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Cakil Mataraman Led Research MD, Slamet; Karyomo, Karyomo
Jurnal Sitakara Vol. 9 No. 1 (2024): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v9i1.14691

Penelitian bertujuan menemukan sebuh metode dalam penciptaan tari. Permasalahan penelitian adalah bagaimana bentuk Beksan Cakil Mataraman dan bagaimana proses penciptan Beksan Cakil Mataraman. Teori yang digunakan untuk menjawab bentuk mengunakan ilmu pembentuk tari Slamet Md yang terdiri dari unsur-unsur gerak, irama, ekspresi, busana, penari dan pola lantai, sedangkan proses penciptaan digunakan model practice led research. Model practice led research untuk menemukan metode yang tepat dalam sebuah penciptaan tari. Metode yang digunakan metode practice research. Hasil menunjukkan bentuk beksan Cakil Mataraman tersusun atas unsur gerak, irama, ekspresi, kostum, penari dan tempat pentas, sedangkan proses penciptaan menunjukkan led research yang meliputi dialog karya, pengamatan, eksplorasi, eksprerimen, perenungan, pembentukan dan pelatihan. Kata Kunci: Beksan Cakil Mataraman; Led Research; Practice Research; Pembentukan

Studi Komparatif Tari Topeng Gethak Madura Dan Tari Topeng Kaliwungu Lumajang Rosiyanti, Maulida; MD, Slamet
Jurnal Sitakara Vol. 9 No. 2 (2024): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v9i2.14738

Penelitian ini bertujuan untuk menganalisa persamaan dan perbedaan bentuk yang ada pada Tari Topeng Gethak dan Topeng Kaliwungu. Permasalahan penelitian ini adalah bagaimana bentuk Tari Topeng Gethak dan Topeng Kaliwungu, dan bagaimana komparatif bentuk Tari Topeng Gethak dan Topeng Kaliwungu. Untuk menjawab permasalahan ini dipergunakan teori dari Slamet MD mengenai bentuk koreografi tunggal yang terdiri dari unsur- unsur gerak tari, penari, tata rias busana, pola lantai, musik tari, dan tempat pementasan, sedangkan untuk menjawab komperatif digunakan teori Goyrs keraf. Teori ini untuk membandingkan Tari Topeng Gethak dan Tari Topeng Kaliwungu. Metode penelitian yang digunakan yaitu metode kualitatif dengan pendekatan etnokoreologi. Data-data dikumpulkan melalui observasi, wawancara, studi pustaka dan dianalisis secara deskriptif. Hasil penelitian ini menunjukkan bahwa Tari Topeng Gethak dan Kaliwungu merupakan tarian yang berbeda daerah, namun memiliki kesamaan dari akar budayanya yang sama yaitu budaya Madura. Hal ini dikarenakan adanya migrasi masyarakat Madura ke Lumajang pada tahun 1830. Kata Kunci: Studi Komparatif, Tari Gethak, Tari Topeng Kaliwungu. ABSTRACT This research aims to analyze the similarities and differences of forms between Gethak Mask Dance and the Kaliwungu Mask Dance. The problem of this research is what the forms of Gethak Mask Dance and Kaliwungu Mask Dance are, and how the forms of Gethak Mask Dance and Kaliwungu Mask are comparative. To answer this problem, Slamet MD's theory regarding a single choreographic form consisting of elements of dance movements, dancers, fashion make-up, floor patterns, dance music and performance venues is used, while for a comparative answer, Goyrs Keraf's theory is used. This theory is to compare the Gethak Mask Dance and the Kaliwungu Mask Dance. The research method used is a qualitative method with an ethnochoreological approach. Data was collected through observation, interviews, literature study and analyzed descriptively. The results of this research show that the Gethak and Kaliwungu Mask Dances are dances from different regions, but have similarities in the same cultural roots, namely Madurese culture. This is due to the migration of Madurese people to Lumajang in 1830. Keywords: Comparative Study, Gethak Dance, Kaliwungu Mask Dance.

Tradisi dan Inovasi Tari Cepetan Karya Bambang Eko Susilohadi di Kabupaten Kebumen Astuti Rahmadani, Citra; MD, Slamet
Jurnal Sitakara Vol. 9 No. 2 (2024): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v9i2.14816

Penelitian ini bertujuan untuk menganalisis tradisi dan inovasi Tari Cepetan karya Bambang Eko Susilohadi di Kabupaten Kebumen. Permasalahan penelitian adalah bagaimana bentuk Tari Cepetan karya Bambang Eko Susilohadi dan bagaimana inovasi tari Cepetan karya Bambang Eko Susilohadi. Teori yang digunakan untuk menjawab permasalahan bentuk menggunakan teori bentuk Suzanne K. Langer yang terdiri dari motif-motif gerak, urutan sajian, rias dan busana, musik atau iringan, serta tempat pertunjukan, sedangkan eksistensi menggunakan teori TOR atau tantangan organisme respon Slamet MD yaitu mengenai faktor-faktor yang mempengaruhi eksistensi. Penelitian menggunakan pendekatan etnokoreologi. Langkah penelitian yang akan dilakukan dalam pengumpulan data diperoleh melalui wawancara, observasi, dokumentasi, serta studi pustaka. Hasil menunjukan bahwa hasil inovasi dari tradisi kesenian Cepetan Alas menjadi sebuah Tari Cepetan yang meliputi penggarapan bentuk yang dipengaruhi oleh perkembangan dan kebutuhan masyarakat. Kata kunci : Tari Cepetan, Tradisi, Eksistensi ABSTRACT This research aims to analyze the traditions and innovations of the Cepetan Dance by Bambang Eko Susilohadi in Kebumen Regency. The research problem is what the form of the Cepetan Dance by Bambang Eko Susilohadi is and how the innovation of the Cepetan Dance by Bambang Eko Susilohadi is. The theory used to answer the problem of form uses Suzanne K. Langer's theory of form which consists of movement motifs, sequence of presentation, make-up and clothing, music or accompaniment, and place of performance, while existence uses the TOR theory or Slamet MD's response organism challenge, which is about the factors that influence existence. The research uses an ethnochoreological approach. The research steps that will be carried out in collecting data are obtained through interviews, observation, documentation and literature study. The results show that the innovation of the Cepetan Alas artistic tradition has become a Cepetan Dance which includes the development of forms that are influenced by the development and needs of society. Keywords: Cepetan Dance, Traditional, Existence

RESTROSPEKSI PENCIPTAAN KARYA TARI SLEWAH Cahyana, Juz Tsani; MD, Slamet
Jurnal Sitakara Vol. 10 No. 1 (2025): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v10i1.16982

This research aims to reveal or describe reproduction, namely looking at events that have been exceeded from the process of creating Slewah dance works. This research has the problem of how the form of the Slewah dance work and the process of creating the Slewah dance work. Answering the problem of the form of the Slewah dance work using the theory of Slamet MD, while answering the problem of the process of creating the Slewah dance work using the theory of Alma Hawkins translated by Y. Sumandiyo Hadi. The method used in this study uses a qualitative method research type with a choreographic approach. Data collection techniques include observation, interviews, and literature studies.The results of the study show that reintrospection, namely looking at the past or looking back at the creation process that has occurred so that the creation of Slewah dance works which includes the form of Slewah dance works and the process of creating Slewah dance works. The form of Slewah dance works discusses 1) movement, 2) dancers, 3) fashion makeup, 4) floor patterns, 5) dance music, and 6) performance venues. The process of creating Slewah dance works discusses 1) exploration, 2) improvisation, and 3) composition. Keywords: Slewah Dance; Form; Creation Process.

BEKSAN TOPENG KIRANA GENERATIP REASEACH ARTISTIK MD, Slamet; Karyono, Karyono; Supriyanto, Supriyanto
Jurnal Sitakara Vol. 10 No. 1 (2025): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v10i1.18086

Penelitian ini bertujuan menemukan sebuah metode penciptaan tari. Permasalahan penelitian artistic ini adalah bagaimana proses penciptaan tari Topeng Kirana dan bagaimana bentuk tari Topeng Kirana. Teori yang digunakan untuk menjelaskan proses penciptaan adalah practice lead research dan art based research. Model practice lead research untuk menemukan metode yang tepat dalam sebuah penciptaan tari. Metode yang digunakan adalah practice research. Menjawab tentang permasalahan menggunakan metode bentuk tari menggunakan teori pembentukan tari oleh Slamet Md, yang terdiri dari unsur-unsur gerak, irama, ekspresi, busana, penari, dan pola lantai. Hasil yang didapatkan membuat model tari Topeng Kirana yang smencaeitakan rebutan golek Kencana antara Galuh Ajeng dan Galuh Candra Kirana. Kata Kunci: tari Topeng Kirana, Lead research, Practice research, Based research.

Satai Dance As A Representation Of Barimou Perulai In The Koto Tuo Community Of Jambi Province : Tari Satai Sebagai Representasi Barimou Perulai Pada Masyarakat Koto Tuo Provinsi Jambi Ulfa, Resa; MD, Slamet
Indonesian Journal of Innovation Studies Vol. 26 No. 3 (2025): July
Publisher : Universitas Muhammadiyah Sidoarjo

Show Abstract | Download Original | Original Source | Check in Google Scholar

General Background: Traditional dances are vital expressions of communal identity and cultural continuity. Specific Background: In the Koto Tuo community of Jambi Province, Satai Dance is widely recognized as a welcoming performance, yet its deeper origin as a ritual rooted in the Barimou Perulai tradition—aimed at spiritual protection for pregnant women—remains understudied. Knowledge Gap: Existing literature often focuses on choreographic elements but lacks analysis of symbolic cultural representation. Aims: This study aims to explore how Satai Dance functions as a symbolic reconstruction of Barimou Perulai, articulating identity and spirituality within the Koto Tuo society. Results: Through qualitative ethnographic methods and dance anthropology, findings reveal that the dance encapsulates layers of meaning through movement, music, costumes, and props that reflect sacred values, communal solidarity, and local cosmology. Novelty: This research offers a new anthropological lens on Satai Dance by framing it as a triadic representation—reflective, intensional, and constructionist—of cultural heritage, as conceptualized by Stuart Hall. Implications: The study underscores the dance’s function not only as cultural preservation but as a communicative tool for transmitting moral, social, and spiritual values, supporting its integration in education, cultural policy, and identity formation efforts.Highlight : Satai Dance serves not only as performance art but as a representation of the spiritual and social values rooted in the Barimou Perulai tradition. The dance incorporates symbolic elements—movement, costume, music, and properties—that reflect the cultural identity of the Koto Tuo community. It plays a vital role in preserving local heritage amid the pressures of modernization and globalization. Keywords : Satai Dance, Barimou Perulai, Cultural Representation, Koto Tuo Community, Dance Anthropology

The Transformation of Rudrah Dance from Bedhaya to Srimpi: An Analysis Based on Written Sources Puspitaningrum, Windri Estri; MD, Slamet
Journal of World Science Vol. 4 No. 7 (2025): Journal of World Science
Publisher : Riviera Publishing

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58344/jws.v4i7.1437

This research aims to reveal the reasons behind the transformation of Rudrah dance from bedhaya to srimpi by Wahyu Santoso Prabowo. This transformation is rooted in the basic idea of Rudrah bedhaya dance, although the documentation is limited to written notes and photographs. This research is based on the analysis of the 1979 Rudrah dance manuscript to explore the creative process, chronology, and reasons behind the transformation. The method used is qualitative with a historical approach and text analysis. Data were obtained through document studies, archives, in-depth interviews, and academic literature covering movements, floor patterns, accompaniment, and socio-cultural context. The interview with Wahyu Santoso Prabowo aimed to gain a deeper perspective on the interpretation of Bedhaya and Srimpi elements in the context of form transformation. The results showed that the fundamental changes started from the manuscript traces to become a new dance form. These changes are fully realized by the choreographer to improve the aesthetic side and contextualization with the times. The visual changes that occur in Rudrah dance include changes in the form of dance performances related to changes in choreographic structure, clothing, getting accompaniment, and duration which aim to improve aesthetics and relevance in the modern era without losing its philosophical essence. This transformation becomes an innovative strategy for preserving traditional dance

Fungsi Ritual Tari Maulud Lengger Dalam Upacara Suran Di Desa Gandu Kecamatan Tembarak Kabupaten Temanggung Dilla, Anim Kartika; MD, Slamet
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3287

This study explores the Maulud Lengger dance in the Suran ceremony. The problem is focused on discussing the form and function of the ritual. The problem of form is analyzed using Slamet MD's theory, while the problem of ritual function is analyzed using Soedarsono's theory. This research uses qualitative research methods. Data collection techniques were carried out by means of observation, interviews, and literature studies. The results of the study indicate that the Maulud Lengger dance has an important role in the implementation of the Suran ceremony, which is believed to have a major influence on the survival of the Gandu Village community. In terms of the form of the performance, this dance contains religious elements that can be seen from the poems that are played.

Relevance of the Values of Bedhaya Ketawang In the Life of Society Today Maryono, Maryono; Widawati, Setya; Yuliarmaheni, Ni Nyoman; MD, Slamet; Wahyudiarto, Dwi; Midiyanto, Midiyanto
Gelar: Jurnal Seni Budaya Vol. 20 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i2.4576

Surakarta, a city formerly under the rule of the New Mataram dynasty established by Paku Buwana II in 1746, inherited a wealth of arts which led to its designation as a cultural center. Jumenengan is a cultural legacy in the form of a ceremony, held annually in the Javanese month of Ruwah, on the day of Selasa Kliwon, or Anggara Kasih, to celebrate the anniversary of the coronation of the king of Kasunanan Surakarta. The main prerequisite of the Jumenengan ceremony is the performance of the Bedhaya Ketawang dance, which provides legitimacy for the ceremony. The position of the Bedhaya Ketawang dance in the Jumenengan ceremony is as an heirloom with magical, sacred, prestigious value. Its presence gives legitimacy and credibility to the continued power of the king. As a cultural legacy, the Bedhaya Ketawang dance contains life values that can be absorbed both implicitly and explicitly. These include spiritual values, values of love for the natural environment, ethical values, aesthetic values, and values of love, all of which are relevant to the life of society today. The relevance of these values provides encouragement and motivation to build and develop the character of the Indonesian nation today as a society of faith, devotion to God, noble character, healthy knowledge, skill, creativity, independence, democracy, and responsibility.

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