TEROB VOLUME 16 NOMOR 2 APRIL 2026
The Shape Of The Packaging Of The Ciprak Jemparing Dance Performance In The Arak Tumpeng Of Pakel Village.
Jombang Regency Marshelina Aulia Kumala Sari (Institut Seni Indonesia Surakarta/Indonesia/ marshelina.
aulia13@gmail.
Renaldi Lestianto Utomo Putro (Institut Seni Indonesia Surakarta/Indonesia /renaldi@isi-ska.
Nandhang Wisnu Pamenang (Institut Seni Indonesia Surakarta/Indonesia/ nandhang@isi-ska.
ABSTRACT
DOI: https://doi.
org/10.
20111/terob.
123 This study aims to analyze the process of creation and *CorrespondensiMarshelina Aulia Kumala packaging of the Ciprak Jemparing Dance (TCJ) performanc.
Sari1, in the annual ritual of Arak Tumpeng Ponco Thuk (ATPT) in Pakel Village.
Jombang.
This topic is important because TCJ 1Email: marshelina.
aulia13@gmail.
is a contemporary performing arts intervention that is 2 Email :
integrated as a structural element in local design.
The main research questions are: How did the process of creating TCJ take place, and how is the form of the performance packaging Received:24-02-2026 manifested in the series of ATPT rituals? The qualitative Accepted:09-03-2026 approach is used with an analytical descriptive method.
The Published:15-04-2026 main participants in this study include Dance Creators, dancers, and village officials related to the implementation of ATPT.
Data were collected through engaged and uninvolved observations, interviews, and literature studies.
Data analysis Terob Journal is licensed under a Creative was carried out by referring to the conceptual framework of Commons Attribution-ShareAlike 0 Alma M.
Hawkins' dance creation concept (Exploration.
International License Improvisation.
Formatio.
and the concept of Kaunang and Copyright: A 2026 by the authors.
Sumilat packaging forms.
The results of the study show that the process of creating TCJ involves the transformation of the local historical transformation of Jemparing Hamlet, which is believed to be the training location of Majapahit soldiers, into a form of Surakarta style warrior dance that is adapted to the agile and dynamic Jombangan In conclusion, the form of TCJ packaging in ATPT is a construction of totality that succeeds in marrying the tradition of Surakarta with the locality of Jombangan, serving as an affirmation of the new cultural identity of Pakel Village.
Keywords: Packaging form, ciprak jemparing dance, arak tumpeng, creation process.
Cultural Design.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
considering its function as part of village INTRODUCTION The annual ritual of Arak Tumpeng rituals that are firmly rooted in local beliefs Ponco Thuk (ATPT) in Pakel Village, and strengthen the narrative of local Jombang Regency, is a cultural design (Andini.
This TCJ performance is fully integrated with ATPT which is a cultural carnival.
Thus.
TCJ has gratitude for the village's birthday.
an important position and role in the this series of rituals, a performance cultural design of ATPT because it serves artwork was presented, namely the a dual function, namely as a work of art and Ciprak Jemparing Dance (TCJ), created as an important structural element for by Anggono Kusumo Wibowo.
The Although a number of studies have presence of TCJ in the ATPT ritual is a been conducted on cultural design that central issue in this study.
focus on the creation of local identity, the TCJ is based on historical stories glue of community activities, and its and local mythology believed by the function, there has been no research that people of Pakel Village, especially has specifically looked at the development regarding Jemparing Hamlet as a of cultural design that is realized based on training location for Majapahit soldiers the performing arts, especially dance.
using bows .
This belief was The main problems presented in this strengthened by the discovery of the study are: How is the process of creating jemparing statue as physical evidence the Ciprak Jemparing Dance and how is the of the village's connection with the packaging form of the Ciprak Jemparing history of Majapahit.
TCJ's work is Dance manifested in the ritual of Arak designed to display the characteristics Tumpeng Ponco Thuk of Majapahit warriors, adopting the Pakel Village.
Jombang Regency?.
An in- concept of a valiant Surakarta style depth understanding of the background of warrior dance equipped with jemparing the creation, choreography process, and The costume design and form of presentation of this dance in the movement characters are composed to context of ritual will reveal new cultural appear agile, energetic, large volume, values created from the intervention of and dynamic (Jazuli et al.
, 2.
This performing arts in the design of local makes the form of this dance packaging This research argues that the different from other jemparing dances, packaging form of a ritual performance is (ATPT) TEROB VOLUME 16 NOMOR 2 APRIL 2026 the integration of locality values that data collection through engaged and are constructed into a whole unit and uninvolved observations and in- depth accepted as a new format by the and .
Data Analysis, which community (Van Zanten, 2.
was carried out interactively .
In the following studies (Andini, (Elyadi, (Pangastuti, (Nihayah, presentation, and drawing conclusion.
(Hendryadi et al.
, 2.
with reference to (Jazuli the theoretical framework of the creation of Alma M.
Hawkins' dance (Hawkins, 2003:
(Achmad,2.
, (Hardina & Narawati, .
and the concept of the shape of 2.
, (Meisaliara, 2.
, it can be Kaunang proven that in the last 10 years of (Kaunang & Sumilat, 2.
(Dewi.
Sumilat's research, no formal objects or material objects were found in this study.
RESULTS AND DISCUSSION
The process of creating the Ciprak
METHODOLOGY
This study uses a qualitative Jemparing Dance approach with an analytical descriptive The result of the observation of method located in Pakel Village, research in the field is that the creation Jombang Regency, where the Arak process carried out by Anggono Tumpeng Ponco Thuk (ATPT) ritual is Wibowo The selection of this design aims and honing abilities by practicing physical to describe and analyze in depth the Here are some stages by Alma M.
process of creation and packaging of the Hawkins translated by I Wayan Sudibya Ciprak Jemparing Dance (TCJ) in the carried out by Anggono to create the work context of local rituals.
The important of the Ciprak Jemparing Dance, namely role is to dig up information, involving exploration, improvisation, and formation.
(Dance Creato.
Stage Manager, and documentation tools.
The research procedure includes three stages: .
Pre-Field, .
Field, which is the main is potential, interest, talent.
Exploration TCJ dancers.
By conducting interviews.
Kusumo The exploration process is the initial stage carried out by the dance arranger in order to get provisions to compose a dance The exploration stage is carried out TEROB VOLUME 16 NOMOR 2 APRIL 2026 collaborating with all other dance (Wibowo, 2.
Then from the basic A dance choreographer composition of the dance as a reference for must have a sense of sensitivity to Anggono and Paimin to remember and use objects and surrounding phenomena.
the vocabularies of the Jemparing dance This will make it easier for dancers to movement in the Surakarta style to be the do the exploration stages and find new process of preparing the Ciprak Jemparing ideas to use as a creative source.
Anggono's interview.
December 15, 2.
In addition exploration process is to use the to the Surakarta style Jemparing dance to Surakarta-style This Choreographer Ciprak exploration process is of course assisted Jemparing dance movements, it also makes by the assistant choreographer.
Paimin it easier for music creators to prepare to create movement vocabularies.
types of music such as maju beksan .
do- the beginning of the preparation of the odo to lancara.
, beksan .
, vocabulary of the Ciprak Jemparing dance movement.
Anggono and Paimin .
nterview paimin.
December had discussed with the musicians to 16, 2.
complete the music of the Ciprak Jemparing dance first to facilitate the process of training with the dancers because of the very short time limit of 2 months .
usician interview.
December 15, 2.
Genre selection This TCJ dance uses a variety of Surakarta style dance movements which refers to one dance, namely the Surakarta style Jemparing of the similarity in the use of property, namely choreographer does not exactly imitate the movements of the Surakarta style jemparing dance but only the basic .
Anggono and Paimin practiced or thoroughly explored the sequence per scene consisting of forward beksan, beksan, perangan, and backward beksan.
Anggono and Paimin routinely practiced for more than 2 months with the dancers by first compiling the opening movement vocabulary called maju beksan followed by a floor pattern to shorten the time.
The second pattern is to arrange the vocabulary of beksan, then the battle and the retreat of the beksan.
In this exploration, according to Paimin, it is not just an exploration of the movements of the choreographer and choreographer's offer to the dancer for the TEROB VOLUME 16 NOMOR 2 APRIL 2026 possibilities of movements that the during the composition of this music, when dancer thinks is comfortable to do.
giving the material to the dancers, the possibilities of substitution can occur due Improvisasi to a new offer by the dancer who is felt The improvisation stage creative process that is carried out freely or spontaneously by the creator to dancer, then these experiments are selected, differentiated, and considered.
However, at this improvisation stage, it is not just a spontaneous movement that is then arranged into a movement vocabulary, but the dancer also has the right to discuss with the choreographer in the sense of giving a new offer to the choreographer that the movement is felt uncomfortable by the dancer .
usician interview.
Mahendra December 24.
The music that has been available as a result of discussions between musicians and choreographers which even though it has not been finished or finished is a reference for Anggono Paimin movements that according to him are in accordance with the existing music gending, this makes it easier to prepare Ciprak Jemparing scenes .
nterview dancing.
Rapi Ahmad November 20, 2.
according to the personality of the Paimin said that uncomfortable or not suitable for certain Anggono and Paimin.
Although the choreographer has found movement In addition, at the stage of preparing the floor pattern, the choreographer considers 4 scenes that have been determined, namely forward beksan, beksan, perangan, and retreat beksan.
However, it does not mean that the floor pattern that is formed is only divided into 4 parts but into 10 parts of the floor pattern, namely forward beksan 3 floor patterns, beksan into 4 parts of floor pattern, war into 2 parts of floor pattern, backward beksan into 1 floor pattern.
Then in this improvisation process.
Anggono said that it was not only focused on the floor pattern However, it is equipped with different facing directions, namely in the early part of the forward beksan has a meaning for the initial offering to the ancestors which means that it is required to face forward, then in the beksan floor pattern using various facing directions such as front, back side right, left, and oblique .
ront left/right, back left/righ.
However, in this element of warfare, the movement is not only appropriate to wage war but more dominantly shows the shrewdness of the moves used in war.
TEROB VOLUME 16 NOMOR 2 APRIL 2026 ready to be staged.
Formation is not only properties used, namely keris and interpreted as a process of "tidying up" the .
horeographer interview, movements, but as a conceptual effort to December 24, 2.
Then on the pattern of the floor backwards of beksan which means the end of the Ciprak meaning, and relationship with the overall Jemparing dance series using a forward- idea of the dance as well as the context of facing direction which then leaves the the Arak Tumpeng Ponco Thuk ritual.
stage area.
this stage, the alignment between motion and music becomes the main focus.
Music that has been arranged in advance with the structure of forward beksan, beksan, perangan, and backward beksan is used as a framework that regulates the flow, tempo, choreographer adjusts the accents of motion to the rhythm, pressure, and mood Figure 1.
Choreographer Interview ( Author's Documentation December 24, harmonious unity between audio and visual Each change in gending marks a Formation The formation stage is the final stage in the process of creating the Jemparing The Ciprak Dance transition of scenes, which then translates into changes in the quality of movement, power, and space.
functions as a phase of compiling and Thus, music not only serves as an consolidating all movement materials accompaniment, but becomes a structural that have been produced through the element that guides the formation of the choreography as a whole.
The aspect of the floor pattern also receives special attention at the formation stage.
The floor pattern choreographer make a selection, the that had previously been designed in movements that were previously still several parts was rearranged taking into account the continuity between scenes as complete choreographic structure, and well as the level of complexity of moving TEROB VOLUME 16 NOMOR 2 APRIL 2026 between formations.
The choreographer formation stage.
Choreographers adjust the takes into account the transition from motion design to the character and size of one floor pattern to the next so that it the property to make it safe, effective, and can be done effectively, safely, and meaningful to use.
Every movement remains visually readable, especially involving jemparing is designed by paying considering that the performance is attention to the distance between dancers, performed in an open space with a the direction of face, especially in the limited stage size.
Therefore, the displacement of the floor pattern is Thus, the props are not only designed not simply as a displacement a visual complement, but functionally of position, but becomes part of the integrated in the choreographic structure, dramatic flow of the dance that blends especially in battle scenes that demand with movement and music.
At the high coordination of movement and formation stage, the choreographer also In addition to the technical considers the quality and volume of aspect, the formation stage is also a process movement to match the dashing and of maturing the meaning and message of The choreographer ensured that the Movements that are perceived to be dramatic flow from the beginning to the visually ineffective or too complex to end of the performance was able to convey be performed consistently by all a symbolic narrative about the warriors as dancers are eliminated or simplified.
well as the context of the ATPT rituals.
the other hand, movements that are able to represent the soldier's character, maintained and clarified.
This open-air The forward beksan as a symbol of readiness and respect, the beksan as a representation of strength and discipline, the battle as a dramatic peak that describes the training or simulation of battle, and the repeated evaluation through intensive retreat of the beksan as a closing that marks rehearsals, so that the choreography that the completion of the guard duty.
The is formed is completely in accordance entire structure is arranged in a sequential with the dancer's abilities as well as the manner so that it is easy for the audience to needs of the ritual performance.
The understand, while still having depth of properties of the jemparing are an TEROB VOLUME 16 NOMOR 2 APRIL 2026 Thus, the formation stage in the Pakel Wiyu Hamlet.
Curahrejo Hamlet, creation of the Ciprak Jemparing Dance and Pakel Hamlet.
In the ATPT ritual, the is a synthesis process that unites all five springs are symbolically united into supporting elements of movement one container called Amerta Dewa Nagari.
dance, music, floor patterns, properties.
This water unification process is known as spaces, and dancers into one form of sipeng kendi, which is interpreted as a complete and mature performance symbol of unity, balance, and harmony This stage marks the between hamlet areas in one unit of Pakel Village .
nterview Sudarmadji, material that is still fragmentary to a September 20, 2.
(Pakel, 2.
After dance work that has a clear structure, the sipeng kendi procession was carried strong identity, and readiness to be out, a series of rituals continued with a presented in the context of the Arak cultural carnival starting from Sasono Tumpeng Ponco Thuk ritual as part of Jemparing Manggilingan.
The carnival the cultural design of Pakel Village.
then went around the village and ended at The Shape of the Ciprak Jemparing Kaunang namely Sendang Amertha Nagari which is Dance According located in Curah Paras Hamlet.
Sumilat, the shape of the dance packaging can be known through the description of the dance elements, which include patterns and movement Furthermore, accessories that are worn.
In addition, it also looks at the relationship between Figure 2.
Sudarmadji's Interview ( author's documentation September 20, 2.
movement elements and accompanying Throughout the carnival, people bring music, the venue and the ability of produce shaped like tumpeng, as a symbol Pakel Village is located in products, and hope for the sustainability of Bareng Regency and administratively village life (Pakel, 2.
consists of five hamlets, namely Curah Paras Hamlet.
Jemparing Hamlet.
TEROB VOLUME 16 NOMOR 2 APRIL 2026 Movement Patterns and Formations The Ciprak Jemparing dance was danced by ten dancers consisting of six male dancers and four female dancers.
However, emphasized that this dance does not emphasize gender differences, as all dancers are required to perform one character who is dashing, authoritative, and agile like a soldier (Anggono December Therefore, male and female dancers must be able to master the quality of strong, assertive, and high- perangan, and the backward beksan.
The front beksan serves as an opening that marks the appearance of the soldier, the beksan is the core part that displays the various movements of the soldier, the battle depicts a war simulation or combat exercise, and the retreat beksan is the closing part that marks the end of the The movements used, such as junjungan, sasbit, trecet, onclang, ngancap, trial, and perangan, are arranged to display the character of a warrior who is tough, agile, and ready to standby.
(Interview with Paimin.
December 15, 2.
In style, the Jemparing Ciprak Dance refers to the volume movements.
Surakarta style dance known for its dashing In the context of the ritual, the TCJ dancers are positioned in front of the carnival, which is interpreted as a character, but it is adapted to the needs of space, ritual functions, and the dynamic character of the Jombang people.
symbol of the guard soldiers who escort the course of the ritual procession so that it takes place safely and smoothly.
Makeup and Fashion The costumes and makeup in the After participating in the carnival, the Ciprak Jemparing Ciprak Jemparing Dance was then Surakarta performed in front of invited guests and emphasis on the appearance of a firm and village heads as part of the main series authoritative fighter.
Makeup is made of Arak Tumpeng Ponco Thuk events.
According to Paimin as the assistant structure of the Ciprak Jemparing Dance is divided into four main scenes, namely the front beksan, beksan.
Dance character, while costumes are dominated by velvet materials, bold colors, and warrior accessories.
All these elements are designed not only for visual beauty, but also to support the comfort of the dancers' TEROB VOLUME 16 NOMOR 2 APRIL 2026 movements, given that these dances are a timeless stagen, equipped with a belt or performed in the context of carnivals called epek timang, for pants use black and open spaces.
(Paimin Interview, velvet pants with golden trim then outside December 15, 2.
the pants use two jarik cloths with a brown machete motif and blue plisket.
At the bottom of the abdomen there are tongues equipped with sampur that are wrapped around the hips, and then equipped with costume accessories, namely pangkat, .
, and necklaces.
The use of shorts in this costume is due to the consideration choreographer to make it easier for the Figure 3.
Costumes and makeup of female (Author's documentation.
November 9, 2.
dancer to move, returning to the character of this dance, which is dashing with a large The makeup on female dancers is made more assertive because this dance depicts an authoritative dashing dance with a touch of a thin mustache that is huju, thelengan eyebrows which means that thelengan eyebrows are for dashing characters or male dance genres, then in the eye area is more emphasized on the eye line so that it looks bigger.
Entering the costume section of this female Figure 4.
Costumes and makeup of male dancers (Author's documentation.
November 9, 2.
dancer depicts a majapahit soldier The costumes of male dancers in the equipped with jemparing properties.
Ciprak Jemparing Dance are designed to this TCJ costume is a traditional On the head use iket batik authoritative, and masculine warrior, while which is then given jamang, on the shirt strengthening the image of Majapahit use a red velvet shirt with a golden trim, warriors as the historical narrative believed TEROB VOLUME 16 NOMOR 2 APRIL 2026 by the people of Pakel Village.
create a dynamic visual effect when the general, the costume structure of male dancer performs moves from place to dancers is not much different from that place, such as srisig, trecet, and perangan.
of female dancers because this dance Just like in female dancers, the use of carries one main character, namely a shorts is a choreographic consideration to dashing character.
provide freedom of movement, considering On the head, male dancers use iket batik equipped with jamang, just like female dancers, but udal-udalan is added to the back of the head.
These udal-udalan serve as a distinctive visual marker of male figures in the Surakartastyle Javanese dance tradition, which symbolizes bravery, maturity, and the character of dance that demands energy, agility, and a large volume of The waist is equipped with a stagen and a belt .
pek timan.
which functions as a costume binder as well as a marker of the dancer's body strength Other include ranks, shoulder clats, wristbands, anklets .
, and necklaces.
These status as a warrior.
accessories reinforce the image of the The upper part of the dress uses a green velvet shirt with a golden trim.
The choice of green has a symbolic soldier while providing sound and visual accents that support the dynamics of dance movements, especially in battle scenes.
meaning as a symbol of strength, toughness, and closeness to nature.
Staging Venue which is relevant to the context of the Unlike warriors who guard the village area.
performances presented in closed buildings Velvet material was chosen because it or proscenium stages.
TCJ is performed on gives a thick, sturdy, and luxurious impression, thus supporting the dashing approximately 6 x 10 meters.
The choice of and large volume character that is the this location is not a coincidence, but an of the Ciprak integral part of ATPT's cultural design Jemparing Dance.
At the bottom, male which places performing arts as a living dancers wear black velvet shorts element that is integrated with the social combined with yellow jarik plisket.
The space and rituals of the Pakel Village use of this jarik plisket not only serves This open stage is located in as an aesthetic element, but also helps an area that is an important point in the TEROB VOLUME 16 NOMOR 2 APRIL 2026 series of carnival rituals, both as a In addition to size, the condition of the starting point and as a space The main stage surface that is not completely flat is presentation in front of invited guests also an important factor in the design and and village officials.
implementation of dance movements.
contrast to the flat and stable indoor stage floor, the ground surface in open spaces has varying textures and levels of flatness.
Every movement, especially moving from one place to another such as srisig, trecet, and perangan, must be done with more careful body control to maintain the Figure 5.
Stage location (Author's documentation November 9, balance and safety of the dancers.
Thus, the location of the TCJ stage not only serves as a staging ground, but also as a transition space between Negotiations assistant choreographers, and dancers are an important process in responding to the carnival activities and the core ritual limitations and challenges of stage space.
In this context, the stage is Movements that were originally designed a meeting medium between the artistic with large volumes were then adjusted to dimension of dance and the sacred be smaller and more efficient, without dimension of ritual, so that its existence losing the essence of the heroic warrior has a strong symbolic meaning.
The This adjustment shows that the characteristics of the outdoor space stage space is not passive, but rather used as a actively influences the final form of the consequence on the choreography concept and floor pattern December 24, 2.
Ciprak Jemparing (Anggono Dance.
The Thus, the location of the Ciprak relatively limited size of the stage Jemparing Dance performance stage can be according to the choreographer and understood as a structural element that plays an important role in shaping the adjustments to the movement design Open space with all its (Interview Anggono, limitations and potential has encouraged December 24, 2.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
strengthening of symbolic meaning, success of this packaging can be seen from and the close integration between the synchronization between the decisive performing arts and village rituals.
The movements of the soldiers, the use of location of the stage is not only a functional jemparing properties, structured physical setting, but also a space of musical accompaniment, and costumes that meaning that affirms the function of reflect the authority of the soldiers of the TCJ as an inseparable part of the cultural design of Arak Tumpeng Ponco Thuk in Pakel Village.
The shortcomings and limitations in this study lie in the very specific time coverage of observations in the ritual cycle CONCLUSION This from 2022 to 2025, so it has not been able to capture the long-term evolution of public revealing that the process of creating the acceptance of this dance.
The very strong Ciprak Jemparing Dance (TCJ) went focus of research through the stages of exploration, improvisation, and formation that was physical form of performance has led to an very organized under the direction of analysis of the impact of the creative Anggono The economy or the increase in tourist visits due main findings show that this dance is to the integration of this art in village rituals the result of the transformation of the has not been explored in depth.
In addition.
Jemparing the methodology used is highly dependent Hamlet as a training location for on the perspective of the creator and the Majapahit soldiers into a mature work village apparatus, so that the voice or of performing art.
The packaging perception of the general public as a passive cleverly marries the vibrant Surakarta- spectator has not been fully represented in style dance aesthetic with the dynamic the qualitative data collected.
The use of dynamics of Jombang's liveliness.
TCJ
open stages, which have many technical is structurally integrated in the Arak constraints such as uneven ground surfaces.
Tumpeng Ponco Thuk (ATPT) ritual in also limits the aesthetic analysis of motion Pakel Village, where this dance doubles when compared to conventional stage as a guard of cultural carnivals as well Kusumo Wibowo.
as an affirmation of a new cultural identity for the local community.
The aspects of For future research development, it is TEROB VOLUME 16 NOMOR 2 APRIL 2026 suggested that there be a follow-up study that focuses on the sociological aspect of how the Ciprak Jemparing Dance is inherited to the younger generation in Pakel Village so that it is not only a temporary intervention work, but also a deep-rooted tradition.
Further research also needs to explore the potential for the development of dance accompaniment music so that it has a Jombang's eliminating the existing Surakarta style Another recommendation is to conduct a comparative study between TCJ and other warrior-themed dances in the East Java region to see the unique position of the cultural design of Pakel Village in the regional art map.
Finally, it is necessary to conduct a study on cultural communication strategies so that the ATPT ritual and the Ciprak Jemparing Dance can be promoted as a sustainable national cultural tourism destination without ignoring the sacred values of the original ritual.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
REFERENCES