Pasihan Mataraman: Bentuk dan Struktur Gerak Tari Asmara Hastungkara

Research on the form of Pasih Asmara Hastungkara Dance by Slamet aims to describe the form and structure of the dance. This dance is considered fascinating because it is located in Surakarta but with a Yogyakarta style of movement. This study uses qualitative research methods, with data collection techniques carried out are observation, interviews, and literature study. It aims to obtain as much data as possible, then analyze and describe it in-depth to answer the problem of the form and structure of Slamet's Pasihan Asmara Hastungkara Dance. Form analysis uses the theoretical basis of Suzane K. Langer, then theoretically explained using Slamet's opinion to reveal its constituent elements. Furthermore, to analyze the structure, using the theory of Anya Peterson Royce, then grammatically described the arrangement of movements based on the opinion expressed by Ben Suharto.The study results obtained an explanation of the form and structure of the Pasihan Asmara Hastungkara Dance by Slamet. The shape of the Pasihan Asmara Hastungkara Dance by Slamet cannot be separated from several of its constituent elements, namely dancers, motion, rhythm, expression, make-up, clothing, and the venue for the performance. Structurally, this dance movement consists of motion motifs, motion phrases, motion sentences, and groups of motion sentences. Overall, the costumes, variety, motion, accompaniment, and structure of the presentation show that Asmara Hastungkara Dance is a dance work with the Yogyakarta style. However, in the production, the impression is present in the Surakarta style pasihan dance due to the dancers' ability who have a Surakarta style dance background. In the muryani section, the clothing and beksan jogedan adopted the Surakarta style movements, which is a distinctive feature for the Pasihan Asmara Hastungkara Dance by Slamet. ABSTRACTResearch on the form of Pasih Asmara Hastungkara Dance by Slamet aims to describe the form and structure of the dance. This dance is considered fascinating because it is located in Surakarta but with a Yogyakarta style of movement. This study uses qualitative research methods, with data collection techniques carried out are observation, interviews, and literature study. It aims to obtain as much data as possible, then analyze and describe it in-depth to answer the problem of the form and structure of Slamet's Pasihan Asmara Hastungkara Dance. Form analysis uses the theoretical basis of Suzane K. Langer, then theoretically explained using Slamet's opinion to reveal its constituent elements. Furthermore, to analyze the structure, using the theory of Anya Peterson Royce, then grammatically described the arrangement of movements based on the opinion expressed by Ben Suharto.The study results obtained an explanation of the form and structure of the Pasihan Asmara Hastungkara Dance by Slamet. The shape of the Pasihan Asmara Hastungkara Dance by Slamet cannot be separated from several of its constituent elements, namely dancers, motion, rhythm, expression, make-up, clothing, and the venue for the performance. Structurally, this dance movement consists of motion motifs, motion phrases, motion sentences, and groups of motion sentences. Overall, the costumes, variety, motion, accompaniment, and structure of the presentation show that Asmara Hastungkara Dance is a dance work with the Yogyakarta style. However, in the production, the impression is present in the Surakarta style pasihan dance due to the dancers' ability who have a Surakarta style dance background. In the muryani section, the clothing and beksan jogedan adopted the Surakarta style movements, which is a distinctive feature for the Pasihan Asmara Hastungkara Dance by Slamet.

Representasi Aksi Unjuk Rasa dalam Penciptaan Karya Tari Chaos

The dance work "Chaos" was created based on a chaotic atmosphere, when the voices of the demonstrators during the action were never heard. Starting from the concept of a chaotic demonstration, which is correlated with today's life. One of them is how humans dare to do anything to fulfill their rights so that their opinions can be conveyed. No matter how much danger he would endure, the most important thing was that his expression had to be achieved. This work is presented in the form of non-literary dance works. This work is not related to a particular story and there are no characterizations, but tries to create the desired atmosphere. The artist visualizes the idea of working on the atmosphere and spirit of a demonstrator.This work can be directed at anyone, including the creator himself, where when we get a position then don't act arbitrarily, and keep good communication so that we can create policies that may be very good and never crossed our minds.

Ekspresi Kasih dalam Karya Tari Dadalar

Dadalar dance is motivated by an interest in the application of love in social life between humans. Every human being has their way of giving and receiving love which ultimately shapes the character of the human being. Environmental factors, father, and the Bible are three factors that encourage the creator to create this work. But the main factor is the father figure, a person who teaches many things, especially the knowledge of God and love. Dadalar dance works using the Partnering method, where this work is presented in a duet with two dancers. There is cooperation between dancers, so a sense of mutual help, mutual trust, support, and balance is needed. This work is a development of the traditional dances of North Maluku, namely Sarah Dabi dabi and Legu salai. The creation process includes the preparation stage and the cultivation stage. The preparation stage consists of observation and determination of the material. The cultivation stage interprets the results of exploration, improvisation, imagination, and unification.Dadalar is presented in a duet of three parts, interpreted in sense, atmosphere, space, and time. This presentation emphasizes the importance of intensity and gives the audience space and time to enjoy and sense what is presented.

Tinjauan Kreativitas Agus Tasman Ranaatmadja Dalam Tari Bedhaya Si Kaduk Manis

This paper aims to determine the creativity of Agus Tasman Ranaatmadja, a dance master, in formulating a dance work by analyzing his artistic creations textually. The study was conducted qualitatively by borrowing Sumandiyo Hadi's idea on textual analysis of dance. The results of the study show that the dance "Bedhaya Si Kaduk Manis" has an asymmetrical gawang development and a dancer's level pattern play. “Tari Bedhaya Si Kaduk Manis” is constructed using the creator's version of the work method and is presented with a single cone serving plot. The final entity "Bedhaya Si Kaduk Manis Dance" has a significant difference from the bedhaya dance in general, but still has the taste and principle of bedhaya dance.

Serangan Empat Hari Di Surakarta Sebagai Sumber Penciptaan Karya Tari Tekad

The research entitled Tekad choreography by Zhola Verucha Taruna aims to find out and explain descriptively about the form of Tekad choreography, which includes the creation process. The theoretical basis used is the theory of structure, according to Suzanne K. Langer. The creation process uses the thoughts of Alma H. Hawkins and uses the approach of Sumandiyo Hadi to explain the choreographic elements. The method used in this research is Practice-Based Research.The results showed that the choreography of Tekad by Zhola Verucha Taruna was non-literal. This dance form consists of four parts. The use of everyday movements is varied with the Aikido movement of the Muso Jihiden Eishin Ryu flow, which has been developed and uses the ideas of the katana as a symbol property of determination. While the music used is music in the form of MIDI (Musical Instrument Digital Interface), and lighting is more about spatial attitudes. The process of creating this dance work uses the principle of re-interpreting the Four-Day General Attack of the City of Surakarta with elements of novelty in the form of works through seeing, feeling, and imagining, and manifesting them into form. Determination is the title of a dance work resulting from exploration, improvisation, and evaluation of ideas into a complete form to accommodate messages or contents about struggle or spirit.