Elemen Estetis Sendratari Manarajang Lawok pada Pertunjukan Launching Calendar of Charming Event Palembang Tahun 2022

Rully Rochayati(1), Dewi Purwaningsari(2), Nita Maelatul Hasanah(3),


(1) Universitas PGRI Palembang
(2) Universitas PGRI Palembang
(3) Universitas PGRI Palembang

Abstract


The purpose of this paper is to find out how the aesthetic elements contained in the Manarajang Lawok ballet. The problem is focused on the aesthetic elements of choreography. In order to approach this problem, a theoretical, a theoretical reference from Y. Sumandiyo Hadi was used in 2012 with the title choreography (From-Engineering-Content). The data were collected throuhg data triangulation and analyzed qualitatively. This study concludes that the manarajang lawok ballet is a new creation, dance by 10 dancers. The Manarajang Lawok ballet is discussed in 3 aesthetic elements of choreography, namely the concept of motion as an aesthetic element of choreography, namely the movements performed by dancers are focussed in such away as to make it look epic when performed. The conceptof space as an aesthetic choreography element which is further divided into positive-negative space discussions, levels using low, medium and high levels, floor patterns using locomotor movement, stasionary and pause, directions using the eight cardinal directions, dimensions which includes height, width and depth. It is also discussed in the concept of time as an aesthetic element of choreography, which is divided into three parts, aspects of the tempo of the fast and slow movements performed by the dancers, the aspect of rhythm, namely the strenght and softness of the movements performed, and the duration, which is 11 minutes 40 seconds.

Keywords


Aesthetic Element; Ballet Manarajang Lawok

Full Text:

PDF

References


Elvandari, E. (2016). Pertunjukan Sendratari Ramayana : Antara Tontonan dan Tuntunan . Jurnal Sitakara Vol. 1 No. 1, 66.

Freble, D. (2000). Bnetuk-bentuk Seni. (I. M. Bandem, Trans.) Yogyakarta: ISI.

Hadi, Y. S. (2003). Mencipta Lewat Tari. Yogyakarta: Manthili Yogyakarta .

Hadi, Y. S. (2012). Koreografi (Bentuk-Teknik-Isi) . Yogyakarta : Cipta Media .

Hadi, Y. S. (2016). Koreografi Bentuk-Teknik-Isi. Yogyakarta: Cipta Media.

Hawkins, A. M. (2003). Bergerak Menurut Kata Hati Metoda Baru Dalam Menciptakan Tari. Jakarta: Ford Foundation dan Masyarakat Seni Pertunjukan Indonesia.

Hera, T. E. (2021). Pengaruh Model Pembelajaran Explicit Instruction Pada Pembelajaran Tari Daerah Sebagai Dasar Keterampilan Menari Tradisi. Sitakara, 41.

Hera, T. N. (2019). Kontribusi Motivasi Mahasiswa dalam Proses Kreatif Penciptaan Tari pada Mata Kuliah Koreografi. Sitakara.

Hidajat, R. (2017). Kreativitas Koreografi Pengetahuan dan Praktikum Koreografi Bagi Guru. Malang-Jawa Timur: Surya Pena Gemilang.

Jakarta, D. P. (2019, 21 Juni ). Sendratari Seni Pertunjukan . Retrieved 20 Juli Rabu , 2022, from Ensliklopedia Jakarta : http://encyclopedia.jakarta-tourism.go.id/post/sendratari--seni-pertunjukan?lang=id

Langer, S. K. (1988). Problematika Seni. (F. Widaryanto, Trans.) Bandung: ASTI.

Mastra, I. W., & Pancawati , L. P. (2022). Elemen-Elemen Estetis Komposisi Tari. Widyadharma I (pp. 146-151). Maladewa: FKIP, Universitas PGRI Maladewa Indonesia .

Moleong, L. J. (2007). Metodologi Penelitian Kualitatif . Bandung : Rosdakarya Bandung .

Prasetya, H. B. (2013). Meneliti Seni Pertunjukan . Yogyakarta : BP ISI Yogyakarta .

Rochayati, R. &. (2019). Estetika Tari Melaju dengan Mutu. Sitakara, 21.

Rochayati, R. (2018). Gerak: Perjalanan Dari Motif Ke Komposisi. Sitakara: Jurnal Pendidikan Seni Dan Seni, 35-51.

Rochayati, R. (2020). Tari Kipas Chandani: Gerak, Ruang, dan Waktu. Geter, 3(2), 12-25.

Rochayati, R. H. (2021). Bahan Ajar Tari Melaju Dengan Mutu. Yogyakarta: Perkumpulan Seni Sapu Lidi.

Rochayati, R., Elvandari, E., & Hera, T. (2016). Menuju Kelas Koreografi. Palembang: Komunitas Lumbung Kreatif.

Rochayati, R., Elvandari, E., & Hera, T. (2022). Penataan Karya Tari kipas Chandani Sebagai Materi Kreasi Baru Di universitas PGRI Palembang. Journal Of Education, Humaniora and Social Sciences [JEHSS], 2162-2171.

Rondhi, M. (2017). Apresiasi Seni Dalam Konteks Pendidikan Seni . Jurnal Imajinasi (Seni Rupa) Universitas Negeri Semarang , 9.

Smith, J. (1985). Komposisi Tari: Sebuah Petunjuk Praktis Bagi Guru. (B. Suharto, Trans.) Yogyakarta: IKALASTI.

Sugiyono. (2014). Memahami Penalitian Kualitatif . Bandung : Alfabeta.

Susanti, D. (2015). Penerapan Metode Penciptaan Alma Hawkins Dalam Karya Tari Gundah Kancah . Jurnal Ekspresi Seni Program Studi Sendratasik FKIP Universitas Islam Riau (UIR), 41-56.

Triyono. (2017). Metode Penelitian Pendidikan . Yogyakarta: Penerbit Ombak.

Widiantari, N. W. (2018 ). Spiritualitas Hindu Dalam Menari dan Menata Tari. Sitakara: Jurnal Pendidikan Seni dan Seni Budaya, 1-7.

Widyastutieningrum, S. R., & Wahyudiarto, D. (2014). Pengantar Koreografi. Surakarta: ISI Press.

Widyastutieningrum, S. R., & Wahyudiarto, D. (2014). Pengantar Koreografi . Surakarta : ISI Press Surakarta.

Yuliarti, E. A. (2020). Elemen Estetis Koreografi Tari Cang-Cang Di Kayuagung Kabupaten Ogan Komering Ilir. Sitakara : Jurnal Pendidikan Seni dan Seni Budaya, 1-12.




DOI: https://doi.org/10.34007/jehss.v5i3.1415

Refbacks

  • There are currently no refbacks.


Copyright (c) 2023 Journal of Education, Humaniora and Social Sciences (JEHSS)

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

Journal of Education, Humaniora and Social Sciences (JEHSS)

Publisher: Mahesa Research Center

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International Public License