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This study was motivated by the lack of standardized and objective assessment instruments for the teaching of the Syofyani Minang Payung Dance at the junior high school level, resulting in an assessment process that remains largely subjective and fails to measure psychomotor, affective, and cultural aspects in a balanced manner. This study aims to design and test the validity and reliability of a performance assessment rubric for the Syofyani Minang Payung Dance in cultural arts education at SMP Negeri 1 Bukittinggi. The research method used is a mixed-methods approach with a sequential explanatory design. The research subjects consisted of three dance instructors serving as expert judges, one cultural arts teacher, and 33 junior high school students. The research instrument was a performance-based assessment rubric covering five competency indicators: basic movement techniques; alignment with musical rhythm and dynamics; expression and character interpretation; mastery of payung props and movement safety; and accuracy of floor patterns and group synchronization. Quantitative data analysis was conducted using IBM SPSS Statistics through the Corrected Item-Total Correlation validity test and Cronbach’s Alpha reliability test, while qualitative data was analyzed using descriptive-interpretive methods. The research results show that all indicators have validity scores above 0.30 and are therefore considered valid, and the Cronbach’s Alpha reliability score is above 0.70, indicating good internal consistency of the instrument. Furthermore, the interview results indicate that the rubric is considered relevant, clear, and aligned with the learning characteristics of Syofyani’s Minang Payung Dance at the junior high school level. Consequently, the developed assessment rubric is deemed suitable for use as an objective, standardized, and contextually appropriate assessment instrument for dance education rooted in local culture.

Background: Digital transformation in arts education has introduced new paradigms in pedagogical tools, yet the specific role of artificial intelligence in fostering creativity within dance education remains under-explored. Objective: This study aims to analyze the contribution of AI Motion technology to enhancing the creative thinking skills of junior high school students in dance learning. Method: A systematic literature review was conducted following the PRISMA 2020 guidelines. A total of 30 peer-reviewed articles published between 2023 and 2025 were selected from databases including Scopus, ScienceDirect, ERIC, Google Scholar, and Garuda. Data were analyzed using the qualitative descriptive framework of Miles and Huberman. Results: The findings demonstrate that AI Motion technology significantly improves movement accuracy by up to 41% and fosters four key dimensions of creativity: fluency, flexibility, originality, and elaboration. The technology provides real-time feedback and visualization, enabling students to transition from passive imitation to autonomous movement exploration. Conclusion: The integration of AI Motion is strategically aligned with the Indonesian Merdeka Curriculum, which emphasizes differentiated learning and 21st-century skills. However, successful implementation is contingent upon overcoming challenges related to teacher digital competency and infrastructure accessibility. This study provides a conceptual framework for modernizing arts pedagogy through AI-assisted creative exploration.

This study aims to analyze the representation of culture and myth in the film "KKN di Desa Penari" (Community Service in Dancer Village) using Jean Baudrillard's hyperreality perspective. This film's phenomenon is not merely entertainment but also demonstrates the blurring of the boundaries between reality and fiction in modern society. The method used is a literature study with a descriptive qualitative approach through a search of scientific sources from 2022–2025. The results show that the representation of culture and myth in film has undergone a transformation into simulacra, a form of representation that no longer reflects reality but instead replaces it. Mystical elements in film tend to be constructed as aesthetic and dramatic visual elements, thus shifting sacred meanings to mere entertainment. Furthermore, the incorporation of magical realism reinforces the experience of hyperreality, making it difficult for viewers to distinguish between fact and fiction. The role of mass media and social media also reinforces this process through the collective production and reproduction of meaning. This study also found a tendency towards stereotypical gender representation, particularly in the depiction of female characters. Thus, the media not only represents reality but also plays an active role in shaping and even replacing social reality in society.

This study aims to describe the aesthetics of the performance form of the Lenggok Dance created by Ida Sulistyarini and Susiati, which has developed in Banyumas Regency. The Lenggok Dance is a creative dance work rooted in the local Banyumasan tradition and presents distinctive movement characteristics along with regional cultural values. This research uses Djelantik’s aesthetic theory with a qualitative method and a phenomenological approach. Data collection techniques include observation, interviews, and documentation. Data validity techniques employ triangulation of sources, techniques, and time. Data analysis is carried out by examining the aesthetic elements of the dance, which include form, content or substance, and presentation or performance contained in the show. The results of the study indicate that the aesthetics of the Lenggok Dance are reflected through the harmony between dynamic and flexible lenggeran movements and the rhythmic Banyumasan musical accompaniment, as well as visual support from makeup and costumes that strengthen the character of the dance. In addition, the Lenggok Dance contains aesthetic values that represent the cultural identity of Banyumas, particularly in the processing of movements and expressions that reflect flexibility, joy, and local wisdom. This study is expected to contribute to the development of dance studies, especially related to the aesthetics of regional creative dance, and to serve as a reference for the preservation and development of Banyumasan performing arts.

Nggainah Menjres Dance is one of the traditional folk dance works created by Mrs. Umi Ardiyah, the owner of the LKP Merpati Studio, in 2014. It was inspired by one of the characters from the Barongan folk tale of Blora Regency. The issue examined in this study is the choreography of the Nggainah Menjres Dance at the LKP Merpati Studio in Blora District, Blora Regency. The purpose of this research is to describe the choreography of the Nggainah Menjres Dance. The method used in this study is a descriptive qualitative approach combined with a choreographic approach. The data collection techniques for the Nggainah Menjres Dance include observation, interviews, and documentation. The results of the choreographic analysis of the Nggainah Menjres Dance cover both the process and the form of the choreography. The choreographic process includes exploration, improvisation, and composition. The choreographic form includes theme, title, work pattern, movement, number of dancers, accompaniment, floor pattern, makeup and costume, properties, stage form, and lighting. Based on the above findings, the Nggainah Menjres Dance is a form of dance artwork that correlates with the folk art of Blora and must continue to be preserved and developed as part of the region's artistic identity.

This study examines the Common Dange Mess at the Parish of Santo Antonius Padua Mendalam as a manifestation of the inculturation of Catholic faith with the Dayak Kayan culture. Using a descriptive qualitative approach, the study focuses on the meaning and relationship between the Church altar and the Lasah as symbols of liturgy and culture. The altar remains the sacramental center of the Eucharist, while the Lasah channels prayers, offerings, and local cultural identity, forming a harmonious dialogue without altering theological meaning. Cultural elements such as language, songs, dances, traditional attire, and ritual symbols are purified and aligned with the liturgy, ensuring that all offerings are directed to God. The findings indicate that the Common Dange Mess strengthens the faith of the Dayak Kayan community, preserves cultural identity, and affirms the practice of contextual theology, in which the proclamation of the Gospel is realized contextually, dialogically, and complementarily with local traditions, making this celebration a mature model of inculturation centered on Christ.  

Based on the analysis, (1) the support aspect has been implemented effectively, as evidenced by strong leadership commitment, policy support, the availability of facilities and infrastructure, adequate budget allocation, and solid inter-agency coordination, although technical constraints such as network disruptions remain. Further, (2) the capacity aspect is categorized as relatively adequate, reflected in the readiness of human resources, the availability of technological infrastructure, clear standard operating procedures, and the implementation of training programs, despite the need for further enhancement of technical competencies and network quality. Lastly, (3) the value aspect demonstrates highly positive outcomes, as the Warkop Samsat program provides significant benefits, including improved service quality, time and cost efficiency, service convenience, increased user satisfaction, and enhanced public compliance with motor vehicle tax payments In conclusion, public service innovation through the Warkop Samsat program in Gorontalo City has been effectively implemented, generating positive impacts for the community. However, further strengthening of technical aspects and capacity development is required to ensure the program's sustainability.

This study is motivated by the limited public understanding of the symbolic meaning of properties used in the Grombyang Dance of Pemalang, where most audiences merely enjoy the performance without recognizing the cultural values embedded within it. This research aims to examine and explain the symbolic meanings of the properties used in the Grombyang Dance of Pemalang as performed at Sanggar Seni Kaloka Pemalang. The method employed is a descriptive qualitative approach using semiotic analysis based on Charles Sanders Peirce, with data collection techniques including observation, interviews, and documentation. The results of the study indicate that the performance structure of the Grombyang Dance of Pemalang consists of three main parts: the opening, the core, and the closing, supported by various elements such as theme, movement, performers, makeup, costume, musical accompaniment, stage setting, and properties. The semiotic analysis reveals that the symbolic meaning of the properties can be understood through the relationship between representamen, object, and interpretant. The main property, the irus (ladle), functions as a symbol that not only represents the act of scooping Grombyang soup but also carries a belief-related meaning as a bringer of fortune in trading activities. In conclusion, the properties in the Grombyang Dance of Pemalang serve not only as aesthetic elements but also as a medium of symbolic communication that reflects cultural, social, and belief values within the community. Therefore, they are important to be preserved and more deeply understood by the public.

This community service activity was carried out through the Kuliah Kerja Nyata (KKN) program at SDN 30 V Koto Kampung Dalam, Padang Pariaman Regency, West Sumatra. The activity aimed to restore the psychological condition and learning spirit of students who experienced trauma following a fire disaster. Five educational games were implemented, namely sendok tepung (spoon and flour), pipet aqua (straw transfer), naga balon (balloon dragon), biskuit Roma (biscuit game), and joget balon (balloon dance). These games were selected to stimulate physical, social, emotional, and mental aspects of students. The instruction was delivered directly using a microphone and speaker system, with a storytelling approach that sparked imagination rather than evoking pity. The impact was measured through behavioral observation, with positive indicators including students transitioning from drooping posture to upright, laughter replacing silence, and passive children beginning to vocalize and cheer. Results indicated that educational game-based socialization is effective as a non-therapeutic initial psychosocial recovery strategy for disaster-affected children. This activity demonstrates that simple and participatory methods can significantly contribute to restoring children's learning motivation and psychological resilience post-disaster.

Lagu Jawa modern merupakan perkembangan kontemporer dari musik tradisional Jawa yang semakin banyak dinikmati generasi muda melalui platform digital. Namun, meningkatnya jumlah lagu baru membuat pengguna sulit menemukan lagu yang sesuai dengan preferensi musikal jika pencarian hanya dilakukan berdasarkan judul atau nama artis. Penelitian ini mengembangkan pendekatan rekomendasi berbasis konten melalui klasterisasi fitur audio terhadap 100 lagu Jawa modern yang dikumpulkan dari YouTube. Fitur audio diekstraksi menggunakan Librosa pada Python, meliputi tempo BPM, danceability, RMS energy, zero-crossing rate, MFCC means, spectral contrast means, dan chroma features means, sehingga setiap lagu menghasilkan 36 fitur numerik. Algoritma K-Means digunakan untuk membentuk tiga klaster, PCA digunakan untuk memvisualisasikan distribusi klaster, dan Silhouette Score digunakan untuk mengevaluasi kualitas pengelompokan. Hasil penelitian mengidentifikasi tiga gaya musikal yang dapat diinterpretasikan, yaitu Jawa modern enerjik, lagu tradisional atau akustik, serta Jawa eksperimental atau ambient, dengan Silhouette Score sebesar 0,114. Temuan ini menunjukkan bahwa fitur audio mampu merepresentasikan karakter lagu secara objektif dan mendukung sistem rekomendasi adaptif untuk pelestarian musik daerah. Pendekatan ini juga membantu memperluas akses pendengar terhadap kekayaan musik lokal di era digital secara berkelanjutan.

Lagu Jawa modern merupakan perkembangan kontemporer dari musik tradisional Jawa yang semakin banyak dinikmati generasi muda melalui platform digital. Namun, meningkatnya jumlah lagu baru membuat pengguna sulit menemukan lagu yang sesuai dengan preferensi musikal jika pencarian hanya dilakukan berdasarkan judul atau nama artis. Penelitian ini mengembangkan pendekatan rekomendasi berbasis konten melalui klasterisasi fitur audio terhadap 100 lagu Jawa modern yang dikumpulkan dari YouTube. Fitur audio diekstraksi menggunakan Librosa pada Python, meliputi tempo BPM, danceability, RMS energy, zero-crossing rate, MFCC means, spectral contrast means, dan chroma features means, sehingga setiap lagu menghasilkan 36 fitur numerik. Algoritma K-Means digunakan untuk membentuk tiga klaster, PCA digunakan untuk memvisualisasikan distribusi klaster, dan Silhouette Score digunakan untuk mengevaluasi kualitas pengelompokan. Hasil penelitian mengidentifikasi tiga gaya musikal yang dapat diinterpretasikan, yaitu Jawa modern enerjik, lagu tradisional atau akustik, serta Jawa eksperimental atau ambient, dengan Silhouette Score sebesar 0,114. Temuan ini menunjukkan bahwa fitur audio mampu merepresentasikan karakter lagu secara objektif dan mendukung sistem rekomendasi adaptif untuk pelestarian musik daerah. Pendekatan ini juga membantu memperluas akses pendengar terhadap kekayaan musik lokal di era digital secara berkelanjutan.

This study aims to enhance knowledge, foster a sense of patriotism, and strengthen the national identity of Indonesian children living abroad through an educational program introducing Indonesian islands and culture. Children living in foreign environments tend to interact more frequently with foreign cultures, potentially leading to a lack of familiarity with their own national culture. Therefore, this activity was designed as a fun and easily understandable learning experience to ensure children remain connected to their roots. The method used was qualitative descriptive research employing direct observation of 30–40 participants over a two-week period. The program was implemented in several stages: orientation, presentation of materials, video screenings, drawing and coloring activities, and traditional games. The results showed that participants demonstrated increased knowledge of the names of major islands in Indonesia as well as various regional cultures, such as traditional attire, dances, and folk songs. Additionally, the program successfully fostered a sense of pride, boosted self-confidence, and strengthened camaraderie among participants. The children appeared enthusiastic and active in every activity provided. Thus, this educational program proved effective as a means to introduce Indonesian culture while strengthening the national identity of Indonesian children abroad through engaging and enjoyable learning methods.

This study aims to analyze the aesthetic values of Ranggawis Dance as a form of regional creative dance that develops in Purbalingga Regency. This research employs a qualitative method with a descriptive approach, supported by a choreographic aesthetic approach. The theoretical framework used is the aesthetic theory proposed, which includes aspects of form, content, and performance. Data collection techniques were carried out through observation, interviews, and documentation involving choreographers, musicians, dancers, and related parties in the performance of Ranggawis Dance. The data were analyzed descriptively using a qualitative approach by linking field findings with the applied aesthetic concepts. The results show that the aesthetics of Ranggawis Dance are formed through the harmony of form aspects, including movement, musical elements, and dancer composition; content aspects reflecting values of togetherness and joy within the community; and performance aspects demonstrated through synchronization (rampak) and dancers’ expressions. The dance movements, which combine Banyumasan, Jaipong, and contemporary elements, create a dynamic and harmonious impression, while the use of pentatonic scales strengthens the traditional character. The collaborative creative process between choreographers and musicians also contributes to the overall aesthetic unity of the performance. Therefore, Ranggawis Dance possesses strong aesthetic values, reflects local cultural identity, and has the potential to be further developed as part of traditional art preservation.

Dance instruction in schools still does not fully support students' ability to understand techniques and movement sequences independently. In the "Semarang Rumah Kita" dance material in grade VIII of SMP N 7 Semarang, the learning process tends to rely on classical methods guided by printed books. This condition indicates the need to develop more varied, interesting, and effective learning media. This study aims to develop and test the feasibility and effectiveness of the "Semarang Rumah Kita" dance video tutorial as a learning medium. The method used is Research and Development (R&D) which includes the stages of needs analysis, product planning, revision, and field trials. The research subjects were grade VIII students of SMP N 7 Semarang. Data were obtained through interviews, observations, validation questionnaires from material experts and media experts, and assessment of student practice. The data were analyzed using quantitative and qualitative descriptive approaches. The results of the study indicate that the developed video tutorial meets the criteria of very feasible and has been proven effective in increasing movement accuracy, cohesiveness, and student self-confidence. These findings are an innovative alternative to support dance learning and improve the quality of dance education in schools.

This study aims to describe the implementation of the Project-Based Learning (PjBL) model in creative dance learning. It also analyzes the results of creative dance projects produced by grade XI students of SMA Negeri 14 Semarang. This study uses a descriptive qualitative approach with data collection techniques including observation, interviews, and documentation. The research subjects consist of one Cultural Arts teacher and students of grade XI. Data analysis employs the interactive model of Miles and Huberman, including data reduction, data display, and conclusion drawing. The results show that the implementation of PjBL is conducted through seven systematic stages: project determination, planning, scheduling, exploration and movement creation, monitoring, project presentation, and reflection. Students demonstrate active involvement in group discussions, movement exploration, and collaboration. Each group successfully produces creative dance work with diverse themes, reflecting the development of creativity and critical thinking skills. This study highlights students creative processes at each stage of the project, which has not been widely explored in previous studies.

This study aims to descriptively analyze the ability of elementary students to imitate rhythmic gymnastics movements through the Just Dance Now application in Physical Education learning at SDN Bulay 1 Pamekasan. The background of this research stems from the low motivation and movement accuracy of students in conventional rhythmic gymnastics learning. Using a qualitative descriptive approach, this study involved 24 fifth-grade students as subjects. Data collection techniques included participatory observation, in-depth interviews, and documentation. Data were analyzed using the Miles and Huberman interactive model consisting of data reduction, data presentation, and conclusion drawing. The findings indicate that students' ability to imitate rhythmic gymnastics movements through Just Dance Now falls into the sufficient category, with students demonstrating good proficiency in basic movement patterns but experiencing challenges in complex body coordination and musical rhythm synchronization. The application successfully enhanced student enthusiasm and engagement compared to traditional methods. However, technical constraints such as internet connectivity and limited space were identified as implementation barriers. This study implies that digital game-based media like Just Dance Now can serve as an effective alternative visual aid in elementary physical education, particularly for rhythmic gymnastics instruction. Educators are encouraged to integrate technology creatively while addressing infrastructural limitations to optimize learning outcomes.

The creation of institutional signature music is typically understood as a technical compositional process intended to accompany a performance. This study aims to elucidate how the music of the Rene Hu dance is constructed as a medium for representing institutional identity through the integration of local wisdom and organizational values. Utilizing an artistic autoethnographic approach, this research positions the creative experience of the composer as a reflective data source analyzed through both thematic and conceptual lenses. The findings indicate that the composition of Rene Hu music emerges from the interaction of cultural, ecological, and institutional dimensions, all mediated by the composer’s reflection as a strategic agent. The integration of Sentani traditions, the soundscape of Mount Cycloop, and digital technology forms a sonoric identity that represents both cultural legitimacy and the vision of the Papua Province Language Center. This study formulates the Reflective Sonoric Cultural Strategy Model, which explains the mechanisms of identity negotiation within the composition of such signature music. The novelty of this research lies in its conceptualization of institutional music as an arena for identity negotiation analyzed through the composer’s creative journey. This research offers a conceptual framework applicable to the creation of similar representational musical works.

Understanding private body parts is a fundamental aspect of early childhood education to prevent sexual violence, cases of which are increasingly rising. The lack of children's knowledge regarding body privacy and self-protection serves as a primary risk factor. This community service aims to enhance the knowledge of students at SDN 060831 regarding the identification of private body parts and self-protection mechanisms. The implementation method included a preparation phase, participatory education using visual media and dance, and evaluation through pre-tests and post-tests. The results showed a significant increase in students' understanding, as evidenced by the rise in the average knowledge score from 64% during the pre-test to 95% during the post-test. This indicates that interactive educational methods through dance and visuals are effective in instilling an understanding of self-protection in elementary school students.

This research aimed to revitalize Mosau' Dance, a nearly extinct traditional dance from Bolaang Mongondow, through the creation of a new work entitled Sinungkudan Dance. Mosau' Dance is a celebratory dance of post-war warriors whose existence is currently fading in the Bolaang Mongondow region due to a lack of regeneration and the influence of modernization. This research employed a descriptive qualitative approach with a focus on choreographic analysis. The revitalization process was carried out through four stages: exploration, reconstruction, reinterpretation, and reactualization. The results indicate that revitalization through the creation of Sinungkudan Dance successfully provided a "new breath" for the local tradition of Bolaang Mongondow. Choreographically. Sinungkudan Dance consisted of eight movement variations, combining three original Mosau' movement motifs (such as joyful leaps) with five newly created movements that depicted narratives of warrior life (Bogani), ranging from weapon sharpening and physical training to the atmosphere of warfare. The choreographic structure was supported by nine symbolic floor patterns, the use of the tungkudon (spear) as a prop, and digital musical accompaniment that blended traditional rhythms with modern instruments such as the flute and snare drum. In conclusion, through more visually and kinetically attractive innovations, the values of leadership and resilience embodied in Mosau' Dance were able to be transmitted to younger generations as a proud cultural identity for the people of Bolaang Mongondow.

Mopotilro Dance is a traditional dance originating from South Bolaang Mongondow Regency that functions as a welcoming dance for guests in customary ceremonies. Academically, this dance has not yet been examined in depth. Therefore, this article aims to investigate the Mopotilro Dance from the perspective of its performance structure, particularly as presented at the anniversary celebration of the Persatuan Relawan Muda Molibagu (PEREDAM) community. The research focuses on several aspects of the dance presentation, including: (1) movement, (2) number of dancers, (3) makeup and costume, (4) musical accompaniment, (5) floor patterns, (6) properties used, and (7) performance space. This study employs a qualitative research method with data collection techniques consisting of observation, interviews, and documentation, which are used to describe the data and draw conclusions. The results indicate that the presentation of the Mopotilro Dance at the PEREDAM anniversary event is not found in other occasions. This condition suggests that public understanding of the Mopotilro Dance as part of local cultural heritage remains limited. The lack of academic studies on the performance structure of the Mopotilro Dance is one of the factors contributing to its rare appearance in various events.