BENTUK SAJIAN BEDHAYA SAPTONGKARA KARYA I NYOMAN CAHYA BERSAMA SULISTYO HARYANTI

Authors

  • Erika Meilanawati Renansia Institut Seni Indonesia Surakarta
  • Sri Setyoasih Institut Seni Indonesia Surakarta

DOI:

https://doi.org/10.33153/grt.v21i2.4693

Keywords:

Bedhaya Saptongkara, Creativity, Form, Choreography

Abstract

This article explores a unique form of group dance known as Bedhaya, which conveys symbolic expression through movement. The dance utilizes the symbol of Sapta Ongkara, representing the energy within humans and the universe. The Bedhaya Saptongkara dance was created by two choreographers, I Nyoman Chaya and Sulistyo Haryanti, in 2019. To delve deeper into the form and structure of this Bedhaya dance, the study employs Y. Sumandiyo Hadi's theory, which is instrumental in detailing the dance's elements. The study successfully produces a comprehensive description of the movement composition in the Bedhaya Saptongkara dance, meticulously crafted by I Nyoman Chaya and Sulistyo Haryanti. This description encompasses various crucial aspects of Bedhaya dance, including the dance movements, themes presented, type of dance, mode of presentation, the number and gender of the dancers, the dance space and stage, accompanying music, makeup and costumes of the dancers, props used, and the lighting that enhances the entire performance. Thus, this article provides an in-depth and structured overview of the Bedhaya Saptongkara dance, illustrating how the Sapta Ongkara symbol is embodied within the richly meaningful and philosophical artistic elements of the dance.  

Downloads

Download data is not yet available.

References

Dewi, N. K. (2001). Tari Bedhaya Ketawang Legimitasi Kekuasaan Raja Surakarta (The Legitimization of Power of the King of Surakarta in the Bedhaya Ketawang Dance). Harmonia: Journal of Arts Research and Education, 2(3), 29–36. https://doi.org/10.15294/harmonia.v2i3.859

Fahruddin, A. (2013). Saiwasiddhanta Penelusuran Aliran Siwaisme di Jawa Timur Periode Klasik. Avatara, 1(2), 241–254.

Hadi, Y. S. (2003). Aspek-aspek Dasar Koreografi Kelompok. eLKPI.

Haryanti, S. (2010). Tari Bedhayan Ketawang Refleksi Mitos Kanjeng Ratu Kidul dalam Dimensi Kekuasaan Raja Kasunanan Surakarta. Greget, 9(1), 88–95.

Koentjaraningrat. (1984). Kebudayaan Jawa. Balai Pustaka.

Langer, S. K. (1988). Problematika Seni (FX. Widaryanto, Penerj.). ASKI.

Murgiyanto, S. (1986). Dasar–dasar Koreografi Tari. Dalam Pengetahuan Elementer Tari dan Beberapa Masalah Tari. Direktorat Kesenian Proyek Pengembangan Kebudayaan Departemen Pendidikan dan Kebudayaan.

Pradjapangrawit, R. Ng. (1990). Serat Sujarah Utawi Riwayating Gamelan Wedhapradangga (Serat Saking Gotek). STSI Surakarta dan The Ford Foundation.

Prihatini, N. S., Dewi, N. K., Sunarno, Wahyudiarto, D., & Bantolo, W. (2007). Ilmu Tari: Joged Tradisi Gaya Kasunanan Surakarta. ISI Press.

Soedarsono, R. M. (1978). Pengantar Pengetahuan dan Komposisi Tari. Dalam Pengetahuan Elementer Tari dan Beberapa Masalah Tari. ASTI Press.

Soedarsono, R. M. (1997). Wayang Wong: Drama Tari Ritual Kenegaraan di Keraton Yogyakarta (Edisi Bahasa Indonesia). Gadjah Mada University Perss.

Sriyadi. (2020). Karakteristik Tari Bedhaya Bedhah Madiun di Pura Mangkunegaran, Surakarta. Nusantara Instutute Working Paper, Series 6, 1–22.

Sriyadi, & Prabowo, W. S. (2018). Nilai Estetik Tari Srimpi Pandhelori di Pura Mangkunegaran. Greget, 17(1), 28–42. https://doi.org/10.33153/grt.v17i1.2295

Suharti, T. (2015). Bedhaya Semang Karaton Ngayogyakarta Hadiningrat Reaktualisasi Sebuah Tari Pusaka. Kanisius.

Sulastuti, K. I. (2017). Tari Bedhaya Ela-ela: Eksplorasi Kecerdasan Tubuh Wanita dan Ekspresi Budaya Jawa. Kawistara, 7(1), 1–14. https://doi.org/10.22146/kawistara.22576

Sulistiyani, Sunarmi, F. R., & Fatimah, S. (2021). Kajian Filosofis dalam Manajemen Nang Ning Nung Neng Gung pada Alunan Gamelan Jawa Sebagai Pedoman Urip Bebrayan Agung di Pengajaran Bahasa Inggris. Kresna Bina Insan Prima.

Tristaningrat, M. A. N. (2019). Analisis Panca Yadnya dalam Konteks Saguna Brahman dalam Menciptakan Aktivitas Sosial Budaya. Maha Widya Bhuwana, 2(1), 57–68.

Downloads

Published

2022-12-29 — Updated on 2022-12-29

Issue

Vol. 21 No. 2 (2022)

Section

Articles

License

Copyright (c) 2022 Erika Meilanawati Renansia, Sri Setyoasih

Creative Commons License

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

Copyright

Authors who publish with GREGET agrees to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. 
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.