Analisis Koreografi Tari Ganjur  Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan. Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

Download Full-text

Pengaruh Islam dalam Kesenian Setrek di Magelang

RESITAL JURNAL SENI PERTUNJUKAN ◽

10.24821/resital.v12i1.452 ◽

2013 ◽

Vol 12 (1) ◽

Author(s):

Langen Bronto Sutrisno

Keyword(s):

Islamic Art ◽

Dance Movement ◽

Daily Lives ◽

Islamic Tradition ◽

The People ◽

Traditional Arts ◽

The Village ◽

Musical Accompaniment ◽

Islamic Values

Setrek adalah jenis kesenian tradisional terbangan atau slawatan yang berfungsi sebagai media dakwah agamaIslam. Sebagai jenis kesenian tradisional slawatan, perpaduan unsur-unsur estetis seni yang bernafaskan Islamdengan unsur-unsur estetis kesenian rakyat tradisional merupakan akulturasi budaya yang mencerminkan bentukkreativitas lokal. Pengaruh seni Islam tidak dimaksudkan untuk merubah wujud keseluruhan koreografi nya, tetapilebih merupakan formalitas nilai Islam dalam wajah kesenian tradisional untuk tujuan dakwah. Oleh karena itubentuk penyajiannya tetap dalam format tradisi dengan sedikit sentuhan nafas Islam. Misalnya penyajian gerak tarihampir tidak dijumpai nafas Islam kecuali gerak takbiratul ihram Allohu Akbar, tokoh Kyai Ba’in yang merupakanrefresentasi seorang ulama dengan tata busana khas Islam, iringan diberi nafas Islam dengan syair-syair kitab AlBarjanzi dilengkapi instrumen terbang dan jidor mewakili musik Islam. Nafas Islam sebenarnya lebih merupakanlegalitas spirit Islam dalam kesenian setrek dengan harapan semua pemain dan penonton dapat mengamalkan agamaIslam dalam kehidupan sehari-hari. Oleh karena itu media dakwah dapat dilihat dalam setiap ungkapan nilainilaiajaran Islam berkait dengan Tuhan Allah SWT dan Rosul-Nya Nabi Muhammad SAW. Dengan demikiansetiap gerak dan musik iringan atau syair dalam kesenian setrek harus dijiwai nilai-nilai ajaran Islam. Ikon-ikondemikian penting untuk dipahami agar mereka dapat selamat hidup di dunia dan di akhirat. Kehadiran agama Islamdalam nafas perkembangan kesenian setrek tampak memperkaya penampilannya, sehingga kehadiran kesenian inidalam kehidupan masyarakat semakin menumbuhkan kualitas dalam beragama Islam, meskipun disadari sisa-sisakepercayaan kuno masih mewarnai kesenian setrek, seperti atraksi ndas-ndasan yang berupa atraksi mengimitasibinatang. Variasi atraksi arak-arakan ndas-ndasan dengan mengelilingi dusun bertujuan untuk mengusir pengaruhroh-roh jahat.Keywords: setrek, kesenian Islam, slawatan.ABSTRACTIslam infl uence on Setrek art in Magelang. Setrek is a type of traditional terbangan art or slawatan (Islamicsong) that serves as a medium for preaching Islam. As a kind of traditional slawatan art, it seems to blend Islamic aestheticelements with aesthetic traditional elements which become a form of cultural acculturation refl ecting the local creativity.The infl uence of Islamic art is not intended to change the overall form of the choreography, but the Islamic elements aremore of Islamic value formality in the form of traditional arts for the purpose of preaching Islam religion. Therefore, theform of presentation remains in the format of Islamic tradition. For example, the presentation of dance movement hardlyfi nds Islam infl uence except takbiratul ihram Allohu Akbar, KyaiBa’in as the representation of Islam priest wearing typicalIslamic outfi t; the music is also Islamic with given poems from Al Barjanzi’s book equipped with terbang and jidor. Islaminfl uence is actually more of a Islamic spirit legacy in setrek art with the hope that all the players and audience can practiceIslam in their daily lives. Therefore, the preaching media of Islam can be seen in any expression of Islamic values in relationto Allah SWT and His diciplesNabi Muhammad SAW. Thus every movement and musical accompaniment or poem insetrek art should be imbued the values of Islam. Icons, thus, are important to understand so that the people can live safelyin this world and in the hereafter. The presence of Islam in the breath of the setrek artistic development looks enriching itsperformance, so the presence of this art among the people living in Kedungan III improves the quality of embracing Islam,although there are the remnants of ancient beliefs which still characterize setrek art, such as ndas-ndasan attraction in theform of imitating animal . Variations in ndas-ndasan attraction parade around the village aims to expel the infl uence ofevil spirits.Keywords: setrek, Islam music, slawatan.

Download Full-text

Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

Metahumaniora ◽

10.24198/mh.v8i1.18875 ◽

2018 ◽

Vol 8 (1) ◽

pp. 68

Author(s):

Prima Agustina

Keyword(s):

Cultural Studies ◽

Field Research ◽

Tourist Attraction ◽

Cultural Industry ◽

Dance Movement ◽

Dance Performance ◽

Classical Dance ◽

Intangible Heritage ◽

Court Dance ◽

The City

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.

Download Full-text

TRADISI PEMENTASAN TARI GANDRUNG TELAGA SAKTI DI DESA PAKRAMAN LIMO KECAMATAN NUSA PENIDA KABUPATEN KLUNGKUNG (KAJIAN BENTUK, FUNGSI, MAKNA)

Jurnal Penelitian Agama Hindu ◽

10.25078/jpah.v2i1.497 ◽

2018 ◽

Vol 2 (1) ◽

pp. 409

Author(s):

Ni Pande Made Widiasih ◽

Ni Wayan Sumertini ◽

. Poniman

Keyword(s):

Selection Process ◽

Cultural Preservation ◽

Symbolic Meaning ◽

Dance Movement ◽

Dance Performance ◽

Religious Ceremony ◽

The People ◽

History Of ◽

Performance Conditions ◽

Ritual Process

The Tradition of Gandrung Telaga Sakti Dance Performance in Pakraman Limo village Nusa Penida Sub-district Klungkung Regency is a hereditary tradition recognized by the people of Pakraman Limo village as a sacred tradition to complement the religious ceremony. The uniqueness of Gandrung Telaga Sakti Dance is when this dance will be staged performed a ritual process, such as the selection process of dancers, place and time of staging and the series of ceremonies performed before the staging of Gandrung Telaga Sakti Dance. The results of this study are as follows: 1). Shape Gandrung Telaga Sakti Dance including; History of Gandrung Telaga Sakti Dance Performance, Conditions to Become Dancer Gandrung Telaga Sakti Dance, Gandrung Telaga Sakti Dance Movement, Gandrung Telaga Sakti Dance Performance, Dance Performance Gandrung Telaga Sakti, Gandrung Telaga Sakti Dance Stage, Upakara Gandrung Telaga Sakti Dance, and Supporting Equipment Gandrung Telaga Sakti Dance. 2). The function of Gandrung Telaga Sakti dance performances include art function and cultural preservation, religious function and social function. 3). The meaning of staging of Gandrung Telaga Sakti Dance is symbolic meaning, meaning of aesthetics and meaning of harmony and balance.

Download Full-text

The Meaning of Rejang Pingit Dance Performance at Geriana Kangin Village, Karangasem, Bali in the Global Era

Humaniora ◽

10.21512/humaniora.v9i3.4726 ◽

2018 ◽

Vol 9 (3) ◽

pp. 321

Author(s):

Ni Made Ruastiti

Keyword(s):

Qualitative Method ◽

Real Life ◽

Aesthetic Theory ◽

Dance Performance ◽

Research Results ◽

Global Era ◽

The People ◽

Religious Theory ◽

Musical Accompaniment ◽

Performance Structure

This research was compiled from the research results that aimed to understand the meaning of Rejang Pingit dance performance in the global era. This research was conducted because of the imbalance between assumptions and reality in real life. The people who lived in the global era should be more interesting with beautiful performances that were simply performed. However, the fact was different. Although Rejang Pingit dance was very simple, people of Geriana Kangin village preserved it. The question was what was the form of the Rejang Pingit dance performance, what was the meaning contained in the performance? This research used the qualitative method. The data sources of this research were Pingit Rejang dance performance, related informants, journals, and previous research results. All data that had been collected were analyzed using aesthetic theory, religious theory, and the theory of power relations. The results show that Rejang Pingit dance is performed in the form of dance off (with no play). It can be seen from the way of presentation, choreography, performance structure, dressing, makeup, and musical accompaniment of the performance. People of Geriana Kangin village continue to preserve Rejang Pingit dance because it is considered to have the meaning of aesthetic, religious, social, and cultural. Their belief in the myth of the essence of life that undergoes the Rejang Pingit dance is so strong so that they still preserve the dance up to now.

Download Full-text

Pemertahanan Warisan Budaya Wayang Wong Gaya Yogyakarta dan Komodifikasinya untuk Atraksi Wisata di Kota Yogyakarta

Metahumaniora ◽

10.24198/metahumaniora.v8i1.18875 ◽

2018 ◽

Vol 8 (1) ◽

pp. 68

Author(s):

Prima Agustina

Keyword(s):

Cultural Studies ◽

Field Research ◽

Tourist Attraction ◽

Cultural Industry ◽

Dance Movement ◽

Dance Performance ◽

Classical Dance ◽

Intangible Heritage ◽

Court Dance ◽

The City

AbstrakWayang wong gaya Yogyakarta merupakan seni pertunjukan yang dasargerakannya adalah tari klasik gaya Yogyakarta atau Joged Mataram. Masyarakatmemanfaatkan warisan budaya wayang wong gaya Yogyakarta untuk atraksi wisata.Dalam perspektif kajian budaya, pemanfaatan tersebut merupakan industri budayayang menuntut komodifikasi. Data penelitian dikumpulkan dari kepustakaan,wawancara dengan pakar wayang wong gaya Yogyakarta, dan pengamatan di lokasipementasan, di tempat pembelajaran tari klasik di kota Yogyakarta. Hasil penelitianmenunjukkan bahwa untuk tujuan atraksi wisata pementasan wayang wong gayaYogyakarta mengalami perkembangan dan komodifikasi, tetapi masyarakat tetapmempertahankan aturan baku dari segi teknis tari dan penjiwaan dari para penarinya.Kata kunci: wayang wong, Yogyakarta, atraksi wisata, industri budaya, komodifikasiAbstractWayang wong is an outstanding dance performance in Java. Yogyakarta’s stylemeans that the dance movement has its basic on Yogyakarta’s classical court dance namedJoged Mataram. People in Yogyakarta present the show of this intangible heritage as touristattraction. Cultural studies acknowledge the practice as part of cultural industry whichrequire its commodification. Datas are obtained out of field research and litterature study:interviews with experts of wayang wong Yogyakarta style, observations in some classicaldance training societies in the city of Yogyakarta. The result indicate that transformation andcommodification in wayang wong performance occured due to tourist attraction. Nevertheless,communities continue their effort to preserve the court classical dance standard in term ofdance technicality and the highly controlled emotion of dancers expression.Keywords: wayang wong, Yogyakarta, tourist attraction, cultural industry,commodification.

Download Full-text

Intégration et transformation d’une figure de la danse classique par la danse coréenne – une analyse comparée de la Pirouette en dehors et du Hanbaldeuleodolgi basée sur la notation Laban

Social Science Information ◽

10.1177/0539018417694776 ◽

2017 ◽

Vol 56 (2) ◽

pp. 309-327 ◽

Cited By ~ 1

Author(s):

Kyung-Eun Shim ◽

Blandine Bril

Keyword(s):

Detailed Analysis ◽

20Th Century ◽

Cultural Exchange ◽

The West ◽

Dance Movement ◽

Classical Dance ◽

Central Figure ◽

Mechanical Constraints ◽

Classical Ballet ◽

Korean Dance

Due to cultural exchange between the West and Asia since the beginning of the 20th century, the Korean dance has integrated quite a few aspects of classical dance while transforming its figures. The transformation itself is what we are interested in. We focus on a central figure in classical ballet, la pirouette en dehors, which in the Korean dance is known as the Hanbaldeuleodolgi. Our research aims at understanding how is expressed in both cultures (France and Korea), a dance movement which comes under similar mechanical constraints (producing rotational forces) while displaying a unique aesthetic to each context. The detailed analysis of this figure is carried out based on the theory of Rudolf Laban.

Download Full-text

Audiovisual Aesthetics of Sound and Movement in Contemporary Dance

Empirical Studies of the Arts ◽

10.1177/0276237418818633 ◽

2018 ◽

Vol 38 (2) ◽

pp. 191-211

Author(s):

Claire Howlin ◽

Staci Vicary ◽

Guido Orgs

Keyword(s):

Electrodermal Activity ◽

Incongruent Condition ◽

Contemporary Dance ◽

Causal Relationships ◽

Dance Movement ◽

Dance Performance ◽

Psychophysiological Responses ◽

Aesthetic Appeal

How do movement and sound combine to produce an audiovisual aesthetics of dance? We assessed how audiovisual congruency influences continuous aesthetic and psychophysiological responses to contemporary dance. Two groups of spectators watched a recorded dance performance that included the performer’s steps, breathing, and vocalizations but no music. Dance and sound were paired either as recorded or with the original soundtrack in reverse so that the performers’ sounds were no longer coupled to their movements. A third group watched the dance video in silence. Audiovisual incongruency was rated as more enjoyable than congruent or silent conditions. In line with mainstream conceptions of dance as movement-to-music, arbitrary relationships between sound and movement were preferred to causal relationships in which performers produce their own soundtrack. Performed synchrony Granger caused changes in electrodermal activity only in the incongruent condition consistent with “aesthetic capture.” Sound structures the perception of dance movement, increasing its aesthetic appeal.

Download Full-text

KAJIAN FILOSOFIS LONTAR CALONARANG

Jurnal Penelitian Agama Hindu ◽

10.25078/jpah.v2i1.480 ◽

2018 ◽

Vol 2 (1) ◽

pp. 274

Author(s):

I Gusti Ayu Widayanti ◽

I Made Surada ◽

I Made Adi Brahman

Keyword(s):

Literary Work ◽

Social Function ◽

Cultural Preservation ◽

Work Of Art ◽

Literary Works ◽

Art Form ◽

The People ◽

The Social ◽

Black Magic ◽

The Village

Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.

Download Full-text

Cultural Adaptations of Dance Movement Psychotherapy Experiences

The Oxford Handbook of Dance and Wellbeing ◽

10.1093/oxfordhb/9780199949298.013.56 ◽

2017 ◽

pp. 680-698

Author(s):

Athiná Copteros ◽

Vicky Karkou ◽

Carolyn G. Palmer

Keyword(s):

South African ◽

Interpretative Phenomenological Analysis ◽

Water Resource Management ◽

Ecological Crisis ◽

Dance Movement ◽

Cultural Adaptations ◽

Social Ecological Systems ◽

The People ◽

Management Context ◽

The Uk

Water plays a key role in all our lives, and in South Africa it epitomizes a space in which political inequalities have played themselves out with devastating consequences. The current ecological crisis demands new ways of engaging with ourselves, each other, and nature. This research is an initial exploration on the use of a body-based creative movement approach within a transdisciplinary complex social–ecological systems researcher group. The research objective was to develop culturally relevant themes from professional dance movement psychotherapy (DMP) training in the UK for application in a South African water-resource management context, using interpretative phenomenological analysis. Artistic inquiry was used to reflect creatively on the themes and to add an embodied response to the discussion. The cultural adaptations of DMP can contribute to a more engaged and non-hierarchical collaboration between practitioners and the people and communities they serve.

Download Full-text