Pasihan Mataraman: Bentuk dan Struktur Gerak Tari Asmara Hastungkara

Abstract

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.

ABSTRACT

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.