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Aesthetic of Bedhaya Kidung Gayatri Dance Performance Wahyu Indriya Laksmi (Institut Seni Indonesia Surakarta/Indonesia/ ayuwahyuindriya@gmail.
Nandhang Wisnu Pamenang (Institut Seni Indoneia Surakarta/Indonesia/ nandhang@isi-ska.
Slamet Slamet (Institut Seni Indonesia Surakarta/Indonesia/ slamet67@isi-ska.
DOI: https://doi.
org/10.
20111/terob.
*Correspondensi: Wahyu Indriya Laksmi1.
ABSTRACT This research aims to provide information and references about the aesthetics of the performance form of Bedhaya Kidung Gayatri Dance in terms of the 1Email: ayuwahyuindriya @gmail.
elements of wiraga, wirama, and wirasa.
This study was conducted to examine the aesthetic aspects of the Received:23-6-2025 Bedhaya Kidung Gayatri dance.
Although the Bedhaya Accepted:29-9-2025 dance contains philosophical values, studies that Published:7-10-2025 specifically highlight the application of the concepts of wiraga, wirama, and wirasa in the Bedhaya Kidung Gayatri work are still limited.
The method used in this research is qualitative research methods with descriptive and aesthetic approaches.
Data collections Terob Journal is licensed under a Creative techniques consist of three stages: observation.
Commons Attribution-ShareAlike 4.
interviews, and documentation.
The results of the International License research can be concluded that the aesthetics of the Copyright: A 2025 by the authors.
performance form of Bedhaya Kidung Gayatri Dance can not only be seen from the visualization of motion and musical accompaniment but also from the elements contained in the dance: wiraga, wirama, and This concept is fundamental and used as a guide by dancers, choreographers, and academics in enriching the study of performing arts, especially Javanese dance.
This study provides insights and information about the aesthetic aspects of the Bedhaya Kidung Gayatri dance performance through the fundamental concepts of wiraga, wirama, and wirasa.
Keywords: Aesthetic.
Bedhaya Kidung Gayatri.
Wiraga.
Wirama.
Wirasa
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besides that.
Gayatri also has a loving INTRODUCTION Bedhaya Kidung Gayatri dance is nature (Rahmani, 2.
Bedhaya dance cannot be separated a dance work created by Dwi Rahmani in 2019 in Surakarta.
Bedhaya Kidung Gayatri Dance is a bedhaya genre Unlike other bedhaya dances, the number of dancers in this Bedhaya from the element of beauty inherent in the dance itself.
The element of beauty in dance is generally referred to as aesthetic .
The aesthetics of the Bedhaya Kidung Gayatri Kidung Gayatri Dance consists of 11 evaluated or viewed from the elements of In some parts of the sequence, wiraga, wirama, and wirasa.
Wiraga is the it uses the character of the movements dancer's physical ability to dance, wirama of the putri lanyap, and there is also a is the dancer's ability to adjust their development of movement in the movements to the rhythm, and wirasa is There is also indicated some the ability to bring characters to life in a part of Balinese dance vocabulary, one dance performance.
In the context of the of which is shown in the agem movement, and there is also a slight addition of Yogyakarta movement This can happen on the basis of new innovations in the Bedhaya Kidung Gayatri dance, this beauty is expected to be reflected through the dancers' ability to display harmony between movement, rhythm, and feeling, resulting in an elegant, refined, and meaningful performance (Maryani, 2.
Some related research that support bedhaya dance as well as the body memory of a choreographer.
This includes: (Rahmani, 2.
, (Rahmani, work was inspired by the attitude and 2.
, (Banowati, 2.
, (SaAoati & Gayatri Indriyanto, 2.
, (Aristi & Lestari.
Rajapatmi, who was the female figure 2.
, (SARI, n.
), (Maryani, 2.
, behind the glory of the Majapahit (Murti, 2.
Princess Kingdom.
Gayatri Rajapatmi is a Based on the existing research woman whose character reflects Dewi above, there has been no discussion Saraswati.
Dewi Laksmi.
Dewi Kali, related to the aesthetics of the Dewi Uma, and Dewi Durga, who has performance from of Bedhaya Kidung a beautiful, graceful, authoritative.
Gayatri Dance, which is reviewed brave, intelligent, and strong presence, through the main elements of dance.
TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 namely wiraga, wirama, wirasa.
There motivation, action, holistically, and is a gap between the expectation that descriptive by utilizing various natural the Bedhaya Kidung Gayatri dance methods (Slamet, 2018.
can be understood in depth in terms of The research begins with problem aesthetics and the fact that previous identification and the formulation of studies have not paid attention to these objectives, followed by data collection fundamental aspects.
Therefore, the researches are documentation, and literature review.
interested and want to write this The collected data are then analyzed research with the aim of providing using the concepts of wiraga, wirama, insight of aesthetic elements in and wirasa, interpreted to describe Bedhaya Kidung Gayatri Dance.
aesthetic values, and finalized in the conclusion and report writing.
The techniques used in data collection METHODOLOGY This qualitative method with a descriptive interviews, and document utilization.
The and aesthetic approach.
Qualitative research is research that uses a natural phenomena that occur and is carried out by involving various existing interviewing the source.
Dwi Rahmani .
years ol.
, who is the creator of the Bedhaya Kidung Gayatri dance.
The interview was conducted in March 2025.
The interview was conducted with the aim From this understanding, the of obtaining information related to the author still questions the natural setting with the intention that the results can be used to interpret background of the work, the stages of phenomena, and what is used for creation, the process of developing ideas to qualitative research is a variety of movements, and the elements that are research methods (Slamet, 2.
important in the Bedhaya Kidung Gayatri Thus, it can be concluded that qualitative research methods aim to understand the phenomenon of what is experienced by the research subject, dance as supporting data in this research.
The literature study data was obtained by reading several references obtained from scientific articles, some of which include: Bentuk Pertunjukan Tari Bedhaya
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Kidung Gayatri.
Strategi Politik Wanita a dance work composed by Dwi Dalam Sejarah.
Wiraga Wirama Wirasa Rahmani.
Kar.
Sn and directed by Dalam Tari Tradisi Gaya Surakarta, as Didik Bambang Wahyudi.
Kar.
Sn, who is a dance lecturer at Institut discussing the aesthetics of performance in a dance work.
From studying the literature, the author obtained information on the form of the Bedhaya Kidung Gayatri Dwi Seni Indonesia Surakarta.
This dance was created in 2019.
Bedhaya Kidung Gayatri is a development of Sesaji Dance created by Dwi Rahmani in Rahmani, as well as information on the At that time, the number of concepts of wiraga, wirama, and wirasa dancers was still nine people and the and their application.
information about music was composed by Waluyo, the figure of Gayatri Rajapatni, a female Kar.
This Sesaji dance is inspired by figure behind the glory of the Majapahit the strength of a woman.
Equally Kingdom, and information and references departing from the power of a woman, related to the aesthetic form of a this Sesaji dance was developed in Next, the data collected was analyzed by sorting and interpreting it.
Data that did not pass this process was eliminated and 2019 into a Bedhaya dance entitled Bedhaya Kidung Gayatri Dance and composed by Dedek Wahyudi Sutrisno .
nterview with Dwi Rahmani, 2.
stored as a comparison in case additional This dance was inspired by an information was needed for the mapped influential princess figure behind the glory of the Majapahit kingdom.
The namely Gayatri Rajapatmi.
The figure presented in the form of a description to of Gayatri Rajapatmi has a beautiful, facilitate the reader.
The description was graceful face, a strong personality, also accompanied by photo illustrations to courage, intelligence, authority, and a summarize the discussion and provide a complete picture of the analyzed work.
RESULTS AND DISCUSSIONS
Aesthetics of Performance Form of Bedhaya Kidung Gayatri Dance Bedhaya Kidung Gayatri dance is loving nature.
Bedhaya Kidung Gayatri Dance is a bedhaya dance genre.
Unlike other Bedhaya dances, the number of dancers in this Bedhaya Kidung Gayatri Dance consists of eleven dancers.
Each dancer has a role known as a position in a dance TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 composition, with names such as occur due to new innovations during batak, gulu, dada, apit ngarep, apit mburi, endhel weton, apit meneng, and development of the bedhaya dance Essentially, this Bedhaya variety itself, and is also influenced by Kidung Gayatri Dance is based on the the body memory of the choreographer bedhaya dance standard, but in this who is a lecturer and an alumnus of the Bedhaya Kidung Gayatri Dance there Akademi Seni Karawitan, which is is a development in the number of now renamed the Indonesian Institute dancers, which generally endhel weton of Arts Surakarta, in the creative and apit meneng of one person, but in process of combining the various this Bedhaya Kidung Gayatri Dance movements to produce a new variety there are two endhel weton and two .
nterview Dwi Rahmani, apit meneng.
This dance also has its own characteristics.
Wiraga Characteristic of Bedhaya Kidung Wiraga is a skill in visualizing Gayatri can be seen in some parts of every movement made by a dancer the sequences that utilize the character and is related to memory or of female movements with lanyap memorization, mastery of motion character but still have a soft and techniques, and space (Maryani, graceful impression, and along with a Wiraga also includes the development of movements in the physical strength and control the There incorporation of a small vocabulary of Yogyakarta-style movements, and in dancing, because strenght is the the sirepan section there is a Balinese main factor of a dancer (Faishal.
This is due to the quality 2.
The application concept of of movement and volume combined wiraga in the Bedhaya Kidung with flute accompaniment that gives Gayatri dance can be seen in the Balinese This is what makes movement motifs.
The variety of Bedhaya Kidung Gayatri a very movements and movement motifs used in the Bedhaya Kidung The combination of these movements can Gayatri TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 vocabulary of classical Surakarta- can be conveyed well.
This is style dance movements, which where the dancer's bodily ability in have been developed in several of the accuracy of movement is Based on observations in movement vocabulary, elements the video document, the author of the Yogyakarta style are also believes that the dancer in this incorporated, as seen in the Bedhaya Kidung Gayatri Dance srisigan movement.
The proper succeeded in interpreting the character of Gayatri.
This can be movement can be observed in the seen from the suitability of the movements in each atmosphere, as Within well as the connection of the The wiraga element here is racket from one movement to also influenced by the dancer's In selecting dancers, the continuous and unbroken.
From this suitability, the quality of the When choosing dancers, dancers movements proves to be able to perform motion techniques women with the same adeg or well so that they appear flexible.
gandar, or body attitude.
In this In the selection of dancers, the dance, the choreographer needs dancers were chosen directly by the choreographer.
Dwi Rahmani.
characteristics of the character of The dancers in this performance Gayatri, such as women who have are students of the Dance Study a high posture, a beautiful face.
Program at Institut Seni Indonesia and of course can perform this Surakarta.
However in selecting dance according to the character dancers.
Dwi Rahmani also has of Gayatri, namely authoritative, her own criteria.
The criteria for being chosen as a dancer for The intelligent, beautiful and loving Bedhaya Kidung Gayatri Dance is It is intended that the a woman with tall stature, having Bedhaya Kidung Gayatri Dance possessing good dance skills, has TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 the same gandar, beautiful, and most importantly always having performing a movement in a dance, it the desire to learn and process must be in accordance with the .
nterview wirama, such as in accordance with Rahmani.
Dwi This important because in the aesthetic value of Bedhaya dance, what is first seen is the visual form of the dancers, therefore the suitability or similarity of body posture or presentation of this work.
The selection of dancers who have good dancing skills and the desire to learn and process together means that dancers can apply dance concepts such as wiraga, wirama, and wirasa well, so that the impression and message of effectively to the audience and choreographer and dancers.
This interaction makes it easier for the choreographer to communicate and discuss the work together.
Wirama Wirama is a combination of movement and rhythm.
Rhythm in a dance includes the rhythm of the music, the rhythm of the movements, and the rhythm of the movements the count, the accuracy in executing or adjusting the movements to the accompanying music.
especially dance, it cannot be In this dance work.
Bedhaya Kidung Gayatri is Javanese namely gamelan, whose gendhing arrangement has also undergone The arrangement of the gamelan is composer and can be a unity with the dance movements, so that it succeeds in bringing out the atmosphere of the dance character The gendhing performed consist of Pathetan Kebyar Mantram Ganthungan which is filled with the literary mantram of Puja Dewi verses accompanied by gender, trumpet (Rahmani, 2.
Then it is followed by buka celuk which is TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 the beginning of the beksan the gong.
Then there is rhythm The second section is the ketawangan section accompanied by gendhing ketawang gayatri movement in accordance with the alit garap kemanak, but in the Usually, midak rhythm third section it is accompanied by is used for characters who are the vocal work of Mantram assertive, brave, and authoritative.
Gayatri, and in the sirepan An example of movement in the accompanied by sirep kemanakan midak rhythm is when during which is accompanied by vocal seblak sampur, the dancer spreads mantram Gayatri and hybrid the sampur right along with the vocals (Rahmani, 2.
In the sound of the gong or if calculated backward part of the beksan using counts 1 to 8, seblak sampur .
undur beksa.
accompanied by is done on the eighth count the Ladrangan Kidung Gayatri .
,2,3,4,5,6,7,.
And the third is Alit gendhing form.
the nggandul rhythm.
Nggandhul Wirama in Indonesian means hanging, like suitability of the rhythm of dance movements with the rhythm of application of motion in the the gendhing.
There are three rhythm of nggandul actually looks types of movement rhythms in like a delayed movement, this is traditional Surakarta-style dance, adjusted to the rhythm of the nggandhul, irama nujah.
The gendhing, however this nggandhul rhythm of motion consists of rhythm tends to be occure at the end of the tibo gendhing or is performing the movement by adjusted to the selehan tibo tembang or the end of the vocal example in the seblak sampur An example of nggandul rhythm is in the seblak sampur application of nujah rhythm in movement vocabulary, where the seblak sampur means that the dancer spreads her sampur after dancer spreads the sampur before the gong is beaten.
When done The TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 with a count of 1 to 8, the gentle and loving, transitioning into the gendhing ketawangan.
excuted in counts of 1 or even 2 When entering the movement .
,2,3,4,5,6,7,8,1,.
usually the before the gendhing ketawang nggandul rhythm is done for the luruh character to clarify its soft rhythm of the movement begin to rise into a midak rhythm.
Then at Based the time of ketawang Hibryd, it rhythm used in The Bedhaya Kidung stabilizes to create an impression Gayatri Dance is the rhythm of midak and nggandul, the application in the visualizing the characteristics of movement section is as follows:
Dewi Saraswati.
Dewi Laksmi.
In the motion of kapang-kapang Dewi Durga.
Dewi Uma, and accompanied by pathetan from Dewi Kali that unite in Gayatri.
Mantram Gayatri, the rhythm During the sirep section, wich used is a stable rhythm in uses the nggandul rhythm, the character that appears in this The dancers stepped scene is a visualization of the towards the beksan goal with tenderness and love of Gayatri.
confidence to create a majestic At the time of Ketawang Kidung atmosphere and depict the figure Ajang Gayung, the rhythm of of Gayatri, who at that time was arriving gendhing and tembang is said to be a candidate for a leader also used.
The impression seen before the position was given to from this scene is the majesty of the goddesses who become one Tribuwana Tunggadewi.
When entering the buka celuk unit in a Gayatri, accompanied by section, the rhythm used is accordance with the lyrics of the nggandul rhythm.
This part
vocal song: Aumanunggal nyawiji begins with Batak dancing solo
sang hapsari dewi saraswati first as an introduction to the miwah dewi laksmi durga uma, character of Gayatri who is miwah dewi kali ring kidung
gayatri kidung puja puji mantra
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rhythm of the movements and the gendhing creates a luwes impression, and salaminyaAy each movement appears resik or clean.
AuBecome a unity of the goddess hapsari, goddess Saraswati, and goddess Laksmi.
Durga.
Uma, and Goddess Kali, with the Sufi song Gayatri.
Sufi songs of pujapuji mantra suci so that the whole is safe, and all residents are preserved foreverAy(Rahmani.
At the time of mundur beksan, the beksan uses a rhythm that Picture 1.
sekaran lincak gagak seblak nggandhul visualizing beautiful, gentle, graceful, and loving characters.
Source: Youtube channel Upt.
Audio Visual ISI Surakarta matches the arrival of the The presented seems majestic, this is also a visualization of the peak of Gayatri Rajapatmi's journey who is ready to change her destiny to become a Biksuni .
nterview Dwi Rahmani, 2.
The purpose of these three rhythms Picture 2.
Sekaran gedheg leyotan visualizing a character lanyap, strong, and Source: Youtube channel Upt.
Audio Visual ISI Surakarta in the Bedhaya Kidung Gayatri dance is to realize or visualize the character of this Wirasa bedhaya dance.
The character of the Wirasa is a combination of Bedhaya Kidung Gayatri dance is based movement and rhythm that produces a on the character of Gayatri Rajapatni, a In achieving wirasa, dancers woman behind the glory of Majapahit no longer think about memorizing who had an elegant, beautiful, intelligent, choreography or floor patterns, but instead focus on the dance they are strong, and loving character.
The dancers' sensitivity to the performing, so that they become one with the dance.
In achieving an TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 emotion, the dancer must also be able To be able to convey the message, atmosphere, and present Additionally, the dancer must be the dance work well, a dancer must confident, as this confidence fosters a be able to interpret the characters convincing attitude, ensuring that their movements do not convey The traditional Surakarta-style dance is still very much influenced by aesthetic principles, while the aesthetic concept of traditional Surakarta-style dance itself has four parts, namely physical form, artistic form, dynamic form, and aesthetic form (Maryani, 2.
This can be seen in the final result of the movements performed by the dancers, both in terms of their In achieving wirasa, each dancer no longer thinks about memorizing movements, but has reached a level where they can feel them.
Feeling here means that dancers can feel each movement combined with the accompanying The interpretation then becomes a basic guideline for a dancer in presenting a dance work.
The purpose is for dancers to be able to internalize and portray a character in the dance work, so that the message to be The application of wirasa in the Bedhaya Kidung Gayatri dance can be seen and felt atmosphere created by the dancers.
Therefore, wirasa can also be poses and body shapes.
and stories contained in the dance dancers are also required to be able to interpret the characters in the dance being performed.
Every dance work has a background story that will be conveyed to the referred to as the result of the concepts of wiraga and wirama.
The movements and the rhythm of the music and gendhing creates and visualizes the atmosphere, thereby creating a theatrical effect in the Bedhaya Kidung Gayatri dance.
This is intended to ensure that the character of Gayatri Rajapatni is well visualized.
The integration of the elements of wiraga, wirama, and wirasa is also supported by the TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 contained within wiraga and decorations made from jasmine musical accompaniment, makeup The makeup and clothing and costume, the makeup and used by these dancers support the costume in this Bedhaya Kidung aesthetic value of this performance Gayatri Dance use bedhaya dance and which gives the impression corrective makeup or commonly and character that matches the called beautiful makeup.
The character desired by the creator.
aesthetic value embodied in this Gawang.
The gawang arrangement makeup aims to clarify the lines of pattern or floor pattern here uses a the face and support the aesthetics pendhapa stage wicket that can be of this dance.
The clothing used in seen from four sides at once.
The this dance is using dodot with beauty value of this dance is babon angrem patterns, which supported by the neatness of the sampur, slepe, thothok, then uses accuracy in changing places, the yellow jarik samparan and is appearance of the dancers, and the equipped with wiron sandatan, high and low volume of the dancers (Rahmani.
There .
ancers standing or knee.
Then accessories such as bracelets, the dancers' movements, which are necklaces, and studs or earrings to an attempt to achieve character complete the appearance.
On the putri lanyap but still appears gold-colored ornaments, so that the impression Bedhaya of majesty and the impression of performance can be presented the Balinese style are visible.
The hairdo uses a bun that is equipped technical aspects of dance, such as with cunduk jungkat or sirkam posture and polatan or facial accessories, and on the back there expressions such as strength when are accessories such as garuda performing hoyog movements with In this part of the hairdo, a wide range, broken movements Putri Kidung Gayatri TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 that give an impression of antep and bravery, ornamentation that forms a stupa .
igure of the goddess on a templ.
, tempo, and rhythm in performing movements.
The grace and loving nature of the Bedhaya Kidung Gayatri dance can also be presented when the Picture 3.
Kesatuan gerak penari menghasilkan rasa yang menyatu pada antar penari Source: Youtube channel Upt.
Audio Visual ISI Surakarta batak dances alone and the other dancers are in a trap sila position, then in the beksan movements in the sekaran laras la la, sekaran manglug, laras anglir mendung, and sekaran lincak The leyotan movement with its midak patah-patah rhythm visually portrays Gayatri Picture 4.
rias busana Bedhaya Kidung Gayatri Dance Source: Youtube channel Upt.
Audio Visual ISI Surakarta as strong, brave, and authoritative.
The application of these emotional elements is successfully executed by the dancers, and this success collaboration between the dancers and the musical accompaniment, which harmoniously unites the CONCLUSION The Bedhaya Kidung Gayatri dance was created in 2019 and was inspired by a figure behind the glory of the Majapahit Choreographer Gayatri Dwi Rajapatni.
Rahmani traditional Surakarta dance movements to create this dance.
The traditional Surakarta emotions, thereby creating the dance style has a basic concept that movements, namely wiraga, wirama, and This concept is fundamental and synchronized with the musical must be understood and used as a guide and reference by dancers, choreographers, and academics in enriching the study of TEROB VOLUME 16 NOMOR 1 OKTOBER 2025 performing arts, especially Javanese In relation to this, this study aims to provide insights and information about the aesthetic aspects of the Bedhaya Kidung Gayatri through the fundamental concepts of wiraga, wirama, and wirasa.
Therefore, further research is recommended to enhance understanding of this work and similar studies.
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REFERENCES