joko saputra, Setyo yanuartuti, indar sabri, Anik Juwariyah

AESTHETICS OF THE SANDUR RONGGO BUDOYO TUBAN DANCE AT THE EARTH ALMS EVENT BY STUDENTS SMP NEGERI 3 TUBAN

Introduction

Aesthetics of the sandur ronggo budoyo tuban dance at the earth alms event by students smp negeri 3 tuban. Explore the aesthetics of the Sandur Ronggo Budoyo Tuban Dance performed by SMPN 3 Tuban students. This study analyzes movement, music, costumes, and cultural identity of this traditional heritage.

Abstract

This study discusses the aesthetics of the Sandur Ronggo Budoyo Tuban Dance in the performance of the earth alms event by students of SMPN 3 Tuban. The Sandur dance is one of the traditional dances of the intangible cultural heritage of Tuban regency which has aesthetic value, beauty of movement, and symbolic meaning. This research aims to analyze the aesthetic elements contained in the dance, including aspects of movement, accompanying music, costumes, and expression abilities that represent cultural identity by the santur dancers, providing added value in maintaining and introducing local culture to the younger generation. This study uses a qualitative method with direct observation and interviews with art actors, dance coaches, dancers and performance documentation. The performance of SMPN 3 Tuban students succeeded in displaying the beauty and uniqueness of the Sandur Ronggo Budoyo Dance. The values contained include the values of ethics, please help and tolerance

Review

This study presents an insightful exploration into the aesthetics of the Sandur Ronggo Budoyo Tuban Dance, particularly as performed by students of SMP Negeri 3 Tuban during an earth alms event. The chosen subject matter is highly relevant, focusing on a traditional dance recognized as an intangible cultural heritage of Tuban regency. The abstract clearly articulates the research's objective: to meticulously analyze the aesthetic dimensions, including movement, accompanying music, costumes, and expression, thereby elucidating how these elements embody cultural identity. This endeavor to connect local cultural heritage with the younger generation through performance is commendable and underscores the potential for cultural preservation and introduction. The qualitative methodological approach, employing direct observation, interviews with various stakeholders (art actors, coaches, dancers), and performance documentation, appears robust for an in-depth aesthetic analysis. The abstract indicates a successful outcome, highlighting that the SMPN 3 Tuban students effectively showcased the beauty and uniqueness of the dance. Furthermore, the identification of embedded values such as ethics, mutual help, and tolerance adds a significant layer to the aesthetic appreciation, demonstrating the dance's capacity to transmit crucial cultural and social principles. The study's focus on youth engagement is particularly strong, positioning the research as a valuable contribution to understanding effective strategies for cultural transmission. While the abstract paints a positive and promising picture, a more comprehensive review would ideally delve deeper into several aspects. Future full papers emanating from this research could benefit from an explicit discussion of the pedagogical techniques employed by the dance coaches to instill these aesthetic and symbolic values in young students. Exploring how the students' interpretations might subtly differ from or enrich traditional adult performances, or the challenges faced in adapting the dance for a younger ensemble, would provide fascinating comparative insights. Nevertheless, this abstract effectively highlights a vital research effort that not only documents a specific cultural art form but also champions its enduring relevance through youth participation, making it a valuable addition to studies on cultural heritage and performing arts education.

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