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Adaptation of Aesthetic Experiences as a Method For Creating The Bidhuh Dance Wintang Murti Nareswari (Institut Seni Indonesia Surakata/Indonesia/ wintangnareswari8637@gmail.
Maharani Luthvinda Dewi (Institut Seni Indonesia Surakarta/Indonesia/ maharani@isi-ska.
Nandhang Wisnu Pamenang (Institut Seni Indonesia Surakarta/Indonesia/ nandhang@isi-ska.
DOI: https://doi.
org/10.
20111/terob.
*Correspondensi: Wintang Murti Nareswari1.
Email: wintangnareswari8637@gmail.
Received:5-8-2025 Accepted:29-9-2025 Published:7-10-2025 Terob Journal is licensed under a Creative Commons Attribution-ShareAlike 4.
International License Copyright: A 2025 by the authors.
ABSTRACT
This research aims to analyze the Tulungagung Reog Kendang Dance as the primary inspiration for the Bidhuh Dance.
The central focus of this study is to explore the choreographer's process in utilizing the Tulungagung Reog Kendang Dance as a source of inspiration for the Bidhuh Dance, as well as to examine the formal characteristics of the Bidhuh Dance.
qualitative research methodology is employed, with findings presented in descriptive form.
Data collection techniques consist of three stages: observation, interviews, and documentation.
The findings indicate that the Bidhuh Dance is a creative work inspired by the Tulungagung Reog Kendang Dance, characterized by the deconstruction of fundamental movements and the incorporation of Dhodhog beat patterns through body percussion as an idiom.
Keywords: Adaptation.
Aesthetic Experiences.
Bidhuh Dance.
Creation Method.
Dance Work.
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types, such as kendang 1 .
INTRODUCTION Arts that develop in society are kendang 2 .
, kendang imbal 1, often referred to as folk arts or kendang imbal 2, kendang keplak, and traditional arts as a manifestation of kendang trenteng (Pengetahuanet al.
culture (Setyawan et al.
)).
Folk art plays a vital role in celebrating and Tulungagung Reog Kendang Dance preserving the ancestral heritage of establishing it as a hallmark of The The Regency's Tulungagung Reog Kendang Dance is Tulungagung a unique folk art form originating from However, this art form Tulungagung.
Established in 1978, remains relatively unknown to broader this dance illustrates the procession of audiences, particularly those outside the Kedirilaya troops accompanying the Tulungagung Regency area.
This Dewi Kili Suci to Mount Kelud to awareness-raising effort is also done in fulfill the requirements set forth by the hopes that it will someday serve as Jathasura (Nugraheni, n.
The Reog a catalyst and encourage the growth of Kendang dance is an artistic expression efforts to preserve it (Pitono, 2.
that integrates elements of both dance and Consequently, there is potential for this It is also known as Reog Dhodhog unique art to inspire and evolve into or Reog Gemblug.
contemporary dance works, such as the In performance, the Tulungagung Bidhuh Dance.
Contemporary art is Reog Kendang Dance involves groups formed within the many spatial and of six or more dancers.
Accompanied temporal settings surrounding by musical instruments such as kenong, kempul, gong, and slompret, environment (Aprilia Lani Kartini & each dancer plays the dhodhog as both Tinggi Kesenian Wilwatikta Surabaya, a musical instrument and a marker of The dhodhog, as a dance The term "bidhuh" originates from property, is carried with a sampur
the East Javanese language, primarily wrapped around the right shoulder and crossing to the left hip, with the drum
Tulungagung, and is used to convey
secured at the left waist within the confusion when engaging in new
Each drum has different In this context, the Bidhuh
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Dance is a contemporary dance piece (Pitono, 2.
, (Hutaminingtiyas et al.
created by Clairine Faiza Saharani Putri Kusumawardhani in 2023 as a et al.
, n.
), (Akhmad, 2.
and (Pengetahuan et al.
, 2.
The results learning every new thing becomes a of existing research indicate that there is currently no study that focuses on the adaptation of aesthetic experience as a Through the formulation of source of dance creation.
Therefore, this problems, deeper understanding of the The (Nugraheni, n.
), (Setyawan This research is focused on approaches to addressing the issue at Tulungagung Reog Kendang Dance as (Faiza et al.
, 2.
The the main inspiration for Bidhuh Dance.
choreographer found the study of the Tulungagung Reog Kendang Dance is Tulungagung Reog Kendang Dance an art that must continue to be considered and developed because concerning the dual roles of dancer Tulungagung Reog Kendang Dance is and musician.
Mastery of both dance a typical art form from Tulungagung and the dhodhog musical instrument is Regency that has been developed by essential for an effective presentation the creator of the dance within of the Tulungagung Reog Kendang contemporary context.
Through this Dance.
The process of learning the research, it is hoped that it will foster techniques of the Tulungagung Reog creativity and innovation to other Kendang dance art forms.
The assumption proposed in this research is that the dance creator uses her experience with Tulungagung Reog Kendang Dance as Reog Kendang art to realise the work the primary inspiration, which was of Bidhuh Dance.
Experience serves as a source of inspiration and a foundation complete Bidhuh Dance work.
of knowledge in artistic activities.
Some research related to the also provides clues and materials for object has been done before, among Experience is stored as others : (Kusumaningtyas, 2.
, intangible asset in the form of TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 knowledge in the memory.
This stored This memory functions like an archive of knowledge that is distinctive and examine individual experiences.
The meaningful, ready to be expressed exploration of these experiences is motorically and visually.
The archived conducted through comprehensive and version is an aesthetic repository that in-depth is comprehensible solely to the creator collection techniques employed in this and communicated through dance Therefore, this research seeks observations, and documentation.
The to explore how an aesthetic experience objective is to gather responses and is adapted and manifested in a dance opinions to effectively describe the outcomes of valid data collection The through these methods.
The analysis process in this study METHODOLOGY This research focuses on three key was conducted concurrently with data aspects: the choreographer's aesthetic experience, the process of creating the transcribed and selected based on the work, and the final outcome of the Bidhuh Subsequently, the organized data were Dance.
These three aspects were compared with observational data and selected to provide a comprehensive The documentary data understanding of the Bidhuh Dance, utilized included notes, photographs, which is informed by the aesthetic experience regarding a particular writings produced by dance creators.
phenomenon or object.
The research This approach aimed to validate the method employed in this study is interview data through triangulation Qualitative The validated data were research aims to comprehensively then presented in narrative descriptions characteristic of the phenomenological experienced by the research subjects, method, thereby enhancing the clarity utilizing descriptive language and of the research findings.
Interview "aesthetic words to convey findings (Slamet M D, 2.
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developments are regarded as general as RESULTS AND DISCUSSIONS long as they do not exhibit any distinctive Choreographer Aos Process in Using Reog Kendang Tulungagung Dance Clairine Faiza Saharani Putri Kusumawardhani is a choreographer born in Surabaya and raised in Tulunggagung.
She has a background as a dancer in Reog Kendang Tulunggagung.
AuInitially.
I selected a subject that is personally significant to me, one that I have experienced firsthand.
I have been studying Reog Kendang since the third grade of elementary school, and the journey was quite intensive, continuing into my high school years.
During this time.
I developed my skills as a Reog Kendang dancer, focusing on the technique of playing the carried by dancers, as well as mastering the accompanying wilet Ay (Interview Clairine Faiza, 2.
According to the choreographer.
Reog Kendang recently, including the addition of accessories, variations in costume employed by Clairine Faiza in her transformation of the Reog Kendang as Main Inspiration Dhodhog.
This approach was similarly Dance into a contemporary dance work.
Au From this anxiety.
I was sparked by the learning process.
I think reog kendang is quite complex to learn because there are several components in it that require the brain to work in balance and the body can also I was only able to produce one of the most difficult Dhodhog sound strokes, the AutakAy, in my second year of learning Reog Kendang.
Incidentally.
I didn't have much trouble adjusting the movements because I learned to dance from the age of 4.
think that really helped the flexibility of my bodily memory in adjusting the I experienced the Bidhuh phase when I learned Dhodhog Kerep .
he leader of the Reog Kendang influenced the entire Reog Kendang It requires a lot of concentration, because the patterns of the strokes are very diverse and frequent, as well as memorizing when to give the aba abai, because the focus is split into several parts, as a result I felt that the movements I produced These TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 when doing it simultaneously were Formulation At that time.
I may not have Performance Bidhuh Dance realized why my wilet could not be as joyful as when I was not Dhodhog Kerep.
Ay (Interview Clairine Faiza.
The choreographer shares extensive insights from her empirical experience during the bidhuh phase.
The bidhuh Picture 1.
Bidhuh Dance Performance phase demands a significant level of The Bidhuh dance work adapts concentration due to the varied punch several elements of Tulungagung Reog patterns, necessitating a division of Kendang choreography, including both focus between executing the dance on movements and musical accompaniment.
the dhodhog and delivering the call to The movements featured in Bidhuh's In the context of dance, dance are adaptations resulting from the movement quality refers to the effort a deconstruction of menthokan, kejang, dancer makes to perform dance movements optimally (Selis et al.
"I hope that the Bidhuh dance work sundangan, ngidak kecik, and jungkatjungkit movements from the Tulungagung Reog Kendang dance.
Additionally, the music in Bidhuh's dance work draws from can represent Reog Kendang in a contemporary form.
Furthermore, this Tulungagung Reog Kendang, namely the dance work can convey the message kenong, kempul, and gong.
The dhodhog that learning begins within oneself punch pattern is also integrated into the and can occur anywhere and anytime.
Bidhuh dance work.
The dhodhog is a utilizing the media that is most accessible to usAiour own bodies.
instrument utilized by Reog Kendang (Interview Clairine Faiza, 2.
Clairine Faiza aspires to present Reog Kendang in a contemporary context.
Additionally.
Bidhuh Dance aims to convey that learning can begin with the most immediate medium: oneself.
Tulungagung dancers, serving both as a prop and a musical instrument.
It is played by the dancers during their performance, with each dancer employing distinct striking In Bidhuh's choreography, the choreographer enhances the performance by incorporating body percussion accents TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 to convey the essence of the dhodhog Tulungagung.
Reog Kendang Furthermore, percussion is utilized as a medium to interpret the learning process, particularly Tulungagung Reog Kendang dancer.
Picture 2.
Bidhuh Dance Performance Choreographers emphasize the learning process, recognizing that the acquisition Segmentation of new skills often encounters obstacles Performance Bidhuh Dance The first segment of the performance and constraints.
Learning involves a is referred to by the choreographer as the knowledge, from misunderstanding to "introduction.
" This section conveys the understanding, and from inability to tension between wishful thinking and capability, ultimately aiming for optimal reality, highlighting the anxiety associated with the challenges of achieving oneAos The choreographer reflects on their The second segment focuses on the own physical experience as a Reog representation of the dancer's body.
Kendang dancer, recalling a phase where incorporating elements of the Reog body movements were out of sync while Kendang dance.
This serves as an simultaneously performing the dhodhog.
interpretation of human perseverance In East Java, particularly in Tulungagung, throughout the learning process, despite this phenomenon is referred to as various obstacles.
The subsequent section "bidhuh.
" This concept intrigues the explores the journey of finding a path aligned with a singular goal, showcasing incorporation as both an idea and the title the vibrant and harmonious spirit of the of the work.
Bidhuh symbolizes the Reog Kendang dance.
The fourth segment harmony inherent in every aspect of life.
depicts a dissonance in the dancer's In conclusion.
Bidhuh is a dance piece movements, creating a chaotic atmosphere inspired by the Tulungagung Reog Kendang dance, representing a dedicated encountered along the way.
The final learning process aimed at achieving section reflects on the body's memories during the search process, introducing the bidhuh phase as a testament to the significance of valuing the journey itself.
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The movements in the Bidhuh dance combine ngidak kecik, jungkat Ae jungkit, and kejang.
exploration and improvisation based on The music in Bidhuh dance works the foundational movements of the utilizes MIDI (Musical Instrument Digital Tulungagung Reog Kendang dance.
The Interfac.
The choreographer employs performance begins with an introduction MIDI to the hand, which serves as a significant symbol within Bidhuh.
This is followed instruments such as kempul, kenong, gong, deconstruction of This During movement, presented by one dancer.
Bidhuh Andul movements encompass rapid hand motions and distinct stroke patterns that placed around the stage to balance the require precision and agility from the sound of the body's internal movements This technique is essential for with the MIDI music.
maintaining the dynamic flow of the Subsequently, other dancers embody the essence of the dhodhog punch patterns, executed towards the body and A shoulder movement characteristic of Reog Kendang is then introduced.
Picture 3.
although in Bidhuh, it is performed with a https://youtu.
be/ZAvZDA136oo?featur bowed posture.
e=shared The next segment showcases the representing a phase of restlessness and This is succeeded by a rampak body percussion piece performed by all dancers, featuring varied facing and floor The striking pattern remains consistent, with dancers hitting their left chest and left thigh using a sundangan The concluding section of the Bidhuh dance work culminates in a chaotic atmosphere, characterized by free punch patterns and movements that CONCLUSION Bidhuh Dance incorporates numerous elements of the Tulungagung Reog Kendang Dance movements and Dhodhog punch patterns through idiomatic body percussion into a Choreographer Clairine Faiza utilizing aesthetic experience as a framework for creating dance works represents an innovative approach and a novel area of research within the field of dance.
This TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 research offers a valuable approach to studying dance through the lens of aesthetic experience.
However, the study duration, which did not allow for an exploration of makeup and clothing elements related to the performance's Consequently, further research understanding of this work and other similar studies.
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REFERENCES