Instructional Cine-Dance: Discovering the Learning Video Model

of Yogyakarta Classical Dance

Arif Eko Suprihono

Lecturer at Television Department, Indonesia Institute of The Arts, Yogyakarta, Indonesia

Keywords: Instructional Cine Dance; Learning Video; Yogyakarta Classical dance; Cinematography; Indonesian

Performing Arts.

Abstract: The background problem of the research entitled Instructional Cine-Dance: Discovering The Learning Video

Model of Yogyakarta Classical Dance is the potential of audio-video learning media in traditional performing

arts, both in college and community, which is not utilized optimally. The main objective is discovering the

instructional media models of Yogyakarta classical dance. The specific target is documenting, disseminate

traditional art through the creation of artwork model of recording media referring to audiovisual technology-

based learning media. The utilization of photography in the field of dance requires more serious scientific

study because performing arts decay with the passing time and the fate of artwork created by dedicated artists

have not been able to be well-preserved. It is hypothesized that this condition is caused by several problems:

the conceptual understanding of instructional program format, the production capacity of media format, the

limitation of research information on learning model development, and even the competence of art workers

which requires two basic domains that are media technology and the mastery of dance material.

1. INTRODUCTION

The title of the research “Instructional Cine-Dance:

Discovering The Learning Video Model of

Yogyakarta Classical Dance” is intended to give

focus on the working process of team research to

develop hypothesis on multimedia learning by

researching, analysing, formulating, documenting

performing arts through dialectic creative-scientific

approach on the activity of combining the potential of

audiovisual technology and the learning process of

dance art. A two- year observation period is set

aiming at research on the creation of model design

film (learning video) of Yogyakarta classical dance.

At least, the research process will orientate itself

toward the effort to discover and delve into the

potential of audio-video to support school students,

university students or dance learning activists in

managing the learning process of Yogyakarta

classical dance more creatively. The teaching-

learning process using the potential of multimedia

offers interesting promise to develop the effectivity

and efficiency of learners’ competence enhancement

during the current era of high tech diversity.

Nowadays, it is a hard fact that in the community

and even in the area of art higher education, the

utilization of audiovisual technology to support the

kinetic-creative learning activity of traditional

performing art is not optimum yet. Academicians’

concern about the process of kinetic-creative

knowledge transfer by using the high tech audio-

video medium is strongly believed will be able to

show scientific performance during the learning

process in studio, workshop, and art learning centre

and in turn the academicians’ performance to produce

the designs of performing art learning media will

serve as the pillar of the preservation and

dissemination of traditional performing arts in the

wider geographical and demographic areas. It is

strongly believed that in the initial research process

of the creation of learning media design, the practical

application of audiovisual technology will give

greater opportunities to the learners to independently

sharpen their competence for the sake of study time

acceleration, although the creation of multimedia

learning will not remove the role of instructor or

teacher. The rationale of the research is that the

research working process in the utilization of learning

media will orientate itself more toward the students’

need without removing the central role of teacher. In

the next stage,

Suprihono, A.

Instructional Cine-Dance: Discovering the Learning Video Model of Yogyakarta Classical Dance.

DOI: 10.5220/0008560601310135

In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 131-135

ISBN: 978-989-758-430-5

131

cine-dance is projected to be the design of

meaningful learning for any observer of the dance

learning process.

The creation of instructional program model of

performing arts, or performing arts learning video is

the production process of appropriate technology in

the series of interactive work among teachers,

learners and learning the material of performing arts.

Scientific study on the pre-production, production

and post-production process and even the practical

application of teaching-learning work chart, as a

publicizing effort, is highly urgent to be carried out.

Such urgency is based on the fact that the utilization

of cinematography product in the teaching-learning

process of traditional art in Indonesia has not been

given serious attention by the workers of recording

media art. The teaching-learning of Indonesian

traditional performing art as in the case of dance art,

the art of gamelan (karawitan), the art of shadow

puppet show (pedalangan), and craft art supporting

the stage show still uses traditional teaching-learning

model. What is meant by the definition of traditional

teaching-learning model here refers to series of work

in the form of knowledge and skill transfer conducted

through teacher and student interaction, class

instruction, and the model of exposure to oral

tradition? Although the traditional learning method

has already used two channels with double

receptivity, there are still some opportunities to

involve the availability of mechanical and digital

technology so that higher effectivity and efficiency

will be achieved.

Referring to the effort to achieve excellency,

effectivity and efficiency of teaching-learning

process which can be seen in the quantity and quality

of the outcome product, it is necessary to quantify and

validate that the creation of model, the provision and

utilization of reference material in the form of

audiovisual information media will open up greater

opportunities in the process to improve the quality

and quantity of students and alumni. This research is

not aimed at reducing or removing the role of the

teacher in classroom interaction. The effort to

optimize the discovery of the instructional

documentary program format is based on the

identification of the condition of the teaching-

learning process as follows.

1.1 Classroom instruction in the form of

interaction between teachers/lecturers and the

students severely limited the effectivity and

efficiency level of the students’ learning outcome,

and even the productivity greatly influences the

“golden period” of an alumnus to stay longer as a

well-known artist in his/her field. Golden period

refers to the time span to pursue a career in the field

of art, as a variable on “personal charisma” and

quality of skill.

1.2 The potential of classroom activeness

which is highly dependent on the quality of

teachers/lecturers needs to be developed more widely,

structured, and sustainably so that the teaching

pattern (face-to-face meeting, tutorial and

independent learning) in the application of Semester

Credit System can be more productive.

1. 3 The utilization of audio-video technology

and the effectivity of the teaching-learning process is

still lacking in attention. Dance learning video has not

been understood as technology contribution with

potential application to improve teaching and

learning effectiveness and efficiency.

Some interesting points to be researched on this

occasion is that: a) The work of instructional

cinematography, the format of instructional/learning

video program (instructional cinematography model)

is artwork product. b) The socio-cultural condition of

electronic media (audiovisual) utilization in the

teaching-learning process of performing arts in

Yogyakarta Special Province deserves to be given a

better understanding about the effectivity and

efficiency of the utilization of audio-video

technology-based teaching-learning media

Be advised that papers in a technically unsuitable

form will be returned for retyping. After returned, the

manuscript must be appropriately modified.

2. RESEARCH ON THE

DOCUMENTATION OF THE

TEACHING LEARNING OF

YOGYAKARTA CLASSICAL

DANCE

The activity of observing the teaching-learning

process of Yogyakarta classical dance needs in-depth

thought and attention to details. The research team is

faced with a range of learning activity in the

classroom and the performance formats in the show

stage. In such an activity range, the researcher opens

themselves to interact with Jogja dance performers.

The researcher’s study background in dance art gives

him an advantage in this research. At least the

researcher has been familiar with the movement

models and the complexity of the stage technique of

Jogja dance. Therefore this research is directed more

to the dialectic creative-scientific effort on the

activity to combine the potential of audiovisual

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technology in the teaching-learning process of dance

art.

Documenting the stage show of dance is a

scientific, creative dialectic activity of the researcher.

Taking photos of wayang wong (dance-drama using

real people instead of puppets) festival show, taking

photos of art performance in pendopo (large open

pavilion-like veranda at the front of a big house where

guests are entertained and wayang performances to

celebrate family events are held), and taking photos

of dance learning activity is a form of initial research

step to observe the creative process behind the

activity of Mataram dance culture. The researcher

realizes that the creative range of Jogjakarta dance

can be mapped into single dance, duet, trio, quartet,

and even ninesome, sixteen some, and many more.

The repertoire of Jogja dance terms such as klana,

golek, beksan, srimpi, bedaya, lawung, wayang

wong, beksan menak, langen mondro wanoro, langen

driyan, and even ballet is a range of presentation

model (performance genre) in Jogja dance. On the

other side, there is a learning process with three

important aspects of Jogja dance namely learning the

wirogo (the dance movement with particular order);

wirama (the harmonious state between the rhytm of

the performer and the accompanying music), and

wirasa (the expression of the performer and the

demand of dance characterization).

The mapping of Jogja dance can also be carried

out by differentiating three types of movement

creativity that is tari putri (female dance), tari alus

(gentle dance) and tari gagah (male dance). In this

mapping, it can be understood that the model of dance

movement is highly influenced by the physical figure

of the performers. The personification of the female

character model, gentle male character model, the

dashing male character model is the aesthetic fact

behind the characterization and series of movement

of Jogja dance. Demographic mapping can also be

carried out on the fact of basic level learning to the

advanced level. However, it is worthy of being

considered that learning classical dance in the college

does not automatically mean learning in the advanced

stage. The reason for such a caveat is that it is

undeniable that the learning process of Jogja dance is

faced with

long time span and high commitment to realize the

philosophy of joged mataram (mataram dance) that is

sawiji (to agree, be of one mind), greged (a strong

urge), sengguh (having the character like), ora

mingkuh (not trying to avoid, evade).

3. THE MODEL OF LEARNING

DOCUMENTARY VIDEO

The utilization of the potential of photography

technology (still photography and motion

photography) in the process of knowledge transfer is

the educative function of recording media

application. The creative product of recording media

with educative information content (learning media

model) is framed under three conditions. Namely, it

must contain factual and valid information; it must

accurately target its users from the various socio-

cultural background. It means that the information

content is required to be true and trustworthy,

presented under good cinematography order, and

reached the targeted media user accurately.

There are five basic components to consider the

work of learning media as good, that is creation idea,

the talent of the presenter, creative team, the clarity of

the targeted users, and production tools. All these

factors in the production process of learning media

should be taken into consideration carefully at various

levels, whether the learning media discuss the topic

with basic information coverage or present in-depth

and detailed information.

Out of several findings of audiovisual media, after

being observed and evaluated, the researcher can take

some tentative formulation as follows:

3. 1. Simple learning media presentation,

marked by the utilization of steady camera, home

video, or even handphone and other non-professional

equipment with a single discussion topic. Shot

variation and editing are not utilized. Using simple

equipment instead of the professional recording

equipment or standard broadcast.

3. 2. Complex or high-tech learning media,

utilizing the potential of camera recording tool,

editing, sound recorder, lighting, artistic setting and

the selection of host. The mapping of camera function

in the floor plan is very clear, where the editing

direction fits the needs of information presentation.

The point of discussion can be single or multi, but it

is packaged in the form of variety.

3. 3. The learning media of dance requires at least

three conditions of recording expression, namely

related to the analysis of movement order, related to

the standard form of movement and presented in

movement analysis, and related to the accuracy of the

presentation process. This condition signifies that the

expression of performing arts have complexity and

uniqueness.

Instructional Cine-Dance: Discovering the Learning Video Model of Yogyakarta Classical Dance

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4. THE MODEL OF LEARNING

DOCUMENTARY VIDEO

Yogyakarta classical dance refers to the cultural

product of Yogyakarta palace created by Sri Sultan

Hamengku Buwana I. As a cultural activity,

Yogyakarta classical dance has a cultural system with

the form of idea complexity, community attitude, and

aesthetic products. Its existence is closely related to

the legitimacy of Yogyakarta palace as the centre of

the new government, and even in the historical fact, it

is preserved as the self-identity of a community

member. The background of Jogja dance creation is

surrounded by a divisive war in the Mataram

Kingdom, which is marked by Giyanti Agreement

1755.

Figure 1: Beksa Menak: Fight scene between Menakjinggo

and Damarwulan.

Figure 2: Wayang Wong

Figure 3: Srimpi

Figure 4: Bedaya: The performance of Bedaya Dance in

Yogyakarta Palace

5. THE DOCUMENTATION

DESIGN OF THE LEARNING

MEDIA OF YOGYAKARTA

CLASSICAL DANCE

To create the learning media of Yogyakarta classical

dance, the researcher discover and identify some

potential to develop media with a range of

complexity: firstly, general learning media

determines the description of learning target in a

totality of dance work. Secondly, formal analysis

learning media give explanation about the movement

technique with teachers’ analysis and interpretative

perspective; thirdly, movement interpretative

learning media explain the rules of movement model

interpretative based on the students’ physical

condition; fourth, cultural interpretative learning

media study various cultural context to analyze

Yogyakarta classical dance in the context of cultural

product of the local community; fifthly, the

encyclopedia of Yogyakarta dance movement,

explains various uniqueness of movement with the

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context of characters, technical superiority, and

various information about dance philosophy.

The realization of the documentation of instructional

cine dance will be directed to five types of recording

media art packages with certain specification.

5.1 GENERAL LEARNING MEDIA. It shows in

general (through master shot documentation with

only one camera as the proof of the attendance of the

audience’s eyes) where various presentation

information can be packaged. All effort is concerted

to present 5W + 1 H in the video presentation. The

insert of movement order structure, the format of the

stage show, dance costume, and other general

information should be packaged wholly in one stage

show unit.

5.2 FORMAL ANALYSIS LEARNING MEDIA.

It shows the audiovisual analysis of the movement

shape with movement variation unit and connection

of movement order structure from start to finish.

Break/pause is inserted in a VISUALLY

TECHNICAL WAY to allow the learners to practice

the information exposed in the screen. The narration

and performer can be separated.

5.3 INTERPRETIVE LEARNING MEDIA.

(Giving freedom to the learners to build their own

personal style in dance art. Due to the differences in

one’s physical condition, learners are allowed to

make a personal interpretation. General rules apply

based on the physical condition of a dancer). The tips

of dance art from the teacher can be shown in

audiovisual media.

5.4 CULTURAL INTERPRETIVE LEARNING

MEDIA. (Presenting audiovisual information and

cultural, social, historical, economic, psychological,

philosophical, aesthetic analysis of artwork through

learning media).

5.5 CINE-DANCE LEARNING MEDIA

(CRITICS & ENCYCLOPEDIA) is the package

format of various brief information in the form of

audiovisual media to improve understanding on 5W

+ 1 H of Yogyakarta classical dance.

6. CONCLUSIONS

The creation of learning instructional model is

constrained by various rule governing the practice of

education. Adaptation to various rules is directed at

the distinctive design of learning material. In the

context of the learning media of Yogyakarta classical

dance, the researcher discovered the distinctiveness

of design framed in the format of kinetic learning.

Yogyakarta classical dance has two teaching

dimension, and it orientates itself toward the skills of

moving technique, philosophical view, and the

affective aspect of the performer. The field and

domain of learning material need mapping and

strategy in the elaboration of learning syllabus. 

The creation of learning material needs some trial

in each teaching topic discussion. It is directly related

to the needs of the learner for a creative pattern in

multimedia learning.

ACKNOWLEDGEMENTS

The focus of professional activity is to develop

multimedia learning, together with a team managing

Database Budaya Nusantara (Archipelago Culture

Database), kebudayaannusantara@gmail.com. He is

actively involved in human resources development by

joining. AELI (The association of experiential

learning) holding the position of the managing board

of provincial level in Yogyakarta. He is a certified

programmer outbound at the national level. His

community service is carried out by managing the

training program with wonosalamtraining.com

institution.

REFERENCES

Arif Eko Suprihono, Andri Nur Patrio, 2014.

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Hopkins, David.2011. Panduan Guru Penelitian Tindakan

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