The Pragmatic Expression of Bedhaya Sukma Raras as a Reactualization of Holisticity in the Life of the Human Microcosm and Macrocosm

Main Article Content

Maryono Maryono

Abstract

The Bedhaya Sukma Raras dance by Hadawiyah Endah Utami,  presented at a gathering of choreographers, was inspired by the journey of human life as it moves towards death. The complementary forms of verbal and nonverbal components in Bedhaya Sukma Raras implicitly offer a concept encased in the aesthetic expression of the dance about human awareness of doing good throughout the transient life in this world, in order to welcome an afterlife that is immortal and full of joy. This research uses a qualitative methodology. The data collection strategies include a library study, interviews, a visual study of dance recordings, an audio study of music recordings, documentation and study of archives of verbal transcripts of literature about songs and vocabulary of dance movements. The results show that in principle human life must seek to preserve a balance between the world and the hereafter. This means that microcosmically, in fulfilling their daily needs, human beings must work hard, prioritize virtue, and pray for God’s guidance so that macrocosmically, in the afterlife their sins will be forgiven and they will enter the heaven of the Creator.

Downloads

Download data is not yet available.

Article Details

How to Cite
Maryono, M. (2022). The Pragmatic Expression of Bedhaya Sukma Raras as a Reactualization of Holisticity in the Life of the Human Microcosm and Macrocosm. Mudra Jurnal Seni Budaya, 37(4), 339–351. https://doi.org/10.31091/mudra.v37i4.1884
Section
Articles

References

AL Qur’an, surat = Al Mukmin: 60, Al-Hadid: 20, Al-Fathir 35: 10, Al-Qashas:77.

Firth, J. R. 1964. The Tongues of Man and Speech, London: Oxford University Press.

Geertz, Clifford. (1992). Kebudayaan dan Agama.Yogyakarta: Kanisius.

Gunarwan, Asim. (2005). Pengutamaan Pragmatik. Makalah Lokakarya. Universitas Sebelas Maret Surakarta.

Grice dalam Gunarwan. (2006). Kolokuium Linguistik FIB. Makalah. Universitas Indonesia, Depok.

Hallidy dalam Wijaya. (1995). Wacana Kartun Dalam Bahasa Indonesia. Disertasi. UGM Yogyakarta.

Kreidler, W. Charles. (1998). Introducing English Semantics. London: Routledge.

Maryono. (2010). Komponen Verbal dan Nonverbal dalam Genre Tari Pasihan Gaya Surakarta (Kajian Pragmatik). Disertasi. Program Pascasarjana: Universitas Sebelas Maret Surakarta.

. (2015). Analisa Tari. Penerbit ISI Press Solo.

. (2019). Implikatur Presentasi Komplementarisme Verbal dan Nonverbal Tari Gambiranom Susunan S. Ngaliman. Mudra Jurnal Seni Budaya, 34(1), 116–126. https://doi.org/10.31091/mudra.v34i1.646

Parker, Frank. (1986). Linguistics for Non-linguistics, London: Taylor and Francis Ltd.

Rustianti, Sri. (2015). Estetika Randai Analisis Tekstual dan Kontekstual. Mudra Jurnal Seni Budaya, 30(1) 47-56.

Seramasara, I. G. N. (2019). Wayang Sebagai Media Komunikasi Simbolik Perilaku Manusia Dalam Praktek Budaya Dan Agama Di Bali. Mudra Jurnal Seni Budaya, 34(1), 80–86. https://doi.org/10.31091/mudra.v34i1.640

Sutopo H.B. 2006. Metodologi Penelitian Kualitatif. Surakarta: Universitas Sebelas Maret.

List of Informants

Hasta, Lumbini Tri (54), composer, gamelan musician, PLP Performing Arts Faculty, Institut Seni Indonesia Surakarta, interview 9 May 2018 in Karawitan Department, Institut Seni Indonesia Surakarta.

Kristiyanti, Dewi (61), makeup and costume artist, lecturer at Institut Seni Indonesia Surakarta, interview 30 May 2018 in Dance Department, Institut Seni Indonesia Surakarta.

Utami, Hadawiyah Endah (59), choreographer, lecturer at Institut Seni Indonesia Surakarta, interview 23 May 2018 in Dance Department, Institut Seni Indonesia Surakarta.