TEROB VOLUME 16 NOMOR 2 APRIL 2025
The Creation Process of Dewanggono Dance Works in the Tradition of Arak Tumpeng Ponco Tuk Dewi Purwaningsih (Institut Seni Indonesia Surakata/Indonesia/ dewipurwaningsih114@gmail.
Anggono Kusumo Wibowo (Institut Seni Indonesia Surakarta/Indonesia/Indonesia/ aangkus03@gmail.
Samsuri (Institut Seni Indonesia Surakarta/Indonesia/ samsuri@isiska.
DOI: https://doi.
org/10.
20111/terob.
116 ABSTRACT
This study examines the Siraman Kepemimpinan *Correspondensi Dewi Purwaningsih 1, procession and Buddhist teachings, focusing on the concepts of Prajnaparamita and Panca Skandha as the Email: dewipurwaningsih114@gmail.
2 Email :
primary inspiration for the Dewanggono dance.
The objective is to create a new choreography that embodies Received:03-01-2026 the values of wisdom and inner purity, grounded in the Accepted:07-03-2026 understanding that the human self consists of five Published:15-04-2026 impermanent aggregates.
Five dancers participated in the exploration of the inner journey from emptiness to perfection across four acts, each expressing different Terob Journal is licensed under a Creative mental states through movement and body language.
International Commons License Attribution-ShareAlike 0 The research method employed was Practice Led Copyright: A 2026 by the authors.
Research, which integrates field research with dance creation theory, encompassing the stages of design, development, composition, and performance.
Data analysis involved evaluations and guidance from a supervising lecturer, with a focus on enhancing the message and harmony between the movement and the accompanying Javanese gamelan music.
The findings indicate that this dance not only emphasizes aesthetic and technical elements but also conveys a profound spiritual message regarding purity and wisdom in life.
In conclusion.
Dewanggana has successfully emerged as a dance work that balances visual beauty with the philosophical richness of Buddhist teachings and the local traditions of Pakel village.
Keywords: Arak Tumpeng Ponco Tuk.
Buddhist.
Dewanggono.
Creation Method.
Dance Work
TEROB VOLUME 16 NOMOR 2 APRIL 2025
imagination, artistic sensitivity, and a INTRODUCTION The transformation of religious profound understanding of the theme values in artistic performances into being explored (Hadi, n.
Creativity emotional elements and profound in dance creation is shaped by internal belief systems.
Dance as a reflection factors like experience, as well as of cultural values and beliefs, not only showcases the beauty of movement but also communicates moral and advancements (Fadhilah, 2.
The Dewanggono dance was inspired by inspiration for this work came from the traditional Arak Tumpeng Ponco the village of Pakel, located in the Tuk ceremony and Buddhist teachings.
Bareng Subdistrict The Jombang Regency.
This village is steeped in Prajnaparamita Panca Skandha.
cultural traditions and local wisdom.
Prajnaparamita is a key teaching exemplified by the Arak Tumpeng in Mahayana Buddhist.
The term Ponco Tuk procession.
This ritual "prajna" refers to profound wisdom, serves to purify and honor the water and "paramita" signifies perfection.
sources that nourish five surrounding This concept is embodied in the figure known as the 'Mother of the Buddha' profound spiritual significance related (Tathagatamat.
It is through this This perfect wisdom that all Buddhist achieve enlightenment.
procession symbolizing both physical AuIn Buddhist, humans are viewed not and spiritual cleansing.
In dance creation, this concept is intertwined psychophysical chain known as Panca with Mahayana Buddhist teachings.
Skandha, or the five aggregates.
These especially Prajnaparamita and Panca aggregates include physical form Skandha, which describe the inner (Rup.
, feelings (Vedan.
, perceptions journey of humans from emptiness to (Sann.
, (Sankhar.
Creating a dance work is a (Vinnan.
They are characterized by complex process that demands not (Anicc.
, only technical mastery but also suffering when clung to (Dukkh.
, and TEROB VOLUME 16 NOMOR 2 APRIL 2025 lack a permanent core (Anatt.
due to 2003, p.
The variations in this their constantly changing nature.
Ay dance work are evident in the carefully Bhikkhu (Interview These Nyanasuryanadi Mahatera, 2.
variations encompass diverse floor AuThe concept of emptiness .
patterns and level arrangements, both does not mean nothingness, but rather of which contribute a permanent and independent absence, whereas the five aggregates are empty performance's spatial depth.
and-effect Ay (Interview Pandita Purtomo, 2.
This concept is based on the understanding that nothing, including the body, feelings, and thoughts, .
Recognizing the impermanence of all things poses the challenge of creating works that The Dewanggono dance, created by Dewi Purwaningsih, is a group performance featuring five female dancers who Prajnaparamita.
Their interpretation is crucial in shaping the choreography.
As Sumandiyo Hadi explains in his "Aspek-Aspek Kelompok" (Aspects Koreografi Group Choreograph.
, a larger number of necessitates greater variety (Hadi.
The Dewanggono dance visualises of a core self, but not nothingness, because they still function as a cause- to dynamic wisdom in perfection as the main foundation of this dance, which focuses on the understanding that emptiness is the human self as Panca Skandha, meaning the process of five aggregates that are interdependent and without a The Dewanggono ance is presented based on a storyline that is structured to build a certain atmosphere, which is divided The emptiness, while the second introduces an atmosphere of inner conflict.
The third scene conveys inner awareness, and the fourth creates an atmosphere of Throughout this sequence, the dancers use movement as their primary language, deeply expressing the feelings and messages they wish to The artist's exploration of wisdom .
within the Buddhist teachings of prajnaparamita was inspired by the TEROB VOLUME 16 NOMOR 2 APRIL 2025 siraman procession in the Arak design, development, compilation, and Tumpeng Ponco Tuk tradition.
This performance, following the framework procession symbolizes an individual's journey toward perfection and purity.
Wahyudi.
Data collection methods enabling them to gain self-control and included observation, interviews, and think and act rightly.
Prajna teaches literature review techniques.
Didik Bambang that wisdom is crucial for attaining Observations were conducted to enlightenment and liberation from the capture the creative process and details cycle of birth and death.
The theme of purity in wisdom serves as the "Dewanggono.
" During this phase, the author aimed to gather data regarding Dewanggono work, allowing it to the concept and background of the express values of a pure heart, a clear The key focus of this stage was mind, and deep awareness.
As a result, active observation, involving careful this work transcends mere artistic and thorough examination of relevant expression, becoming a profound elements to obtain a comprehensive spiritual reflection.
and accurate understanding, serving as a foundation for the development of the METHODOLOGY This study examines two primary Interviews were conducted to aspects: the creative process and the gather verbal data and verify the final outcomes of Dewanggono dance accuracy of the research by directly Employing a qualitative recording and noting information from approach, it gathers data that is the sources.
During this stage, the relevant and directly related to the author engaged in in-depth discussions subject, including both the artistic with several sources, as detailed below.
works and scientific literature.
Data Sudarmaji (Pakel village chie.
Bhikku Y.
Nyanasuryanadi, various methods, such as verbal Mahatera information, written documents, and Pandita Purtomo statements from individuals directly A literature review is a systematic involved in the process.
The research examination of written documents, was conducted in four main stages:
including scientific journals, books.
TEROB VOLUME 16 NOMOR 2 APRIL 2025 theses, and other credible sources, to conveyed through physical expression.
establish a theoretical foundation and The creative process is rooted in an research context.
This process seeks to understanding of space, time, and engage with the ideas of prior experts, enhancing the understanding of the choreographer realize their artistic issues under investigation.
In developing a dance piece, a The collected data was critically analyzed by examining the cultural values it contained.
This research improvisation, and (Hawkins, 1.
Practice-led research grounded in comprehensive overview of dance field research highlights a phenomenon works and their underlying cultural observed in society.
The creative Dewanggono
RESULTS AND DISCUSSIONS
Bambang Didik "The Wahyudi Choreography involves selecting Basics of Dance Creation," which and arranging dance movements into a outlines four stages of the creative Choreographers serve as movement composition, and performance.
These designers, mastering dance techniques stages are described as follows:
while also managing the concepts.
Design Stage nuances, and messages they wish to Idea convey through their work.
The The name Dewanggono is derived creation of dance blends creative from the Sanskrit term "DevagaNa," thinking with artistic sensitivity to which translates to a group or army of The Dewanggono dance work aesthetically pleasing and rich in draws inspiration from the traditional meaning .
utipan yeniningsi.
Art Arak Tumpeng Ponco Tuk ceremony, forms are creations by artists that focusing on the phenomenon of express content through physical cleansing oneself both physically and forms, allowing them to be perceived by the five senses (Hadi, 2.
The Additionally.
Dewanggono
TEROB VOLUME 16 NOMOR 2 APRIL 2025
Prajnaparamita and Panca Skanda impermanent nature of existence inform wise thinking and actions in requires thoughtful and wise action.
response to life's impermanence.
A The fourth stage is the attainment of relation to this phenomenon, the perfection characterized by comfort.
Dewanggono dance explores themes relief, tranquility, and complete calm.
of wisdom, purity, and perfection.
This stage represents inner harmony Scenario development and balance in accepting all aspects of The It reflects a person who has Dewanggono divided the dance into navigated inner turmoil and has now four acts.
A The first act illustrates a sense of recognizing that this perfection is not emptiness and silence, representing a This process marks the soul devoid of worldly attachments culmination of a harmonious spiritual and marking the beginning of a search for identity.
Development stage A The second act portrays an inner The creation of dance starts with conflict marked by anxiety and fear.
It illustrates the struggle with the These three processes are reality of impermanence and the followed by an evaluation stage unexpected changes that life brings.
(Hawkins, 1.
This act conveys the message that Exploration everything follows a cycle and that The exploration process is the change is an inherent part of life.
A The third stage involves inner movement, serving as the foundation awareness, characterized by a sense for designing the visual form of a dance of uncertainty, peace, and freedom This stage begins with the from anxiety or fear.
This stage entails accepting transience and exploring various movements that releasing inner attachments.
As a align with the theme and ideas being Through this investigation, a range of movements is developed, embracing lifeAos conditions as they ultimately resulting in an original and structured piece that meets the intended TEROB VOLUME 16 NOMOR 2 APRIL 2025 artistic objectives.
Exploration is accidental or spontaneous discovery of defined as a process of investigation, movement, regardless of whether those external stimuli or engaging with learned or discovered.
The key aspect various activities (Hadi, 2003, p.
Observing existing dance works is a Ay (Hadi, 2003, p.
crucial first step in the development of During the improvisation stage, artistic creations.
This observation the dancers utilize their established vocabulary of movements to enhance existing techniques.
They creatively The development phase process and develop these techniques involves introducing new relevant to connect with the essence of Prajnaparamita.
The floor patterns are refined and detailed to strengthen the overall expression and structure of the movements that maintain harmony.
This stage allows dancers to Throughout this process, it is essential explore spontaneously and profoundly, to consider the suitability of the resulting in dynamic movements that embody the theme.
presented in the Dewanggono dance Picture 1.
The motion exploration Improvisation Picture 2.
Proses improvisasi menggunakan pola lantai Formation Formation is the stage of arranging Dewaggono Dance, dance movements based on the content, spontaneously express their emotions.
It involves creating a dance AuImprovisation is defined as the TEROB VOLUME 16 NOMOR 2 APRIL 2025 establishing a solid foundation.
This process includes AuUnity is the most important principle the flow and placement of movement in choreography.
The unity of the sequences to achieve harmony and aspects of movement, space, and time precise expression.
Dance formation present in dance is a wholeness that is integrates various elements, such as Ay (Hadi, 2003, p.
rhythmic accuracy, ensuring that the The unity established on this stage work forms a coherent whole and is grounded in the findings from effectively conveys meaning to the the exploration and improvisation According to Sumandiyo Hadi concept in the book AspekAspek Koreografi Kelompok, there are several stages involved in the process of developing a dance work.
These restructured to consider motion, space, and time as an integrated The isolated, now interconnect to form logical relationships that enhance Unity The unity stage is the first step in the characters and themes being crafting a dance piece, following From the outset, space is exploration and improvisation that carefully considered by defining generate a wealth of foundational the direction of facing, levels, and floor patterns, ensuring that the spontaneous movement is organized composition of the dancers is into a cohesive and harmonious balanced and effectively engages structure, integrating the audience.
Time is managed by wirama, and wirasa elements typical determining the overall duration.
During of traditional Javanese dance in the Surakarta style.
The arrangement dynamic spatial patterns on stage, and precise timing to sync with the the tempo of each segment, and the rhythm of movement, ensuring the performance meets the intended target duration without exceeding or falling short.
TEROB VOLUME 16 NOMOR 2 APRIL 2025
Variations dance works, this process involves Variations are an essential aspect of the formation of Dance Works elements to enhance the choreographic Dewanggono.
The principle of variety Repetition of a form of dance should be evident in choreography, as a creative work must incorporate fresh repetition or repetition, considering In the process of developing that in enjoying a dance is dominated a dance structure, it is crucial to by the sense of sight (Hadi, 2003, p.
arrange and organize the dance elements in a way that reveals new movements in Dewanggono dance choreography is designed to enhance The unity of the previous process The the audience's memory, establishing a strong and unique identity for the Thoughtfully Surakarta-style wiraga motifs not only movement dynamics, and a balanced foster visual and rhythmic recognition rhythm that builds steadily toward the but also highlight the philosophical Consideration of dancers in essence of Buddhist, thereby enriching the process of motion variations are The greater the number of To maintain engagement dancers in the choreography of the and prevent monotony, this repetition group, the more always required to varies in frequency and koteks, while vary (Hadi, 2003, p.
The dance also enhancing the dynamics of the piece "Dewanggono" features five As a result, the audience can These dancers showcase a fully appreciate the uniqueness and artistic depth of the kerya as a whole.
arrangements, including diverse floor Displacement Displacement is an important element in the process of creating Repeptition dance works Dewanggono, not only in Repetition determining the motion, but also combines varied motion motifs from involves various elements in it.
The different variations.
In Dewanggono movement in question is a transition.
TEROB VOLUME 16 NOMOR 2 APRIL 2025
This transition includes the shift of the movement with the music but also motion from one form to another, as reinforce the overall message and well as the transfer of motion from one meaning of the dance.
place to another.
The displacement process has a very important binding role, and must be logical, clear, so that the ampu displays smoothness.
The displacement or transition provides the life force of the previous motion and serves as an introduction to the next motion, so that the unified form appears intact and impressive (Hadi, 2003, p.
participates in guidance sessions with their supervising lecturer to receive feedback on their designed work.
The supervisor's notes serve as essential evaluation materials that facilitate relevant elements.
Additionally, the sections of the music that are unhelpful or do not align with the dance scenes must be revised to strengthen harmony and coherence in Preparation stage Determination of Dance Music Music is essential to dance.
Evaluation Picture 3.
Guidance and evaluation This process is crucial for refining the work to ensure it is presented at its highest The revisions not only align serving as a companion to movement, illustrating the mood, and enhancing the expression of movement.
When music aligns harmoniously with the message and makes the performance more vibrant and engaging.
Music accompaniment means accompanying dance according to the rhythm of its movements, or viewed from the movements only require rhythmic emphasis with the music without any other pretense.
Every accent or count of the movement aligns with or rhythmically matches the beat or pulse of the music, so a dancer or choreographer must be sensitive to the TEROB VOLUME 16 NOMOR 2 APRIL 2025 knowledge of timing marks in counting the beat, for example, tempo division, and so on (Hadi, 2003, p.
The Dewanggono dance piece comes from external sources, in the form of Gamelan The accompaniment uses the Surakarta style Gamelan with Pelog Laras Pathet lima.
The gending structure Genjlengan.
Picture 4.
Music notation.
Dewanggono dance work Ketawang Dewasade.
Kemanakan.
Ladrang Kasogok.
The accompaniment for the Dewanggono dance work was arranged by Canggih Tri Atmojo Krisno S.
Sos.
This music serves both as a depiction and to enliven the specific atmosphere accordance with the storyline being Picture 5.
Music notation.
Dewanggono
dance work
TEROB VOLUME 16 NOMOR 2 APRIL 2025
Picture 8.
Music notation.
Dewanggono dance work Determination of Makeup and Costume The attire for the Dewanggono Picture 6.
Picture 5.
Music notation.
Dewanggono dance work Dance performance consists of a brown tailored to complement the dancer's body posture.
The lower portion of the costume is enhanced with a long white cloth .
Simple yet elegant golden jewelry adds a dignified touch to the ensemble.
The makeup for the Dewanggono Dance eyeliner and red lipstick, to highlight the dancer's facial features.
This makeup embodies elegance, softness, and dignity, reflecting the essence of Prajnaparamita.
The components of Picture 7.
Music notation.
Dewanggono
dance work
TEROB VOLUME 16 NOMOR 2 APRIL 2025
the clothing and accessories include:
NO.
Bagian Bagian Aksesor Kepala Badan Sanggul Tusuk Gunung Subal Tusuk Gununga Tusuk Konde Sirkam Dodot Ageng Sampar Sampur Slepe The blend of brown, white, and gold in this attire and makeup establishes a rich visual and symbolic Brown foundation, highlighting steadfastness and a connection to nature.
White introduces a sense of purity and enlightenment, while gold conveys nobility and wisdom.
Together, these three colors create a balance between Prajnaparamita majestic, wise, and gentle figure.
This color combination not only enhances the aesthetic of the dance but also deepens the philosophical message conveyed through the costume and Tusuk Mutiara Bunga Putih Penetep Thotok Gelang Gold Buntal Tusuk Konde Sirkam Tusuk Mutiara Bunga Putih Penetep Giwang Kalung Slepe Thotok Gelang Tabel 1.
clothing and accessories used Picture 9.
Dewanggono Dance Makeup
TEROB VOLUME 16 NOMOR 2 APRIL 2025
culmination of a creative journey in dance creation, where the work is presented to the audience.
At this stage, the requirements for scenography, lighting, and technical systems become Scenography The Dewanggono dance performance takes place on an outdoor stage, featuring a minimalist design that incorporates natural elements, such as shady trees and a spring called Sendang Amertha Nagari.
Picture 10.
Front view of Dewanggono dance makeup and costume.
The floor pattern outlines specific lines that contribute to a harmonious visual composition and enhance the choreography's dynamics.
In the Surakarta style of Javanese Dewanggono Dance, these patterns often consist of straight lines .
ertical, .
ircular, off-roun.
to reflect Buddhist philosophical concepts while ensuring spatial balance and interaction among the dancers.
This approach facilitates Picture 11.
Back view of Dewanggono dance costume stage mastery and synchronization making the dance movements lively Performance Stage Didik Bambang Wahyudi states that the performance stage marks the with the musical accompaniment, and expressive.
Annas Fathiya Salsabiella
TEROB VOLUME 16 NOMOR 2 APRIL 2025
Dewi Purwaningsih Pramudita Indriwidanti Alitha Ardiyani Ayu Dwi Lupi Picture 13.
Dance Floor Pattern of Dewanggono Picture 12.
Dance Floor Pattern of Dewanggono Picture 14.
Dance Floor Pattern of Dewanggono Picture 15.
Floor pattern during the TEROB VOLUME 16 NOMOR 2 APRIL 2025
CONCLUSION
The Dewanggono inspired by the siraman procession of Arak Tumpeng Ponco Tuk ceremony in Pakel Village, as well as Buddhist Picture 16.
Picture 15.
Floor pattern during the performance PrajyApAramitA and Payca Skandha.
This group dance visualizes an inner journey that progresses from emptiness .
through inner conflict due to .
, .
rajyA), and ultimately to perfection .
AramitA).
Dewaggono choreography Picture 17.
Picture 15.
Floor pattern during the performance Lighting The lighting on the open stage adjusts to the surrounding natural conditions and the position of the Scheduling is aligned with the position of the sun for even The lighting in the dance work Dewanggono uses fairly strong lighting, especially since the performance Javanese movements across four stages of this expressed in a spiritually rich group Choreographer Purwaningsih Dewi experience as a creative framework, following a structured process that .
xploration, composition, evaluatio.
, arrangement, takes place during the day.
and performance.
The goal is to Sound System The sound system is designed to embodies Buddhist wisdom, serving as deliver clear and even quality for both both a learning experience for the musical accompaniment and audio creators and a means of conveying a effects across the entire audience area, spiritual message.
This effort also enhancing the atmosphere of the contributes to the preservation of Dewanggono dance performance.
Javanese culture and encourages wise
TEROB VOLUME 16 NOMOR 2 APRIL 2025
living through the harmony of mind, speech, and action.
TEROB VOLUME 16 NOMOR 2 APRIL 2026
REFERENCES