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Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang
Published by Institut Seni Indonesia Yogyakarta
ISSN : 25025880     EISSN : 26866027     DOI : https://doi.org/10.24821/dtr.v4i2
Core Subject : Humanities, Art,
Arts Humanities
Dance & Theater Review (DTR) is a journal published in May and November, hosted by the Faculty of Performing Arts of Institut Seni Indonesia Yogyakarta. It is firstly published in May 2018. Journal of DTR contains any results of research and creation of dance, theatre, and wayang as well as performing arts education.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 3, No 1 (2020): May 2020" : 5 Documents clear
Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH Sulaiman Juned
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1704.75 KB) | DOI: 10.24821/dtr.v3i1.4412

Abstract

AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality
Membangkitkan Kembali Tari “Melemang” yang Tenggelam Masa Doni Febri Hendra; Nur Sekreningsih Marsan
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1900.071 KB) | DOI: 10.24821/dtr.v3i1.4413

Abstract

Reviving the Drowning Period of Melemang Dance. Melemang dance is a traditional art form. In ancient times, this dance was functioned for ceremonies in the kingdom and as a means of legalizing and celebrating the king’s existence. The performance may only be done within the palace. This dance has not been performed for a long time due to the lack of guidance from the supporting community. This research uses descriptive and analytical methods to present data objectively based on facts or phenomena as they are. Furthermore, the facts and phenomena are analyzed according to the context of the discussion. Therefore, the research objective, namely the revitalization of the Melemang dance, can be achieved.Keywords: melemang dance; drowning period; revitalization
Persebaran Cerita Panji dalam Spirit Kenusantaraan Sumaryono Sumaryono
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2262.864 KB) | DOI: 10.24821/dtr.v3i1.4414

Abstract

The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by the Chinese Widow Film. The Panji story that appeared around the XIII century at the end of King Airlangga in Singasari, East Java, became popular in the golden age of the Majapahit kingdom. In 1330 Gajah Mada was appointed by King Putri Majapahit Tribhuanatunggadewi as the ‘Mahapatih’ of the Majapahit kingdom. One year later, in 1331, to be precise, Mahapatih Gajah Mada made an oath known as the “Palapa Oath.” The “Palapa Oath” stated, among other things, that Gajah Mada would not enjoy/eat a palapa before “Nusantara” could be unified. As Mahapatih, every effort was made to realize the ideals contained in the “Palapa Oath.” Mahapatih Gajah Mada increasingly found a clear path after Tribhuanatunggadewi died, and was replaced by his first son named Hayam Wuruk. When he was crowned, king Hayam Wuruk was 16 years old. Under the inexperienced ‘Raja Muda,’ Mahapatih Gajah Mada’s power grew even more remarkable. It is even said that the real king of Majapahit was Gajah Mada. Due to the tremendous efforts of Mahapatih Gajah Mada, the expansion of the Majapahit empire was influential in various regions throughout the Archipelago. Furthermore, with a synchronic approach, it can be assumed that the spread and existence of the Panji story in various regions in Indonesia can be considered as traces of Mahapatih Gajah Mada’s expansionary politics in realizing his ideals as pronounced in the famous ‘Palapa Oath.’ As it is known, the distribution of the Panji story then adapted to local cultures, which made the Panji story have various versions. For example, the Panji story’s performance in Central Java, Malay, Lombok, Kalimantan, and even to countries on the Southeast Asian peninsula. So two important things to note are that the spread of the Panji story in various regions is in line with Gajah Mada’s expansionary politics. It contains the spirit of ‘Kenusantaraan.’ Various versions of the Panji story in the multiple areas show the nature of diversity in the Archipelago’s unity, which is centered in the Majapahit Kingdom. That is what inspired the founders of this republic to adopt the philosophy of “BHINEKA TUNGGAL IKA,” including the color of the flag “red and white” derived from “coconut sugar,” which has been known since the Majapahit era.Keywords: the distribution of the Panji story; the Palapa Oath; the Archipelag
Konsep Dasa Paramartha pada Karakterisasi Tokoh Aji Dharma dalam Pertunjukan Wayang Tantri oleh I Wayan Wija I Dewa Ketut Wicaksandita; Hendra Santosa; I Ketut Sariada
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1037.378 KB) | DOI: 10.24821/dtr.v3i1.4415

Abstract

The Concept of Dasa Paramartha on the Characterization of Aji Dharma in a Wayang Tantri Performance by I Wayan Wija. Dasa Paramartha, as the teachings of dharma (goodness) in Hinduism, then becomes a material that is flexible enough to be displayed in broadcasting the meaning and value of ethical, moral, and social behavior education. Wayang Tantri, in the play of Sang Aji Dharma Kepastu presents the character of Prabu Aji Dharma with the characteristics trait displayed as a figure of dharma who later becomes a role model for Wayang Tantri audiences. This study aims to reveal the values of Dasa Parartha’s teachings in the characterization of Aji Dharma figures. The qualitative descriptive method with data collection in the form of observation, interviews, and study documentation of the Wayang Tantri video of Sang Aji Dharma Kepastu with a duration of approximately 2 hours, then analyzed by, The Aesthetic Pedalangan Theory supported by Semiotic Theory. The results of the research are the representation of the teachings of Dasa Parmartha, which is in the form of Tapa: physical and mental self-control; Bharata: curb lust; Samadhi: mental concentration on God; Santa: being calm and honest; Sanmata: aspiring and aiming towards goodness; Karuna: affection between living beings; Karuni: compassion for plants, goods and so on; Upeksa: being able to distinguish right from wrong, good and bad; Mudhita: trying to please others; and Maitri: eager to seek friendship based on mutual respect.Keywords: representation; Dasa Paramartha; Aji Dharma; Wayang Tantri
Pembelajaran Tari di Sekolah Menengah Atas (SMA) di Yogyakarta: Kajian Embodiment dan Multikulturalisme Titik Putraningsih
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 1 (2020): May 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (756.215 KB) | DOI: 10.24821/dtr.v3i1.4411

Abstract

The Character Education through Arts: An Analysis of the Dance Learning Process in High Schools. This research aims to describe the practice of character education through the dance learning process in high schools, criticizing high schools’ approach for instilling character education to an attitude of tolerance and appreciative towards cultural diversity in Indonesia. It s qualitative research with an ethnocoreology and multicultural approach. The study used a purposive sampling method to determine the sample and selected schools that develop a multicultural educational dimension. The ethnocoreology approach is to observe embodiment experiences to the students who study local dance and Nusantara dance. A Multicultural approach is applied to monitor education for empowerment by using Ki Hadjar Dewantara’s Arts Education concept at schools. Data collection was conducted by observation, field study, literature, interviews, and documentation. Matthew B. Milles and A. Michael Huberman’s data reduction stages, data exposure, and concluding were used to analyze the data.The research findings show that (1) dance learning in high schools is an educational tool and an appropriate means to instill character education. It is an effort to positively influence students’ lives as a tool to control the students’ souls towards beauty, nobility, and refinement to live harmoniously and empowered. (2) Character education in dance lessons is by applying to appreciate, expressing, and creating dance works. (3) From a multicultural education perspective, the experience of the dancers’ needs will foster an attitude of tolerance and appreciation.Keywords: character education; dance learning; high school

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