especially kentrung kreasi or kentrung theater. This studio was founded by Mr. Yayak Priasmara in 2011 with the aim of introducing the art of kentrung to young people, so he collaborated with theater. The author is interested in knowing how to manage the Gedhang Godhog art studio to survive and exist in the midst of the onslaught of foreign cultures. So in this study, the author formulates the problems (1) the management system applied in the Gedhang Godhog Art Studio (2) the supporting and inhibiting factors encountered in the Gedhang Godhog art studio. The research method is qualitative descriptive with a descriptive approach. Data collection techniques through observation, interviews and documentation. Data collection analysis is carried out through the stages of data reduction, data presentation, and conclusion drawn. Data validity using source triangulation, technique triangulation, and time triangulation. The results of the research and discussion show that the management system of the Gedhang Godhog art studio is managed very modestly, prioritizing family with communication or negotiations. The management system of the Gedhang Godhog art studio includes management elements consisting of 6 M's, namely man, money, methods, materials, machines and markets and the management functions applied include planning, organizing, mobilizing and supervising. If inhibiting factors are found, they will be discussed or discussed so that they can be resolved immediately. The conclusion of this study is that the management system of the Gedhang Godhog art studio has succeeded in achieving its goals by using a family system and always prioritizing deliberation or negotiation.
Copyright (c) 2025 Pungky, Enie Wahyuning Handayani http://creativecommons.org/licenses/by/4.0
A DANCE PERFORMANCE ENTITLED “JAGO PABARATAN” AS A DRAMATIC VISUALIZATION OF THE STRUGGLE OF FIGHTING COCKS IN COCKFIGHTING
The dance piece titled “Jago Pabaratan” is a dramatic dance work that highlights the phenomenon of cockfighting as a social reflection. Cockfighting, which is still widely practiced clandestinely in the northern part of Surabaya, serves as the backdrop for the creation of this dance piece. This dance piece visualizes the struggle of a rooster that is raised, trained, and ultimately fought for human interests in gambling practices. Through the exploration of representative and symbolic movements, the choreographer depicts the emotional conflict, suffering, and helplessness of the rooster in the cockfighting arena. The creation process of this dance piece employs Method I construction with a dramatic approach that emphasizes expression and the dynamics of atmosphere, without presenting a linear narrative. Artistic elements such as makeup, costumes, dance accompaniment, props, and setting are designed to strongly and expressively visualize the atmosphere of cockfighting. This dance piece is not only a medium for aesthetic expression but also a form of social criticism against the practice of cockfighting, which undermines human values and animal welfare.
Copyright (c) 2025 indira maharani, Dra. Jajuk Dwi Sasandjati, M.Hum http://creativecommons.org/licenses/by/4.0
The Concept, Process, And Form Of The Choreography Of The “Larung Segoro” Dance In The Petik Laut Traditional Ceremony
Larung Segoro dance is a dance piece created in 2017 at the East Java Provincial Dance Festival, representing the city of Pasuruan. Based on the event's guidelines regarding the incorporation of local wisdom, this work highlights the concept of the Petik Laut Traditional Ceremony. This ceremony is held annually on a specific month and date. Larung Segoro Dance draws heavily on the values of the Petik Laut traditional ceremony to create a dance work, making it an intriguing subject for this research study. The objectives of this research include: 1) To describe the concepts and designs that the choreographer wishes to convey through the dance work “Larung Segoro.” 2) To analyze the form of performance in the dance work “Larung Segoro.” This study uses a qualitative descriptive method with data collection using observation, interviews, document study, and literature study techniques. The analysis involves data reduction, data presentation, and data validation. The results of this study indicate that the dance work Larung Segoro has undergone a very in-depth process. The closeness built by the choreographer in explaining the concept of the work and providing direct experience is a formative step in the creative process. The concepts and designs are embodied in the medium of movement, floor patterns, music, stage design, makeup, and costumes. One of the distinctive features of the Larung Segoro dance work lies in the props used. Replicas of a buffalo head and tumpeng (rice cone) are presented to create a realistic atmosphere, so that when the work is performed, it can effectively represent the activities and values contained in the traditional Petik Laut ceremony.
Copyright (c) 2025 Fella Aulia Sandria Hakim, Setyo Yanuartuti http://creativecommons.org/licenses/by/4.0