Gesture: Jurnal Seni Tari e-ISSN: 2599-2864 | p-ISSN: 2301-5799 Frequency : 2 issues per year (april & october) Editor in Chief : Dr. Sitti Rahmah, S.Pd., M.Si Managing Editor: Try Wahyu Purnomo, S.Pd., M.Pd Publisher: Departement of Dance Education, Faculty of Languages and Arts, Universitas Negeri Medan Accreditation Rankings : Sinta 4 Gesture: Jurnal Seni Tari (English: Gesture Dance Journal) is a peer-reviewed journal published by the Department of Dance Education, Faculty of Languages ​​and Arts, Universitas Negeri Medan (since 2012) and is managed in collaboration with Asosiasi Program Studi Pendidikan Sendratasik Indonesia (Association of Indonesian Drama, Dance and Music Education Study Programs/AP2Seni). Gesture: Jurnal Seni Tari (English: Gesture Dance Journal) is an integrated media for on going communication related to significant new research findings related to dance studies, including: Dance Education, Dance Performance, Ethnochoreology, Dance Management, and Dance Psychology Gesture: Jurnal Seni Tari (English: Gesture Dance Journal) publishes research articles that are comprehensive in nature by inviting reviews from the leading experts in dance studies. The incoming papers will be selected based on high scientific studies, provide important new knowledge, and are very interesting for the community in the field of dance studies. This journal provides immediate open access to its content onthe principle that making research freely available to the public supports a greater global exchange of knowledge. Gesture: Jurnal Seni Tari is Indexed By: Gesture: Jurnal Seni Tari (English: Gesture Dance Journal) is accredited by the Ministry of Research, Technology and Higher Education, Republic of Indonesia, which is ranked Fourth Grade (Peringkat 4, Sinta 4) from 2022 to 2027 based on Decree No. 10/C/CE/DT.05.00/05.00/2025
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Kajian Bentuk dan Fungsi Silat Pangean di Desa Kota Baru Kecamatan Rakit Kulim Kabupaten Indragiri Hulu
Pangean Silat is a form of martial art that features self-defense movements. Pangean Silat plays an important role in various traditional ceremonies, especially in Kota Baru Village, Riau Province. Initially, Pangean Silat was only used indoors, but over time, it began to develop and was brought to Silat Village with the aim of being studied by many people. Today, it has become an integral part of the community's traditions and customs, including in processions, welcoming guests, welcoming brides, and Panggak Adat Yang. This research aims to find out the form of movement and function of Pangean Silat in the lives of the people of Kota Baru Village, Riau Province. The method used is a qualitative approach with data collection techniques through observation, interviews, and documentation. The results of the study show that Pangean silat in Kota Baru Village is not only a martial art, but also includes entertainment silat which has an important role in the Panggak Adat procession in Kota Baru Village. The form of Pangean silat performance can be seen from several elements such as clothing, accompanying music, audience, stage, and performers. This research is expected to contribute to the development of the study of local culture and traditions, as well as increase awareness of the importance of this.
Copyright (c) 2026 Yahyar Erawati, Fatia Kurniati, Ferry Aidil Saputra https://creativecommons.org/licenses/by-sa/4.0
Struktur Tor Tor Usihan Bodat Haudanan dalam Pesta Rondang Bittang pada Masyarakat Simalungun
Tor-tor Usihan Bodat Haudanan is a folk dance performed at the Rondang Bittang Festival, a Simalungun community celebration during the harvest. This research aims to analyze the structure of this dance using Anya Peterson Royce's structural theory, which describes the relationship between the parts of the dance. The method used was descriptive qualitative, implemented at the Pematang Raya State Vocational School for Arts and Culture. The results of the research showed that there was an organizational relationship between the beginning, content and conclusion. The first part begins with a gesture of respect to the audience. The main part depicts a monkey stealing fruit in the field, while the ending shows the monkey confused when the rain comes, ending with a tribute. The three acts reflect the relationship between theme, movement and floor patterns. Dynamic dance movements involve the hands, feet and body, inspired by nature and everyday life. This Tor-tor theme reflects the disturbances faced by farmers during the farming process. Music functions as a rhythm that accompanies every movement.
Copyright (c) 2026 Tesya Sandrina, Tuti Rahayu, Sitti Rahmah https://creativecommons.org/licenses/by-sa/4.0
Nilai Estetika Tatak Moccak pada Masyarakat Pakpak Dairi
Tatak Moccak, the traditional dance of the Pakpak tribe in North Sumatra, combines dance and martial arts inspired by tiger movements. This research aims to explore the aesthetic values contained in the movements, musical accompaniment, traditional costumes, and the welcoming procession. With a descriptive qualitative approach, data were obtained through observation, interviews, and documentation from sources as well as Tatak Moccak dancers in Hutarakyat Village. The research results show that the aesthetic value of Tatak Moccak is manifested in the harmony of dance movements such as persentabien, bunga-bunga, mundur mi podi, toyong, and santah, which have symbolic meanings. Additionally, the accompaniment of traditional music creates beauty through rhythms and melodies that harmonize with the dance movements, while traditional attire, such as oles eket takal and baju merapi-api, adds visual appeal. Tatak Moccak also plays an important role in traditional ceremonies and welcoming rituals as a symbol of the cultural identity of the Pakpak tribe. However, the lack of recognition among the younger generation poses a challenge in preserving this dance. Therefore, educational and cultural promotion efforts are key to ensuring the sustainability of Tatak Moccak in the future.
Copyright (c) 2026 Ester Natalia Simanjuntak, Martozet Martozet, Sitti Rahmah https://creativecommons.org/licenses/by-sa/4.0
Prosedur dan Pencapaian Kompetensi untuk Dancer pada Komunitas Baby Badazz Kota Malang
This study examines the development of modern dance in Indonesia, particularly hip-hop, which attracts young people to explore their creativity through communities like Baby Badazz in Malang City. The purpose of this study is to describe the procedures and competency achievements of dancers in the Baby Badazz Community in Malang City. The method used is a qualitative approach with descriptive methods, involving participatory observation, in-depth interviews, and documentation at the research location. The results show that the training procedures include skill development stages (warm-up, basic movements, dance material), demonstration and drill methods, and evaluation through videos. Competency achievements are reflected in movement skills that include movement techniques, body coordination, and expression, which encourage personal growth and community sustainability. This study provides guidance for other communities to improve the quality of female dancers in hip-hop dance.
Copyright (c) 2026 Tharisa Oktanita, Robby Hidajat https://creativecommons.org/licenses/by-sa/4.0
Tinjauan Holistik Tari Goyang Ngamprok di Sanggar Ayodya Pala Kotamadya Depok Jawa Barat
This research aims to describe and analyze the meaning of the Goyang Ngamprok danceat the Ayodya Pala Studio in Depok Municipality, West Java. This research uses a qualitative research method with a Holistic Critical Approach that places three factors, namely genetic factors, objective factors, and affective factors, as a single entity as the source of meaning. The meaning of dance can be revealed by examining three issues: (1) How are the genetic factors of the Goyang Ngamprok dance at the Ayodya Pala Studio in Depok Municipality, West Java, (2) How are the objective factors of the Goyang Ngamprok dance at the Ayodya Pala Studio in Depok West Java, (3) How the Affective Factors of the Goyang Ngamprok Dance at the Ayodya Pala Studio in Depok Municipality, West Java. The data collection methods used were observation, interviews, and literature review. The research results show that the Ngamprok Dance tells the story of teenage friendships among a group of young people who experience misunderstandings but eventually quickly reconcile and become close again. The music of Goyang Ngamprok dance utilizes Betawi traditional music, fan properties, and corrective makeup.
Copyright (c) 2026 Nurul Syabani, Syahrial Syahrial, Maryono Maryono, R.M. Pramutomo https://creativecommons.org/licenses/by-sa/4.0
Stigma Gender dan Motivasi Siswa Laki-Laki dalam Pembelajaran Seni Tari
Dance learning at the senior high school (SMA) level still faces significant gender bias challenges. Culturally, dance is often constructed as an activity synonymous with femininity, which results in male students tending to be passive, lacking in confidence, and limiting their involvement during the learning process. Based on this reality, this study aims to explore the manifestations of gender stigma experienced by male students and its implications for their learning motivation. To explore this issue, the study was conducted at SMAN 1 Parongpong, West Bandung Regency, using qualitative descriptive methods through data collection techniques of participant observation, in-depth interviews, and documentation studies. Based on the analysis, it was found that gender stigma manifests implicitly through social perceptions and interactions within the school environment, where this condition directly impacts the low intrinsic motivation of male students. However, this study also revealed important findings that the implementation of an inclusive and gender-responsive learning approach has proven effective in reducing this stigma and increasing the active participation of male students. Thus, this study concludes that the role of teachers is crucial in deconstructing stigma and reconstructing a safe, equal, and meaningful dance learning environment for all students.
Copyright (c) 2026 Fitri Nurhaetin, Lilis Sumiati, Nurwani Nurwani https://creativecommons.org/licenses/by-sa/4.0
Pengaruh Pembelajaran Tari Kreasi Melalui PJBL terhadap Berpikir Kreatif Siswa di SMKN 15 Bandung
This study aims to analyze the effect of creative dance learning through Project Based Learning (PjBL) on the creative thinking skills of vocational high school students. This research was motivated by the demands of the Merdeka Curriculum and the Pancasila Student Profile, which emphasize creativity as an important competency. The method used was an experiment with a quantitative approach involving 35 tenth-grade students at SMKN 15 Bandung. Data collection techniques included observation, interviews, and documentation. The results of the study show a significant increase in students' creative thinking skills after the implementation of PjBL in creative dance learning. This is evidenced by a significant difference between the pretest and posttest scores with a t-test result showing a p-value of 0.000 < 0.05. Thus, it can be concluded that PjBL learning is effective in improving students' creative thinking skills.
Copyright (c) 2026 Riri Triyani, Lilis Sumiati, Nurwani https://creativecommons.org/licenses/by-sa/4.0
Tari Kinyah Mandau Representasi Kerukunan Suku Dayak di Kalimantan Tengah
In the past, Kalimantan Island was known as a difficult-to-access region, especially during the Asang period when headhunting and slavery were common due to conflicts between Dayak tribes. Attacks were generally carried out suddenly, but the Dayak people had a tradition of preparation through the Kinyah Mandau dance, which symbolized readiness, courage, and strength in facing enemies. The tense social conditions continued even during the Dutch colonial period, until finally the Resident of Banjarmasin initiated a large meeting that gave birth to the Tumbang Anoi Peace Conference (May 22–July 24, 1894). Since this historic event, the practice of violence has ceased and the Dayak tribes are committed to living in harmony. The Kinyah Mandau dance remains preserved, but its function has transformed from a war ritual to a cultural performance. In its new form, this dance is not merely entertainment, but a symbol of harmony and a medium for passing on noble values such as courage based on truth, responsible leadership, and social solidarity. Education plays a vital role in transmitting these values to the younger generation, ensuring that the Kinyah Mandau Dance not only survives as a cultural heritage but also becomes a representation of harmony and the collective identity of the Dayak people in Central Kalimantan.
Copyright (c) 2026 Aldia Wulandari, Tris Sofia Wartina, Tifan Muhammad Amirulloh https://creativecommons.org/licenses/by-sa/4.0
Bentuk Penyajian Tari Gambyongan Srampat Tayub di Desa Jimbe Kecamatan Kademangan Kabupaten Blitar
This study aims to describe in depth and comprehensively the three main components of the presentation form of the Gambyongan Srampat Tayub Dance in Jimbe Village, namely the theme, costume, and make-up, considering the decreasing number of artists who master the structure of the dance and the lack of regeneration. This study uses observation, interview, and documentation data collection techniques, using Jazuli's theory on the form of presentation. The results of the study indicate that the theme of the Gambyongan Srampat Tayub Dance is derived from four elements, namely comments on life (expressions of joy and harmony), folklore (legends of colonial history and the Jimbe locality), the history of a figure (Ibu Sukarmi), and literary works (traditional songs with moral meaning). The costume forms the curves of the body and has aesthetic meaning. Meanwhile, the make-up does not use character make-up but rather beautiful make-up. This study contributes to filling the gap in the study of the theme of the Gambyong Srampat Tayub dance and provides a comprehensive understanding that has urgency for efforts to preserve local culture among the younger generation.
Copyright (c) 2026 Isti Dwiwahyuni, Rully Aprilia Zandra https://creativecommons.org/licenses/by-sa/4.0
Metode Injeksi pada Teknik Menari Sanggar Tari Swardance Pandanwangi Kabupaten Malang
This study presents the creative practice of Eko Ujang in the invention of the Sekar Kadipaten Dance and is intended to find out how the creative process of innovating it from the Wayang Topeng Malangan dance adaptation. The effort is motivated by the development of Malangan creative traditional dance which is based on the Wayang Topeng Malangan art. The main framework reference in this paper is the creative process and results expected. The research method that will be used is a descriptive qualitative method with an ethnochoreology approach. The data collection process uses a semi-structured interview method and combines literature studies. The results of this study describe the creative process of inventing the Sekar Kadipaten Dance which was originated from the process of adaptation and development of dancing work patterns referring to Malangan traditional dance. This research can be used as a critical reflection on the innovation of creative dance works based on Malangan traditional art. This can add to the reference about creative dance art formation that has developed in Malang Regency.
Copyright (c) 2026 Divva Marchanda Adiha Sholichin, Wida Rahayuningtyas https://creativecommons.org/licenses/by-sa/4.0
Makna Tanda dalam Struktur Fragmen Tari Topeng Sekartaji Karya S. Ngaliman: Kajian Semiotika Fredinand de Soussure
This study aims to analyze the meaning of sign structures in the dance fragment Topeng Sekartaji by S. Ngaliman using Ferdinand de Saussure’s semiotic approach. This research is motivated by the limited interpretative readings of dance works. Although Topeng Sekartaji is frequently performed in various events, the understanding of its structural meaning has not been widely explored; thus, the symbolic meanings constructed through elements such as movement, mask, character, music, and costume are not yet fully interpreted. The focus of this study lies in examining the relationship between the signifier and the signified as manifested through choreographic elements. This study employs a qualitative case study method with a non-participatory observation technique using documentation from the UPT Audio Visual ISI Surakarta YouTube channel, recorded during a performance on January 17, 2019, in the event “Mengenang Gendhon Humardani & Agus Tasman. ”The findings reveal that the Topeng Sekartaji dance fragment serves as a symbolic representation of the emotional relationship between Sekartaji, Panji, and Klana. Panji signifies wisdom, patience, and gentleness, whereas Klana represents anger, ambition, and aggression. Sekartaji symbolizes the ideal Javanese woman, characterized by grace, patience, and devotion. The denotative meaning of this dance reflects a love triangle narrative, while its connotative meaning embodies Javanese philosophical values concerning loyalty, honor, and the duality of good and evil.
Copyright (c) 2026 Indah Cahyasari, Paimin Paimin https://creativecommons.org/licenses/by-sa/4.0
Teknologi Kinetik Penggunaan Properti Fan pada Komunitas Malang Fire Dance
This study explores the application of kinetic technology through the use of fan properties in the Malang Fire Dance Community in Malang City. The purpose of this research is to analyze how body movement energy is applied in fire dance performances and how the integration between the body, space, and props creates performance aesthetics. This study employs a qualitative method with a phenomenological approach, in which the researcher was directly involved in observation, interviews, and documentation in the field. Data analysis was carried out using Laban Movement Analysis (LMA) theory, which consists of four main components: Body, Effort, Shape, and Space. The results show that the fan functions as the main medium to visualize kinetic energy through coordinated body movements, balanced use of force and timing, aesthetic fire visual forms, and the dancers’ spatial awareness within the performance space. Kinetic technology in fire dance serves not only to produce visual beauty but also as a synergy between science (motion energy) and art (body expression), resulting in performances that are safe, dynamic, and aesthetically engaging.
Copyright (c) 2026 Riza Andini, Robby Hidajat https://creativecommons.org/licenses/by-sa/4.0
Upaya Pengembangan Bakat Seni Tari melalui Kegiatan Ekstrakurikuler Tari di SD Negeri 10 Banda Aceh
This study aims to identify efforts to develop dance talent through extracurricular activities at SD Negeri 10 Banda Aceh. The background of this study is based on various obstacles such as the absence of special practice days and schedules, limited supervising teachers, inadequate facilities, and minimal school budget to support dance activities. This study uses a qualitative method with a descriptive approach. Data collection techniques include observation, interviews, and documentation. The subjects in the study consisted of the principal, one art teacher, and five students who have talent in dance. The study was conducted in the even semester of the 2024/2025 academic year. The results of the study indicate that the development of dance talent in this school has not been optimal. However, the principal has made efforts to provide a forum for art activities, while teachers play a role in providing motivation and opening up space for student exploration. Students show high enthusiasm, are able to express themselves, and begin to be confident in appearing in public. Therefore, further support is needed in the form of policies, facilities, and competent mentors so that extracurricular dance activities can run optimally and sustainably.
Copyright (c) 2025 Rheka Putri Meliza, Putry Julia, Dian Aswita https://creativecommons.org/licenses/by-sa/4.0
Strategi Pembelajaran Tari melalui Improvisasi Gerak untuk Meningkatkan Kreativitas Siswa SMAN 2 Blitar
The article describes the dance learning strategy at SMAN 2 Blitar. The researcher used a qualitative case study approach with data collected through observation, interviews, and documentation. The data credibility test applied was source and technique triangulation. Data analysis was carried out through data reduction, data presentation, and conclusion drawing. The research findings describe the application of effective dance learning strategies with movement improvisation material in dance extracurricular activities at SMAN 2 Blitar. Movement improvisation helps provide students with movement experiences, fosters movement awareness, and achieves three of the five levels of creativity, namely expressive, technical, and inventive. The contribution of this research provides and adds to a deeper understanding of the effectiveness of dance learning strategies through improvisation material. It is also hoped that it can contribute to the development of more efficient dance learning in the future.
Copyright (c) 2026 Allfa Andranica Devya Aprilyawati, Robby Hidajat https://creativecommons.org/licenses/by-sa/4.0
Nilai Etika dalam Tortor Hata Sopisik pada Masyarakat Batak Toba di Kabupaten Samosir
This research aims to describe the ethical values in Tortor Hata Sopisik among the Batak Toba community in Samosir Regency, using the ethical value theory according to K. Bertens who defines ethics as norms that regulate human behavior. This qualitative research was conducted at Sanggar Seni Sukacita, Ronggurnihuta, Samosir Regency, with a sample consisting of 6 Tortor Hata Sopisik dancers and 2 artists as informants. Data were collected through observation, interviews, and documentation, then analyzed descriptively qualitatively. The research results show that each type of movement in Tortor Hata Sopisik reflects ethical values based on religious norms, morality, politeness, and law. Religious norms are evident in the somba movement, which teaches prioritizing God and adhering to religious rules from an early age. The norms of decency are evident in the hushed movements that convey the heart's content subtly. The norm of politeness is reflected in the prohibition of excessive touching of the opposite sex, respecting women, and maintaining dignity. Legal norms are manifested through rules prohibiting dance partners from having the same clan or being in the dalihan na tolu kinship, in accordance with Batak customs that forbid marriage within the same clan.
Copyright (c) 2025 Sufrianty Simbolon, Ruth Hertami Dyah Nugrahaningsih https://creativecommons.org/licenses/by-sa/4.0
Citra Perempuan Sunda pada Tari Karawitan Istri
This study aims to describe the image of Sundanese women as portrayed in the Tari Karawitan Istri (Women’s Karawitan Dance), a choreographic work by R. Sambas Wirakoesoemah in 1925. Tari Karawitan Istri is one of the classical Sundanese dances that has survived to this day, serving as a reflection of cultural values and the image of Sundanese women in its time. A qualitative research paradigm was employed using an ethnokoreological approach, applying stages such as dance structuralization, description, categorization, analysis, textual and contextual synthesis, and interpretation. Data were collected through observation, interviews, literature review, and documentation studies. Data analysis was conducted using triangulation to obtain a more accurate understanding of the dance. Textual findings reveal that the choreography of Tari Karawitan Istri consists of sixteen basic movement patterns, two locomotion movements, sixteen pure movements, and three gestures. The movements are characterized by lightness, slowness, and precision, which signify calmness, carefulness, and self control qualities that reflect the ideal character of Sundanese women as gentle and civilized figures. Contextually, this dance illustrates the image of Sundanese women during that era, who embodied refined behavior and upheld politeness as a core cultural value. The dance affirms that Sundanese women are not weak figures, but rather play a central role as educators and preservers of cultural values for future generations.
Copyright (c) 2025 Anindyajati Cantika, Tati Narawati, Saian Badaruddin https://creativecommons.org/licenses/by-sa/4.0
Kajian Etnokoreologi Tari Krincing Jagat di Sanggar Seni Way Talatah Subang
Krincing Jagat Dance is a new form of creative dance inspired by the traditional art of Sisingaan from Subang, West Java. This dance was created by Sigit Febrianto at Sanggar Waytalatah Subang as an effort to preserve local culture with an innovative touch to remain relevant amidst the development of the times. This study aims to describe the text and context of Krincing JagatDance through ethnochoreology studies. Textually, Krincing Jagat Dance combines elements of movement, music, and dance properties such as krincing (small bells) to form a dynamic and expressive dance composition. There are 22 movements that can be divided into 3 parts of movement composition, namely gesture, locomotor and pure movement. This study uses an Ethnochoreology approach which is used as a Grand theory, using a descriptive analysis method and using a qualitative paradigm. Data were obtained through direct observation at the Waytalatah Art Studio, interviews with the dance creators, and documentation of the Krincing JagatDance. The results of the study indicate that the Krincing JagatDance not only maintains the aesthetic values ​​of the Sisingaan tradition, but also brings a new spirit through freer and rhythmic choreography, without leaving behind local identity.
Copyright (c) 2025 Dian Maryani, Tati Narawati, Saian Badaruddin https://creativecommons.org/licenses/by-sa/4.0
Pengemasan Materi Ajar Tari Gobuk melalui Aplikasi Youtube untuk Siswa Sekolah Menengah Atas
This study aims to describe the steps of Gobuk Dance packaging as teaching material through the Youtube application to display uploads containing Gobuk Dance in accordance with the Merdeka Curriculum, Phase E Learning Outcomes, namely: "Students are able to show and identify the meaning of creative dance according to the basic and supporting elements of dance works based on personal perspectives". The research location was carried out at the Yusda Arts Institute, Tanjung Tiram District, Batubara Regency in May-July 2024. A sample of 6 dancers. Data collection techniques were carried out by observation, interviews, documentation and validation tests. The research methodology uses ADDIE development. The results of the study explain the meaning of dance based on the main elements and supporting elements of the Gobuk Dance uploaded via the Youtube Application with a total duration of 16.00 minutes. This teaching material has passed the material feasibility test getting an average score of 4.7 and the media feasibility test getting an average score of 4.6 where from the score obtained this product is said to be worthy to be used as teaching material in learning activities for Senior High Schools.
Copyright (c) 2025 Didra Amira Putri, Yusnizar Heniwaty https://creativecommons.org/licenses/by-sa/4.0
Pengembangan Gerak Tari Tradisional Batak Toba Berdasarkan Elemen Gerak
In creating dance, the creator or choreographer will be faced with creative work in determining the composition of movements that will be arranged based on the choreographic structure. Development can be done in the studio by developing through movement elements. This study uses a qualitative descriptive approach, which focuses on the development of movements based on movement elements, namely energy, space, and time based on four Toba Batak traditional dance motifs, namely Mandenggal, Embas, Somba Situan Natorop, and Padao Mara. This study uses the theory of movement stimuli by La Meri, where there are five stimuli in dance creation and movement theory by Jacqueline Smith, including energy, space, and time. The results of the study explain that the results of the development of movements through movement elements, namely energy, space, and time for the four Toba Batak traditional dance motifs of Mandenggal, Embas, Somba Situan Natorop, and Padao Mara, have produced new forms and colors of movement. The results of the development of these three elements provide a constructive creative experience and the choreographer has succeeded in obtaining various new, even unique, motif forms.
Copyright (c) 2026 Martozet Martozet, Nurwani Nurwani, Yusnizar Heniwaty, Frisdo Ekardo https://creativecommons.org/licenses/by-sa/4.0
Adaptasi Wayang Topeng Malangan pada Proses Kreatif Penciptaan Tari Sekar Kadipaten
Copyright (c) 2026 Apriliani Iswati, Anik Juwariyah https://creativecommons.org/licenses/by-sa/4.0
Sejarah Perkembangan Reog Sepuh di Paguyuban Singo Gaplok Kabupaten Ponorogo
This research examines the development of Reog Sepuh in Bedingin Village, Sambit District, Ponorogo Regency as a form of cultural heritage that has evolved within the dynamics of social changes. The research focuses on the transformation of performance structure, philosophical values, and preservation efforts carried out by its supporting community. This research employs a qualitative approach with ethnographic methods, participatory observation, in-depth interviews, and document study. The results show that Reog Sepuh Bedingin has uniqueness in terms of performance structure, movement patterns, and ritual functions that are still maintained to this day. Despite facing the challenges of modernization and shifting interests of the younger generation, Reog Sepuh Bedingin persists through regeneration efforts, creative innovations that still respect traditional standards, and support from local government and community. This research emphasizes the importance of balance between preserving authentic values and contextual adaptation to ensure the sustainability of traditional arts in the modern era.
Copyright (c) 2025 Sendi Iman Apriyanto, Anggono Kusumo Wibowo https://creativecommons.org/licenses/by-sa/4.0
Kreativitas Nyoman Mulyawan dalam Tari Bala di Kabupaten Lampung Tengah
This research reveals the Creativity of Nyoman Mulyawan as the creator of Bala Dance in Central Lampung Regency. Bala dance is one of the works created by Nyoman Mulyawan by collaborating Lampung dance and Balinese dance. The purpose of this research is to reveal the problems: (1) How is the Form of Bala Dance in Central Lampung Regency? (2) How is Nyoman Mulyawan's Creativity in Bala Dance in Central Lampung Regency? The theoretical basis used is the theory of form and choreography in the book Basic Aspects of Group Choreography. This research uses a qualitative method using a choreographic approach. This research stage uses data collection by means of observation, interviews, and literature study. Then all the data is put together and then analyzed, aiming to find out the creativity of bala dance and the results of this research will be described as descriptive text. The results showed that the form of bala dance is a group dance that describes the warrior. In bala dance there are elements that include dance movements, dance music, dance themes, dance makeup, dance clothes, dance types, number of dancers, and dance properties. This creativity is shown from the choreographer, starting from the creation process until the formation of the bala dance.
Copyright (c) 2025 Ketut Putri Handayani, R.M. Pramutomo, Maharani Lutvinda Dewi https://creativecommons.org/licenses/by-sa/4.0
Garap Gerak Tari Ronggeng Paser di Kabupaten Paser Kalimantan Timur
The research aims to analyze and describe the form and movement of the Ronggeng Paser dance. Answering the problem of dance forms using the concept of Slamet MD that choreography is known as a dance form that cannot be separated from elements. To answer the problem of motion work using Slamet MD work theory, the concept of solah-ebrah, solah is movement and ebrah is form. The method used is a qualitative research type. Data collection techniques include observation, interviews, and literature studies. The results of the study show that the form concists of elements that are arranged in the Ronggeng Paser dance, including movement, dancers, make-up, costume, floor patterns, dance music and performance venue. And work on the movement by looking at the trajectory, dynamics, volume, tempo that forms the main movement pattern, alternating movements, and variation movements so that a variety of movements are created that have character as an element in the formation of dance that is placed according to the character called estra.
Copyright (c) 2025 Andrea Wulandari, Slamet MD, Maharani Lutvinda Dewi https://creativecommons.org/licenses/by-sa/4.0
Peran Tirang Community dalam Pengembangan Eksistensi Wayang Orang Ngesti Pandowo di Kota Semarang
This research aims to examine the role of Tirang Community in revitalizing the existence of Wayang Orang Ngesti Pandowo, a traditional performing arts group based in Semarang City. Employing a qualitative method with a phenomenological approach, the study focuses on the lived experiences, meanings, and dynamics within the collaboration between the two artistic entities. Data were collected through observation, in-depth interviews, and documentation of the collaborative processes. The findings reveal that the collaboration stemmed from concerns over the declining popularity and internal disintegration of Ngesti Pandowo, including the decreasing audience, lack of innovation, and weak managerial structure. Since the formal partnership began in 2022, Tirang Community has played a strategic role in training, restructuring performance management, and introducing creative concepts such as Wayang Orang On the Street. This collaboration has significantly increased audience engagement, rekindled the artistic spirit of Ngesti Pandowo members, and strengthened their cultural presence within the urban community. The study affirms that cross-community collaboration can serve as an effective strategy in revitalizing traditional performing arts through adaptive and participatory values.
Copyright (c) 2025 Wieke Putri Ainun Nimah, Eny Kusumastuti https://creativecommons.org/licenses/by-sa/4.0
Revitalisasi Motif Batik Reog Ponorogo dalam Karya Tari Batik Ponoragan
This study investigates the revitalization of Reog Ponorogo batik motifs through the creation of a contemporary dance performance entitled Tari Batik Ponoragan. The research aims to reinterpret the symbolic meanings and philosophical values embedded in Reog Ponorogo batik motifs into choreographic language and visual presentation. A qualitative approach was employed, incorporating participant-led and practice-led methods that actively engaged local batik artisans and dancers in the creative process. Data were obtained through participatory observation, in-depth interviews, and documentation, and analyzed thematically. The results demonstrate that this revitalization effort successfully integrates cultural symbolism with expressive and innovative choreography, resulting in an authentic work of art. Beyond artistic espression this dance also serves an educational medium and a means of reinforcing cultural identity sustainability. Collaborative, inclusive, and practice-bassed approaches are proven to be effective strategies for preserving and developing cultural heritage in respons to contemporary social changes.
Copyright (c) 2025 Hasbi Annursyah, Aminudin Aminudin, Anggono Kusumo Wibowo https://creativecommons.org/licenses/by-sa/4.0
Estetika Tari Betangas pada Sanggar Sultan Nata di Kabupaten Sintang Provinsi Kalimantan Barat
The purpose of this study was to analyze the aesthetic value of Betangas dance at Sanggar Sultan Nata in Sintang Regency. Betangas dance is a new creative dance created by Musliyadi in 2014. Betangas dance uses basic Malay dance movements. This study is a qualitative study with an ethnochoreology approach and descriptive analysis method. Data collection techniques: observation, interviews, and literature studies. The aesthetic value in Betangas dance can be seen in the elements of movement, dance music, floor patterns, costume makeup and properties. The dance movements are inspired by the movements during the Betangas ceremony, the music uses Malay music, uses corrective makeup and costumes based on the Sintang Malay traditional dress, the properties used are woven pandan leaf mats and sarongs or tapeh. The aesthetics of Betangas dance are related to the life value of the Malay community, especially in Sintang Regency.
Copyright (c) 2025 Rizka Fauziah, Sri Rochana Widyastutieningrum, Maharani Luthvinda Dewi https://creativecommons.org/licenses/by-sa/4.0
Tari Geboy Kembang Buruan di Sanggar Cantika Kabupaten Bandung
This study aims to describe and analyze the Geboy Kembang Buruan dance in order to reveal the uniqueness and cultural identity embedded within it. Using a qualitative paradigm with an ethnochoreological approach and descriptive-analytical method, data were collected through observation, interviews, literature review, and documentation. The analysis was conducted using triangulation techniques to obtain a comprehensive understanding of the dance, not only from its aesthetic aspects but also its embedded character values.The results show that textually, this dance consists of nine movement variations, dominated by four gesture movements, four locomotor movements, and three pure movements. Contextually, the dance reflects character traits such as joy and cheerfulness. Geboy Kembang Buruan is categorized as a new creation of Jaipongan dance, representing the emotional and physical journey of a young girl during puberty, with themes of growth, transformation, and the search for identity.This research is expected to enrich the documentation of traditional West Javanese dance arts and contribute to cultural preservation through education, art festivals, and academic studies in the fields of dance and culture.
Copyright (c) 2025 Sesi Febi Rahayu, Tati Narawati, Saian Badaruddin https://creativecommons.org/licenses/by-sa/4.0
Estetika Ragam Gerak dalam Tarian Kinyah Mandau Suku Dayak Ngaju Kalimantan Tengah
The purpose of this study is so that readers can find out the aesthetics of the variety of movements in the Kinyah Mandau Dance of Central Kalimantan. The Kinyah Mandau Dance is a war dance originating from the Dayak Ngaju Tribe of Central Kalimantan. This dance depicts the unity and togetherness of the Dayak people in maintaining defense and security. In this study used a qualitative research method using a case study approach and literature study. The aesthetic values ​​contained in the Kinyah Mandau dance movements refer to elements of beauty, courage, technique and agility of movement, visual side, philosophical value, and cultural expression. From the results of the study, there are several varieties of movements in the Kinyah Mandau Dance, namely the Tasai Manasai, Manangking Mandau, Mahunus Mandau and Menggigit Mandau movements. The Tasai Manasai movement is a graceful hand movement and footsteps that follow the rhythm of the music, the Manangking Mandau movement reflects the dancer's skill and dexterity in playing the Mandau weapon. The Mahunus Mandau movement requires precision in drawing (lifting) the weapon with the right technique and good coordination with the hands and body, and the Menggigit Mandau movement describes the agility of beauty in dancing by biting the Mandau.
Copyright (c) 2025 Ripaldo Ripaldo, Dyas Defa https://creativecommons.org/licenses/by-sa/4.0
The Seri Fatwa dance inspired work by Malay literature, namely Gurindam Dua Belas, created by Raja Ali Haji. The contents of Gurindam Dua Belas consist of twelve chapters with moral messages for human life. This work began with the concept of a solo dance danced by Rezky Gustian Asra, then underwent renewal in the creative process of creating a group dance consisting of three dancers which became a new form of presentation. The embodiment of this group dance form was created for performances at the Siak Bermadah Riau Festival, then continued with the Bangka Season of Arts Festival, the Batam Kenduri Melayu Arts Festival and represented Indonesia in performances at the 2023 MAPEH conference at Suphanburi College of Dramatic Arts, Thailand. The journey of this dance work aims to bring Malay culture in the promotion and education of one of the Malay literary works, namely Gurindam 12. This research uses a qualitative approach with a descriptive analysis method, where the author carries out an analysis process from video documentation sources of performances, interviews and artistic reviews of works. This paper reviews the creative work process in creating and presenting Fatwa Series dance works.
Copyright (c) 2025 Mega Lestari Silalahi, Rezky Gustian Asra https://creativecommons.org/licenses/by-sa/4.0
PENGEMASAN BAHAN AJAR TOR-TOR ILAH BOLON BERBASIS CANVA UNTUK SISWA SMP
Penelitian ini bertujuan untuk mengemas bahan ajar Tor-tor Ilah Bolon berbasis aplikasi Canva untuk siswa Sekolah Menengah Pertama sesuai Fase D Kurikulum Merdeka pada elemen berpikir dan bekerja secara artistik (Thinking Artistically). Bahan ajar ini dirancang agar peserta didik mampu menunjukkan hasil gerak tari kreasi berdasarkan nilai, jenis, dan fungsi tari tradisional dalam berbagai penyajian, baik individu maupun kelompok, menggunakan unsur utama dan pendukung tari. Proses pengemasan bahan ajar mengikuti tahapan model ADDIE berdasarkan pedoman Djamarah (2010). Penelitian dilakukan di Sanggar Marilah Simalungun untuk menggali data terkait Tor-tor Ilah Bolon dan mengambil dokumentasi di Gedung Serbaguna Universitas Negeri Medan. Hasil penelitian menghasilkan bahan ajar digital yang terdiri dari lima aktivitas belajar yang membahas elemen Tor-tor Ilah Bolon. Setelah diuji oleh ahli materi dan media, bahan ajar ini dinyatakan layak untuk digunakan sebagai media pembelajaran seni budaya bagi siswa kelas VII Sekolah Menengah Pelatihan. Penilaian ahli materi pada aspek kesesuaian capaian pembelajaran, kelayakan isi, bahasa, dan pengorganisasian memperoleh nilai rata-rata 4,7 (layak), dan penilaian ahli media pada aspek tampilan dan visual bahan ajar memperoleh nilai rata-rata 4,8 (layak).
Copyright (c) 2025 Arti Sutriska Siallagan, Sitti Rahmah https://creativecommons.org/licenses/by-sa/4.0