Laras dan Rumpaka dalam Garap Karawitan Jaipongan Jugala

 Tulisan ini menguraikan ciri-ciri atau identitas musikal garap karawitan Jaipongan Ju- gala yang dititikberatkan pada identitas laras dan rumpaka. Identitas karawitan Jaipongan merupakan suatu genre karawitan Sunda kiwari yang berkembang tanpa pengaruh besar akulturasi. Bentuk verbal rumpaka pada garap karawitan Jaipongan Jugala sebagian besar merepresentasikan suatu pembicaraan atau teks yang menuntut pemahaman isi. Karakter- istik laras dan rumpaka yang bersifat verbal dan musikal dalam garap karawitan Jaipongan menunjukkan ekspresi artistik yang multidimensional.

Dari Ritual ke Panggung Pertunjukan: Perkembangan Tari dalam Kehidupan Masyarakat

There are three primary functions of dance in human life, i.e., for ritual,for personal entertainment, and for aesthetic presentation. All dance experts believe that the oldest function of dance in human life is for ritual. Dance is needed on the occasion of birth, circumcision, marriage, death, war, changes of the moon and sickness. Bali is the richest island of dance in Indonesia and known as "paradise in the world of arts. The Balinese dance ritual dances for gods, for spirits of the ancestors, for religious seers, for human beings, and also for the underworld spirits. Indonesia is rich in dance for personal entertainment, such as tayuban in Central and East Java, Jaipongan in West Java, gandrung in East Java, joget in Bali, ronggeng Melayu in Sumatera, etc. The development of urban population with sufficient income has influenced the development of dance as aesthetic presentation, because the urban people, categorized as the cultural consumers, need some aesthetic entertainment for their leisure time. The best country in the world whose amazing development of her dance as aesthetic presentation is the United States of America and New York is widely known as "the mecca of performing arts

Peran Pendidikan Tari Putri Klasik Gaya Yogyakarta Bagi Perempuan Jawa, Dulu dan Kini

This paper is a research report concerning Rama Sas, one of the great classical master dancers and choreographers of the court of Yogyakarta. As a boy, he had to master the female dancing because of the court rule that women of the aristocrat cannot appear in public in a wayang wong dance drama production. So because of his beautiful face, slender body, and delicate appearance, Rama Sas became a court dancer specializing in female characters. Women of the aristocrat concentrated on bedhaya and srimpi female dances. Due to the court restriction, women of the aristocrat were not allowed to move and act freely like men. This is a problem of gender of course. Rama Sas knew this problem and successfully tried to choreograph dances for women

Pembelajaran Tari Topeng Mochi melalui Metode Mind Mapping untuk Meningkatkan Pemahaman Budaya

This study aims to improve the ability to understand culture through the Mochi Mask dance. The research method used experimental. The research sample of students of the Sagara dance studio, Sukabumi city. Data collection techniques using a questionnaire. Data analysis techniques using nonparametric statistics. Mochi mask is a type of dance that develops in the city of Sukabumi. This dance is inspired by the culinary culture of the city of Sukabumi, namely Mochi. Sanggar Sagara is one that provides material for Mochi Mask dance using the Mind Mapping method. This method is a treatment to improve the ability to understand culture. The results showed an increase in the ability to understand culture. This is indicated by the average pretest results of 66.00. and the post test results of 87.50. Based on the research results, it can be concluded that the mind mapping method can improve the ability to understand culture. It is suggested that other studios can use the mind mapping method to improve their ability to understand culture