The Exploration of Srimpi Widanti Dance as an Effort to Preserve Traditional Dance in Art Education

Abstract

This study aims to determine the form of the Srimpi Widanti dance presentation and is an effort to preserve traditional dance in art education. This study covers the history of the Srimpi Dance and the form of presentation of the Srimpi Widanti Dance, one of the Yogyakarta Style Classical Dances that has not been performed in art performances for a long time.

This study applied a qualitative approach and an ethnographic method. The data collection techniques were observations, interviews, and documentation studies. The instruments used for the data collection were observation sheets, interview guides, and documentation guides. The data were validated by using source triangulation. The informants in this study were the manager of the Pamulangan Beksa Sasmita Mardawa Foundation, the Head of Education, and a dance studio teacher.

The results of the research concluded that the form of the Srimpi Widanti Dance presentation is from the Menak story. In its performance, it is danced by four dancers and four people sitting during the dance performance as jemparing (bow and arrow) carriers. The performance of Srimpi with sitting dancers is the uniqueness of the Srimpi Widanti dance. Bedhaya and Srimpi are symbols of simplicity and determination. The appearance is not flashy but emphasizes the depth of the soul. This traditional dance exploration is an effort to introduce the Srimpi Dance form which has a unique story and property usage that is different from other dances, and to increase knowledge in art education, especially dance.