TEROB VOLUME 16 NOMOR 2 APRIL 2026
The Transformation of Dance and the Quality of Intergenerational Dance Performance Sri Mulyani (Universitas Negeri Semarang/ Indonesia/ srimulyani.
mje@gmail.
Hartono (Universitas Negeri Semarang/ Indonesia/ hartono.
sukorejo@mail.
Raharjo (Universitas Negeri Semarang/ Indonesia/ raharjoeko1965@mail.
DOI: https://doi.
org/10.
20111/terob.
103 ABSTRACT
*Correspondensi: Sri Mulyani1 The role of traditional dancers as cultural agents significantly contributes to preserving the artistic identity of a region.
1Email: srimulyani.
mje@gmail.
However, in the face of rapid societal changes, the quality of Email :
performance artistry has undergone a significant transformation across generations.
This article examines how the values of Received:19-07-2025 performance artistry have evolved, the challenges faced in Accepted:07-04-2026 preserving dance techniques and ethos, and the educational and Published:15-04-2026 cultural transmission strategies that can strengthen the quality of performance across generations.
Using a qualitative approach through literature review and interviews with intergenerational artists, the study reveals that the transformation of performance artistry reflects a paradigm shift from mere technical inheritance Terob Journal is licensed under a Creative to a more contextual actualization of cultural identity.
International Commons License Attribution-ShareAlike Copyright: A 2026 by the authors.
Keywords : performance artistry, cultural transformation, intergenerational, dance art, preservation TEROB VOLUME 16 NOMOR 2 APRIL 2026 shaped through disciplined practice .
INTRODUCTION Traditional arts constitute one of .
, contemplation, and the dancerAos connection IndonesiaAos cultural identity.
As part of to the encompassing cultural values.
Thus, nationAos heritage, traditional artistic practices understood as a manifestation of personal play a vital role in sustaining the integrity articulated through embodied continuity of values, meanings, and However, the rapid transformations of supporting communities (UNESCO.
In the context of performing arts, traditional dance does not merely present aesthetic movement.
it also serves as a space for embodying generations understand, learn, and enact spiritual values, ethical principles, life traditional arts (Wulandari & Iriani, 2.
philosophies, and the social systems TodayAos youth inhabit an increasingly instant culture, shaped by social media (Sedyawati, 1.
Through artistic algorithms that privilege visual appeal, lifeAimarked cultureAihave market-oriented These conditions inevitably influence their engagement with traditional arts: inward discipline shifts toward visual transmitted across generations.
A crucial element in ensuring the deep internalization toward sustainability of traditional arts is the aesthetic consumption.
extended formative quality of dance performance.
The processes toward instantaneous production.
concept of the dance performance This shift in orientation gives rise to the refers to the technical, ethical, aesthetic, and spiritual quality of a dancer in fulfilling their role as a Such transformation does not cultural agent (Chaya, 2.
necessarily imply decline.
rather, it reflects Javanese a change in paradigms and in the ways performance quality.
extends beyond contemporary generations interpret artistic technical mastery of movement.
it is Senior
TEROB VOLUME 16 NOMOR 2 APRIL 2026
perceive art as a form of cultural contemporary contexts.
whereas younger generations are more Moreover, social changes following inclined to view it as a medium for the COVID-19 pandemic have significantly individual creative expression or social influenced patterns of arts education.
Many visibility (Purwasito et al.
, 2.
This divergence generates a gap in meaning processes to digital platforms, accelerating within the processes of transmitting access to technical instruction while traditional arts across generations.
simultaneously weakening the transmission Research Urgency of values, ethics, and experiential depth.
The urgency of this research arises This condition underscores the pressing from the need to understand how such need for a value-based arts education Without intergenerational gaps and reinforcing the cultural integrity of traditional dance understanding, several critical risks may emerge:
Research Context: Desa Olehsari as an The philosophical, ethical, and Intergenerational Space spiritual values embedded within Desa Olehsari, located in Glagah dance performance quality may District.
Banyuwangi, is recognized as one gradually erode in the process of of the centers of traditional arts in East Java that continues to sustain the vitality of Gandrung.
Janger.
Seblang, and other local Artistic regeneration may proceed in a fragmentary manner, focusing predominantly on technical and visual aspects rather than on cultural substance.
art forms.
The artistic communities in this from elder cultural custodians and adult performers to young children who represent transmission of tradition the next generation of cultural inheritors.
becomes vulnerable to disruption.
The socio-cultural conditions of Olehsari particularly if younger generations provide an ideal setting for observing the no longer perceive the relevance of dynamics of the transformation of dance The performance quality within a tangible, lived TEROB VOLUME 16 NOMOR 2 APRIL 2026 context (Wibowo, 2.
What roles are played by community Beyond its strong foundation in networks, art studios .
, and traditional practices.
Olehsari also cultural institutions in preserving the offers extensive opportunities for non- performance quality? community-based .
These studios function as collaborative spaces in which the values of dance performance quality are intensively transmitted.
However.
Research Objectives The objectives of this study are as several studios have begun adopting modern training patterns that prioritize dance performance quality.
speed, efficiency, and competitiveness.
To analyze the socio-cultural factors This shift raises a critical question:
influencing shifts in the orientation of does the acceleration of training dance performance quality.
processes compromise the depth and integrity of dance performance quality? Based on the foregoing discussion, this study is grounded in several How does the transformation of manifest across generations within traditional dance communities? What factors influence the shift in orientation of dance performance value-based value-based sustaining the continuity of traditional To propose a comprehensive and contextually relevant model of cultural How patterns of younger generations in traditional dance.
principal research problems:
To describe the artistic behavioral education strategies sustain the continuity and integrity of dance performance quality? TEROB VOLUME 16 NOMOR 2 APRIL 2026 Theoretical Framework (Refinement 2021Ae2.
reshape generational modes of cultural To enrich the analytical depth of theoretical perspectives are employed:
Performativity Cultural Identity Theory This theory is relevant in transform perceptions, dissemination, and participation in traditional arts.
Cultural Capital Theory Judith Butler .
Performative Pierre Bourdieu .
4 reprint editio.
Acts in Contemporary Culture.
The Logic of Practice, conceptualizes cultural capital as a structuring force constitutes the process through which identity is formed through Within this study, cultural repeated acts.
In the context of capital provides a lens to understand dance performance quality as socially negotiates cultural identity across institutional systems, and symbolic power relations.
Value-Based Education Theory Gert Biesta .
World-Centred Education, educational practices that situate learners in meaningful relation to cultural realities and local values.
This competence, but cultivate ethical and cultural subjectivity.
Cultural Digitalization Theory Collectively, foundations strengthen the understanding that transformations in dance performance quality are not solely driven by internal artistic dynamics, but also by broader social structures and technological ecosystems.
Traditional arts constitute intangible cultural heritage that embodies identity, values, and ways of life transmitted across generations (Zaimar, 2.
In this regard, traditional performing arts occupy a crucial position as vehicles for transmitting noble values, encompassing belief systems, social Henry Jenkins .
Culture in norms, aesthetics, and collective spirituality the Age of Algorithm, explains (Sedyawati, 1.
Art is therefore not TEROB VOLUME 16 NOMOR 2 APRIL 2026 merely aesthetic expression, but a Market-oriented dialogue unfolds (Desmond, 1.
resulting in the erosion of meaning and the degradation of aesthetic and spiritual depth A crucial aspect of sustaining within traditional arts (Maghfiroh & traditional performing arts is the Yuliani, 2.
Consequently, concerns quality and integrity of their cultural arise that dance performance quality may agentsAidancers, lose its essence as a sacred medium of puppeteers, and other performers.
Such cultural transmission.
This phenomenon represents a serious regeneration of traditional arts.
Without thoughtful and strategic responses, such (Raharjo, 2.
Authentic the dance understanding and sustaining tradition in its holistic form.
It is therefore essential to critically examine how dance performance reflection, and embodied discipline, rendering it not merely a skill but a transformation and how value-based arts form of cultural conduct or laku education can function as a bridging (Bourdieu, 1.
strategyAione that accommodates change However, transformationsAiparticularly without severing cultural roots.
Desa Olehsari in Glagah District, globalization and digital technological Banyuwangi, represents a community that advancementAihave shifted younger generationsAo perceptions of traditional practices, particularly local dances such as Art increasingly tends to be Gandrung (Purwasito et al.
, 2.
The positioned as instant entertainment, intergenerational arts community.
This study therefore seeks to examine how engagement with creative processes transformations in dance performance and foundational values (Rich, 2.
quality occur across generations and how TEROB VOLUME 16 NOMOR 2 APRIL 2026 the community maintains cultural forms (Wibowo, 2.
Furthermore.
Desa Olehsari is home to several sanggar value-based education approaches.
ommunity art studio.
that function as This article aims to address these centers for informal education and the challenges by: identifying forms of transmission of local cultural values (Setiawan & Zaimar, 2005.
dance performance quality.
As a traditional arts community.
Desa factors influencing shifts in artistic Olehsari provides a representative site for and proposing educational internalization of cultural values as a Artistic activities in this village strategic measure for preserving and involve not only elder practitioners as revitalizing traditional arts.
Ultimately, custodians of tradition, but also younger this research aspires to contribute both and emerging generations who are in the conceptually and practically to the process of shaping their aesthetic and construction of a sustainable arts cultural identities within contemporary regeneration framework rooted in local contexts (Maghfiroh & Yuliani, 2.
Research Subject Research Location The research subjects were selected This research was conducted in Desa Olehsari, located in Glagah involvement in traditional artistic practices.
District.
Banyuwangi Regency.
East The participants comprised the following Java Province.
The recognized as one of the centers of Intergenerational dancers: including traditional artistic activity in the senior artists .
lder practitioners who have Banyuwangi been active since earlier period.
, the traditions continue to thrive and evolve intermediate generation .
roductive age (Widagdo et al.
, 2.
The local range of 20Ae40 year.
, and the emerging generation .
dolescents or children who are engagement in a wide range of artistic newly engaged in learning traditional danc.
(TINGGI, n.
performing arts such as Tari Gandrung.
Choreographers or dance instructors:
Janger, and other local performance individuals who play significant roles in the TEROB VOLUME 16 NOMOR 2 APRIL 2026 processes of education, training, and Secondary data served as complementary the creation of dance works within the community context (Raharjo, 2.
documents, including:
Observers and scholars of dance:
cultural figures and academics who A pre-existing Archival records of traditional art performances in Desa Olehsari.
critically examine and analyze the development of traditional performing A Historical arts from conceptual and theoretical .
hotographs, videos, and written perspectives (Sedyawati, 1.
Art studio .
or cultural A Academic research findings.
responsible for the institutional and community-based artistic activities (Aubert et al.
, 2.
Cultural articles from mass media and performing arts journals (Moleong.
Matthew Miles.
Michael Huberma.
Data Sources The study utilized two primary To obtain in-depth and comprehensive categories of data sources:
data, several data collection techniques Primary Data Primary data were obtained directly from the field through:
Data Collection Technique were employed as follows:
In-Depth Interviews In-depth interviews with artists This technique was utilized to explore the subjective experiences and perceptions and cultural practitioners.
of intergenerational dancers regarding A Direct training sessions and performance A shifts and continuities in the values embedded within the dance performance Interviews were conducted in a Field documentation, including semi-structured format, guided by open- photographs, field notes, and ended questions to allow broader and more flexible data exploration (Kvale, 1.
activities (Kvale, 1.
Secondary Data This approach enabled participants to articulate personal narratives, interpretive TEROB VOLUME 16 NOMOR 2 APRIL 2026 and dynamics of transformation (Moleong, viewpoints in a nuanced manner.
Participant Data Analysis Technique Non-Participant Observation Observations were carried out throughout dance training sessions, public performances, and informal Participant observation was applied when the researcher actively engaged in selected activities, thereby gaining Data analysis was conducted qualitatively using an interactive and cyclical approach, following the model proposed by Matthew Miles.
Michael Huberman, and Johnny Saldaya .
The analytical stages included:
Data Reduction The initial process involved selecting.
Conversely, non-participant observation was conducted through obtained from in-depth interviews, direct but non-intrusive observation.
Relevant systematically document interactions, information concerning changes in behaviors, and performative practices form, practice, and values related to within their natural context (Spradley, intergenerational dance performance quality was coded and categorized.
Data Display (Data Visualizatio.
Research Method This documentation study as a primary methodological component.
The study encompassed the examination of visual documents .
hotographs and video.
, program booklets, and historical art archives in Desa Olehsari.
Archival materials from earlier periods were systematically compared with current conditions in order to identify patterns The reduced data were organized into matrices, and classificatory diagrams.
The developed through the classification of elements such as modifications in dance form, stylistic distinctions across generations, and shifts in perceptions This TEROB VOLUME 16 NOMOR 2 APRIL 2026 relationships among data and choreographers, sanggar managers, supported deeper interpretation of and arts observer.
and through multiple data collection techniques phenomenon under study (Moleong, 2.
Conclusion .
Drawing Verification documentatio.
(Patton.
Spradle.
Member Checking Conclusions The confirmation with research participants regarding the data, interpretations, and findings obtained.
This procedure The researcherAos interpretations accurately reflected the patterns and relationships between lived experiences and perspectives of participants (Creswell, 2.
This validation to ensure consistency and accountability of findings (Miles et al.
, 2.
To ensure validity and reliability within this qualitative inquiry, several proposed by Yvonna S.
Lincoln and Source and Method Triangulation Data were validated by comparing and cross-checking information .
ntergenerational analytical process to be transparently traced and reviewed.
This strengthened the credibility and dependability of the transparency (Moleong, 2.
Results Shifts in Values and Artistic Orientation Senior dancers tend to interpret the dance performance quality as a form of Egon G.
Guba, were applied:
Detailed and systematic field notes Data Validity and Trustworthiness Audit Trail and Descriptive Rigor spiritual discipline and social devotion.
Dance is understood as an inward process imbued with ethical and transcendental generations frequently perceive dance as a TEROB VOLUME 16 NOMOR 2 APRIL 2026 medium of individual expression and a vehicle for social visibility within digital spaces (Maghfiroh & Yuliani.
This shift reflects a broader transition from transcendental values toward performative orientation and popularity-driven recognition, aligning with Jean BaudrillardAos .
notion meaning in contemporary culture.
Artistic practice increasingly risks becoming surface representation rather than embodied cultural consciousness.
The Fragility Ethical Philosophical Transmission now more accessible through online videos and short-term training formats.
The Role of Community and Cultural Institutions Art greater capacity to preserve the continuity of the dance performance quality.
Traditional community settings often prove more effective than overly formal and rigid institutional approaches.
Arts education that integrates embodied practice with cultural narrative is essential to ensure holistic value transmission (Bruner, 1.
Such integration allows tradition to be internalized not merely as technique, but as lived meaning.
Although dance techniques are across generations.
Analysis and Reflection Dance Performance Quality Traditional Perspective values and cultural context continues to Within traditional paradigms, the dance reflective engagement.
This reality technical mastery.
it is the outcome of reaffirms the importance of community cultivation (Raharjo, 2.
Concepts .
rt intergenerational spaces of learning.
such as laku, tapa, and suluk in Without dialogical and experiential Javanese cultural philosophy describe guidance, technical competence may processes of inner refinement that develop independently from ethical grounding, thereby weakening the Contemporary integrity of dance performance quality reveal tension between these values of TEROB VOLUME 16 NOMOR 2 APRIL 2026 disciplined inward cultivation and dance performance quality need not be interpreted as decline.
The dialectical characteristic of modern society relationship between tradition and (Wibowo, 2.
This friction does not merely understandings of what it means to AubeAy a dancer.
Instant A contemporary example is Tari Seblang, which now circulates in digital formats, expanding its reach to broader audiences.
However, critical engagement remains Culture Commodification of Art necessary to ensure that spiritual essence and cultural context are not reduced to mere performative display.
Social media platforms such as The challenge, therefore, lies not in TikTok and Instagram function resisting transformation, but in guiding itAiso that innovation remains rooted in cultural consciousness rather than Theodor detached from it.
Adorno and Max Horkheimer .
cautioned that commodified culture risks losing its reflective and critical capacity, becoming instead an object of passive Within such a framework, the dance performance quality may shift from a life practice to a spectacleAivalued for visibility rather than depth.
The Dialectic of Heritage and Innovation Nevertheless, the transformation of source : detikcom
Strategic Recomendation To preserve dance performance quality and ensure the continuity of cultural values, this study recommends the revitalization of local value-based arts education within both formal institutions and community art
TEROB VOLUME 16 NOMOR 2 APRIL 2026
intergenerational spacesAisuch as artist collaborative programsAiis essential to understanding across age groups.
Through such platforms, younger generations may engage creatively with tradition while remaining grounded in its philosophical The development of a holistic Source:Antarafoto Such revitalization must not be confined to technical training alone, but formation, and spiritual depth into the learning process.
Arts education should function as a space for cultivating arts curriculum that integrates technical skill with spirituality, ethical values, and cultural context is therefore imperative, enabling the regeneration of traditional dance to remain both adaptive and rooted in its cultural essence.
Conclusion The understanding, ensuring that tradition is transmitted as lived experience rather inevitability amid the increasingly dynamic than as fragmented technique.
currents of contemporary change.
Social In this regard, senior artists play a crucial role not merely as instructors of advancement, and shifting generational movement vocabulary, but as cultural mindsets have contributed to alterations in mentors who transmit experiential the practice, form, and meaning of dance Nevertheless, historical memory.
Their presence transformation should not be construed as a threat to the noble values embedded in generations and reinforces the integrity traditional arts, but rather as an opportunity of artistic practice as a form of cultural devotion rather than mere performative Through a value-based arts education Furthermore, approach that integrates ethical, aesthetic, and spiritual dimensions, older and younger
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generations may be brought together spaceAione that educates, liberates, and within an intergenerational dialogical Such profound meanings underlying each expression of dance and performance, while simultaneously enabling renewal that remains grounded in cultural roots.
In this sense, education becomes not merely a mechanism of skill transfer, but a bridge between continuity and Cultural consciousness serves as the essential foundation for sustaining the dance performance quality.
Art functions not solely as a medium of expression, but also as a vehicle for shaping character, identity, and holistic human formation within a cultural Therefore, transform dance performance quality must be directed toward learning engagements that position cultural values as the core of artistic practice.
Authentic the dance performance quality is measured not only by stage presence or technical virtuosity, but by the depth of values internalized, transformed across generations.
In this way, traditional performing arts may continue to thrive as a civilizational TEROB VOLUME 16 NOMOR 2 APRIL 2026
Reference