Nala

ABSTRAKKarya tari Nala terinspirasi dari tokoh Sinta dalam kisah pewayangan Ramayana. Dikisahkan, selama Sinta diculik Rahwana, ia merasa sedih, marah, putus asa, dan juga rindu. Hal ini memunculkan ide gagasan penciptaan tari yang dituangkan dalam sebuah koreografi Tunggal, bertipe dramatik dengan tema kesetiaan. Metode penciptaan yang digunakan dari Alma Hawkins yang menguraikan proses penciptaan terdiri atas eksplorasi, improvisasi, komposisi, dan evaluasi. Penyajian karya ini menggunakan sajian sinematografi dengan memperhatikan ruang pertunjukan berdasarkan angle kamera. Karya tari yang berdurasi 9 menit, proses penggarapannya berpijak pada esensi filosofi ngenceng yaitu teteg sebagai sumber kreatif gerak tari gaya Yogyakarta yang terdiri dari 4 bagian. Bagian I menggambarkan keadaan Sinta ketika bermimpi tentang Rahwana, bagian II penggambaran perasaan Sinta ketika dibaluti kesedihan, bagian III menyajikan sifat manusiawi yang ada di dalam diri Sinta, yaitu marah dan kecewa, dengan menghadirkan setting kain berwarna merah sebagai properti memberi suasana tegang. Bagian IV menghadirkan motif ngenceng penggambaran rasa sabar dan legawa dengan kain berwarna putih sebagai simbol keikhlasan.ABSTRACTNala's dance work is inspired Sinta, by the puppet character in the Ramayana story. The story of Sinta's journey while being abducted by Rahwana gave rise to feelings of sadness, anger and longing, bringing up ideas that were poured into a single choreography. This work is presented in the form of a single choreography with the choreographer as a dancer. This solo choreography is of dramatic type and the theme in this work is loyalty. The idea was used as a foothold by using the Alma Hawkins method in the process of its creation, namely; exploration, improvisation, composition, and evaluation. The presentation of this work uses a cinematographic presentation by paying attention to theperformance space based on the camera angel in certain parts. This work is 9 minutes long with the process of making it based on the essence of the ngenceng philosophy, namely teteg as a creative source of motion so that it produces 4 parts. Part I contains the state of Sinta when dreaming about Ravana, part II describes how Sinta feels when she is sad, part III presents Sinta's human nature, namely anger and chaos, by presenting cloth settings and costume play which are used as props to give a tense atmosphere. Part IV presents the motif of ngenceng depicting a sense of patience and relief as a symbol of sincerity

Art · Architectural and Urban Studies · Cultural and Artistic Studies · Philosophy · Waste Management and Recycling