GETER : Jurnal Seni Drama, Tari dan Musik
GETER : Jurnal Seni Drama, Tari dan Musik is a Journal of Performing Arts that accommodates critical and academic thinking through various approaches and perspectives. Journal Title: GETER : Jurnal Seni Drama, Tari dan Musik Initials: GETER Frequency: 2 issues per year (April and October) ISSN Online: 2655-2205 Editor-in-Chief:Indar Sabri DOI: 10.26740/geter Publisher: State University of Surabaya In collaboration with: ASSOCIATION OF SENDRATASIK EDUCATION STUDY PROGRAM (ART, DRAMA, DANCE AND MUSIC) INDONESIA ( AP2SENI ), Letter of Agreement ( MOU AP2SENI ) In collaboration with: INDONESIAN ART EDUCATORS ASSOCIATION (APSI), letter of agreement (MOU APSI)
The Body as Sign in Pantomime Performance: A Systematic Literature Review of Semiotics, Embodiment, and Visual Dramaturgy
This study aims to synthesize contemporary pantomime scholarship by positioning the body as a primary sign system within the contexts of semiotics, embodiment, and visual dramaturgy. A Systematic Literature Review (SLR) guided by the PRISMA 2020 framework was conducted, analyzing 25 peer-reviewed articles published between 2010 and 2025. The findings identify five interconnected dimensions of pantomime performance: evolutionary communication, semiotic representation, embodied cognition, multimodal meaning-making, and visual dramaturgy. These dimensions highlight that pantomime extends beyond nonverbal communication by functioning as a performative system in which bodily action generates and organizes meaning. Based on this synthesis, the study proposes the Body as Sign Framework, which conceptualizes the body as a multidimensional system of signification operating across communicative, cognitive, semiotic, and performative processes. This framework offers an integrative theoretical model that connects previously fragmented perspectives in pantomime research. The study contributes to theatre and performance studies by providing a conceptual foundation for analyzing embodied meaning-making and body-based performance practices. It also offers directions for future research on visual dramaturgy and nonverbal communication in contemporary performance contexts.
Copyright (c) 2026 Samsul Alam, Indar Sabri, Moh. Mujib Al Firdaus, Tri Haryotedjo, Deny Tri Aryanti https://creativecommons.org/licenses/by-sa/4.0
From Tradition to Competition: The Negosiation Process of Cultural Identity in Traditional Dancesport Choreography at National Competitions
Traditional dance performances in traditional dancesport competitions present a fundamental tension between efforts to preserve cultural identity and the need for sport standardization. This study aims to examine how coaches and athletes negotiate traditional cultural values ​​with technical-competitive requirements in the process of choreography creation. Using a qualitative, case study-based approach, this study analyzes three cases of national choreographers who created traditional numbers for the 18-25 year old dancesport category. Data were collected through semi-structured interviews, performance observations, and analysis of video documentation of practice sessions over a six-month period. Data analysis was conducted thematically using the theoretical frameworks of cultural hybridity (Bhabha) and embodiment (Csordas). The findings reveal three negotiation strategies used: (1) structural adjustments in the form of simplification of complex movement patterns; (2) expressive modifications through adjustments in energy intensity and tempo; and (3) semiotic restructuring while maintaining certain elements of cultural identification. This research has implications for the development of an assessment framework that is more sensitive to cultural authenticity in dancesport competitions and provides practical recommendations for choreographers in creating choreographies that meet competitive criteria while maintaining cultural values.
Copyright (c) 2026 Adrin Shiera Aligra Umaldi, Jajuk Dwi Sasanadjati, Moh. Hariyanto, Bambang Sugito, Senyum Sadhana https://creativecommons.org/licenses/by-sa/4.0
Visibility Paradox in Digital Representation of Traditional Foi Doa Music
Digital visibility in the Foi Doa instrument shows a shift in the way culture is understood in the digital space. Visual representation in digital media plays a strong role in directing the audience's perception of traditional practices. The Qualitative Digital Discourse Analysis (QDDA) method was used to analyze content and responses on two YouTube channels with different production styles. Observations are focused on comparisons between cinematic representations and everyday documentation. High audience engagement on cinematic videos does not develop into a deep musical understanding. The audience's response focuses more on the visual aspect than on the sound structure and spiritual function of the instrument. Simple documentation does not show a comparable level of interaction. These findings show the dominance of visual elements in shaping audience perception in the digital space. This condition is understood as the paradox of visibility, which is a situation when the expansion of reach through digitalization goes hand in hand with the simplification of meaning. In contrast to the concepts of mediatization and spectacularization that emphasize the changing form and dominance of media, the visibility paradox highlights specifically the tension between increased visibility and narrowing of the depth of meaning in digital consumption practices. Thus, digital representation not only expands access, but also limits the way culture is interpreted.
Copyright (c) 2026 Dedy Setyawan, Hermania Bupu, Sena Radya Iswara Samino, Ferdinandus Bate Dopo, Kanzul Fikri https://creativecommons.org/licenses/by-sa/4.0
The Decolonizing the Papuan Body: Hybridity and Identity Politics in Jecko Siompo’s Animal Pop Choreographic Practice
In Indonesia's contemporary dance landscape, the Papuan body is often caught in the tug-of-war between the legacy of colonial representation and the dynamics of urban modernity. This article aims to analyze how Jecko Siompo's Animal Pop rearticulates Papuan identity through choreographic practices in Jakarta. The research uses a qualitative approach with a case study design, through visual observation of the work, archival review, and continuous engagement with the choreographer's artistic environment. The findings show that Animal Pop does not simply combine Papuan movements and global hip-hop, but rather presents a body practice that simultaneously negotiates ecological memory, references to fauna movements, and urban rhythms. The dancer's body serves as a living archive that maintains the tendency of environment-based movement while responding to the demands of metropolitan life. Movement patterns such as grounded postures, asymmetrical articulation, and rhythmic transitions indicate the existence of repeated embodied negotiation processes . This article concludes that Jakarta is not only a production space, but also an important site in the transmission and reformulation of Papuan identity, especially through Jecko Siompo's artistic and pedagogical practice. Through the perspective of decolonial aesthetics, Animal Pop shows that decolonization does not take place as an abstract discourse, but as a living, situational, and continuously negotiated practice of movement. These findings contribute to the development of the study of contemporary dance, particularly in understanding the body as a medium of articulation of cultural identity and memory in urban spaces.
Copyright (c) 2026 Frans Junias Jugganza, Muhammad Ilham Mustain Murda, Hilmar Farid, Yola Yulfianti https://creativecommons.org/licenses/by-sa/4.0
THE CONSTRUCTION OF THE VALUE OF TOGETHERNESS IN THE PRODUCTION PROCESS OF THE DRAMA "MUSICAL KELUARGA CEMARA"
The value of togetherness is deeply rooted in Indonesian society. Unfortunately, it is increasingly being eroded by the tide of modernization and digitalization. There are various ways to remind people of the importance of togetherness, one of which is through the performing arts, specifically musical theater. One particularly compelling example of this is the musical "Keluarga Cemara". The production is adapted from the story of the same title in the TV series and film, but has been staged as a musical since 2024. The production returned in 2025, with 30 performances in a single month. This study aims to analyze the construction of the value of togetherness in the production process of the musical "Keluarga Cemara." It employs a qualitative research approach using the case study method, with primary data sourced from interviews with individuals involved as part of the creative team for the musical "Keluarga Cemara" as well as audience members. The findings reveal that the musical "Keluarga Cemara" conveys a message of togetherness that extends beyond merely being a plot element. The social construction of the value of togetherness occurs through the relationship between creators, the performance itself, and the audience, expressed artistically through elements such as the script, music, choreography, and stage visuals, as well as the audience's experience. This research is expected to be useful for artists, audiences, and the government. Effective collaboration among these three parties is essential so that performing arts are not merely entertainment but also convey positive values.
Copyright (c) 2026 Clarisse Callista Jacob, Agustin Diana Wardaningsih https://creativecommons.org/licenses/by-sa/4.0