BENTUK PENYAJIAN TARI WIDEDARI DI SANGGAR RENGGANIS DESA MARONG KECAMATAN PRAYA TIMUR

Abstract

This study aims to describe the form of presentation of the Widedari Dance at Rengganis Art Studio, Marong Village, East Praya District. The study employed a qualitative approach using grounded theory. Data were obtained from performance videos and photographs, notes, and interviews with informants, particularly Lalu Dedi Purnawan, S.Pd., the owner of Rengganis Art Studio, and Asri Maulinda, S.Pd., the dancer/choreographer associated with Widedari Dance. Data were collected through observation, interviews, and documentation. Data analysis consisted of data collection, reduction, presentation, and conclusion drawing, while data validity was examined through source triangulation. The findings show that the presentation of Widedari Dance consists of five main elements: movement, make-up, costume, musical accompaniment, and performance setting. The dance movements are divided into opening, core, closing, and creative movements. The opening contains eight movement patterns, the core contains three, the closing contains one, and five additional creative movements support the presentation. The make-up is a beauty make-up representing a fairy character. The costume consists of kebaya, Subah Nale songket cloth, scarf, anteng/bebet, head ornaments, bracelets, and stagen. The accompaniment uses saron, gong, reyong, terompong, suling, petuk, and vocal singing. The performance uses a stage positioned above the audience, representing a heavenly realm and the panorama of Lake Segara Anak, supported by artificial properties. The findings demonstrate an integration of Sasak traditional elements and creative dance practices.