Proceedings of International Conference on Dance and Education

Body, Tradition, and the Future: Reimagining Dance Education in a Changing World

Eko Raharjo — 2026-11-06

This paper was prepared to reconsider the direction of dance education at a time when the dancer’s body, the traditions it inherits, and the technologies surrounding it are changing at different speeds. Using a qualitative conceptual approach, the study conducted a thematic review of 57 Scopus-indexed publications issued between 2001 and 2026, covering studies of embodiment, pedagogies of traditional and cultural dance, and the use of digital technology in dance learning. The review shows that the dance education literature remains divided into strands that rarely meet, namely a strand that defends the body and tradition as sources of knowledge and a strand that measures the success of technology through movement accuracy, motivation, and learning engagement. From this reading, the Body–Tradition–Future framework is formulated on three principles: the body as a source of knowledge, tradition as a living pedagogy, and technology as an extension of bodily experience. The framework can serve as a basis for designing dance education curricula and assessments, particularly in teacher education institutions, so that prospective dance teachers can master movement, understand the cultural meanings it carries, and use technology without losing their bodily presence.

SHAPING THE WHOLE HUMAN BEING: DANCE AS AN EDUCATIONAL VEHICLE

Hartono — 2026-11-06

Education is fundamentally oriented toward the holistic development of learners' potential, encompassing not only knowledge but also personality, values, skills, and the capacity to interact meaningfully with the surrounding environment. Within this framework, dance can be positioned as an educational "vehicle" because the experience of dancing integrates the body, mind, emotion, creativity, social interaction, and cultural values in a unified process. However, dance is still commonly treated merely as an artistic skill to be mastered rather than as a comprehensive educational experience, leaving its contribution to holistic human formation insufficiently articulated. This article aims to examine the position of dance as an educational vehicle in the formation of the whole human being. A literature review was conducted using a descriptive-interpretative approach, drawing on national and international academic sources concerning dance education, character education, creativity, learner development, and cultural integration. The findings show that dance learning has the potential to develop physical, emotional, social, cognitive, and characterological dimensions simultaneously, while the repeated practice inherent in dance cultivates discipline, responsibility, cooperation, independence, and appreciation of cultural diversity. Traditional dance further opens a space for internalizing values and local wisdom through movement, music, narrative, symbol, and cultural context. The study concludes that dance should not be positioned merely as an artistic competency, but as an educational experience that connects reason, feeling, body, values, and action in the process of shaping a whole human being, offering both theoretical grounding and pedagogical direction for arts and character education in schools.

Sustaining Emprak Kuangsan as Living Heritage: Local Knowledge Transmission and Challenges of Intergenerational Regeneration

Agustina Ayu Andira — 2026-11-06

Emprak Kuangsan is a traditional drama performance that serves as a cultural identity of the Kuangsan Village, Rembang, Central Java, Indonesia. As a living heritage, its continuity is determined not only by efforts to preserve its artistic form but also by the community’s capacity to reinterpret and reproduce cultural knowledge across generations. This study aims to examine how local knowledge embedded in Emprak Kuangsan and to identify the challenges affecting its regeneration process. This study employs a qualitative approach, with data collected through observations, in-depth interviews with artists, and younger generations, as well as documentation of Emprak performances. The findings indicate that knowledge transmission primarily occurs through informal learning based on embodied experience. However, this transmission process faces several challenges, including declining youth participation, limited regeneration of artists, inadequate documentation, and the diminishing availability of traditional spaces for cultural learning. This study emphasizes that the sustainability of Emprak Kuangsan depends on maintaining a social and cultural ecosystem, rather than merely preserving the art form as a fixed artistic expression. Therefore, strengthening community-based learning, intergenerational participation, cultural documentation, and youth engagement is essential to sustaining Emprak Kuangsan as a dynamic and continuously evolving living heritage.

Acculturation and Uniqueness of Barongan Juwangi: A Study of Form, Performance, and Cultural Values

Gracia Laura Chelshira — 2026-11-06

This study examines Barongan Juwangi as a form of folk art in Juwangi District, Boyolali Regency. The research focuses on mask design, its development and acculturation, shifts in performance patterns, and the cultural values the artist upholds. The study used a descriptive qualitative approach, drawing on primary data from interviews with three Barongan performers and two members of the Barongan Juwangi community, including Taufik Agung, leader of the Setyo Budoyo Juwangi group. The findings indicate that the Barongan Juwangi mask design is influenced by the Blora style, characterized by pointed wooden masks, hair made from sugar palm fibers (shorter at the front and thicker at the back), and prominent fangs. The art form originated in Barongan Kepruk as a test of strength before transforming into a dance performance to prevent its decline. Over time, the Setyo Budoyo group has incorporated elements from the Juwangi, Blora, and Temanggung styles. Its cultural values are reflected in preserving tradition, community solidarity, pre-performance rituals, and creative changes in dance patterns and accessories. Today, Barongan Juwangi mainly serves as entertainment and part of local cultural identity, helping strengthen the community’s sense of identity and belonging.

Reconceptualizing the Jepin Dance Festival as an Ethno-Sustaining Pedagogical Arena for Malay Cultural Identity

Winda Istiandini — 2026-11-06

Traditional dance festivals face the challenge of sustaining cultural knowledge while accommodating creative change and diverse regional practices. This study examines how the Jepin Dance Festival in West Kalimantan, Indonesia, functions as an ethno-sustaining pedagogical arena for Malay cultural identity. Employing a qualitative ethnographic design, the research draws on participant observation, in-depth interviews, focus group discussions, and festival documentation. Participants were selected purposively from dancers, trainers, cultural authorities, organizers, and adjudicators. Data were examined through condensation, display, and conclusion drawing and verification. The analysis identifies three interconnected dimensions: community-based learning through documentation and practitioner exchanges; negotiation between regional performance conventions and choreographic innovation; and recognition of embodied cultural knowledge through festival representation and evaluation. These dimensions suggest that the festival’s pedagogical significance depends on opportunities to explain inherited practices, acknowledge regional differences, and discuss the cultural grounds for adaptation. The study develops Ethno-Sustaining Pedagogy as a contextual framework connecting cultural transmission, aesthetic negotiation, and community recognition. It highlights the importance of collaborative festival guidelines and continued learning between editions, while treating long-term effects on young participants’ identities and cultural resilience as questions requiring further investigation.

Visual Appeal and Children's Responses to Barongan Art in Gabusan Village, Blora Regency

Najwa Khoirun Nisaa — 2026-11-06

The Barongan art in Gabusan Village, Blora Regency, is a local cultural heritage rich in aesthetic value. Children in Gabusan Village grow up alongside Barongan, meaning their visual perceptions are shaped by early cultural exposure. This study aims to describe the visual appeal of Barongan, examine children's responses, and analyze the relationship between these factors and their interest in appreciating traditional art. An ethnochoreological approach with a qualitative method was employed. The research focused on Gabusan Village, Jati District, Blora, with children aged 6–12 serving as the primary subjects of observation, while Barongan dancers and Barongan community leaders acted as key informants. Data were collected through observation, in-depth interviews, and visual documentation. The results indicate that contrasting colors, expressive mask forms, and the dynamic movements of the Barongan serve as the primary visual stimuli. Early exposure transforms children's initial fear into courage and admiration, while also fostering a habit of imitating the movements. Visual appeal proves effective as a medium for cultural transmission in cultivating an appreciation for the arts among children from an early age.

Analysis of the Movement Structure of Opak Abang Dance as Cultural Identity of Pasigitan Village, Kendal

Hasna’ul Belva Ardelia — 2026-11-06

Opak Abang Dance is a traditional performing art unique to Pasigitan Village, Kendal Regency, Central Java, rich in historical value and cultural function. This study aims to analyze the movement structure and interrelationships among movement elements in Opak Abang Dance as an expression of the community’s cultural identity. The research employs a descriptive qualitative method with textual and choreographic approaches. Data were collected through field observation of performances and rehearsals, in-depth interviews with master artists, dancers, and cultural practitioners, and visual documentation including video recordings and photographic archives. Findings reveal that the movement structure of Opak Abang Dance comprises three hierarchical levels: movement patterns (micro), movement phrases (meso), and performance sections or choreographic structure (macro). The interrelationships among core dance elements—space, time, and energy—are systematically organized, forming a distinctive rhythm that reflects the straightforward, communicative, and agrarian character of the Pasigitan community. Furthermore, the analysis demonstrates that these movement patterns function not only as aesthetic components but also as a medium for representing collective identity, transmitting traditional knowledge, and strengthening social capital within the village. This study contributes to the documentation and preservation of Opak Abang Dance as intangible cultural heritage.

SYMBOLIC MEANINGS OF MOVEMENTS IN THE BORDIR ICIK DANCE OF KUDUS REGENCY

Mandala Sandi Yudha — 2026-11-06

Bordir Icik Dance is a dance work that takes embroidery activities as the source of its creative ideas and relates them to the life of the people of Kudus Regency. This study aims to describe the movement forms of Bordir Icik Dance and analyze the symbolic meanings contained in them. The study uses a qualitative descriptive approach, with the forms and meanings of the dance movements as the object of study. Data were obtained through observations of movement forms and sequences, semi-structured interviews with the choreographer and dancers, and documentation in the form of photographs, videos, and notes related to the creative process and performances. Data validity was examined through source and technique triangulation, while analysis was conducted interactively through data condensation, data display, and conclusion drawing. The findings show that the movements of Bordir Icik Dance are characterized by agility, firmness, coordination, and aesthetic quality. Several movement motifs originate from activities such as measuring or preparing fabric, piercing fabric, embroidering, and illustrating the marketing process. The symbolic meanings of the movements go beyond imitating work activities and develop into representations of perseverance, precision, patience, discipline, hard work, cooperation, and mutual assistance.

Analysis of the Form and Movement Techniques of Punjen in Topeng Lengger Sontoloyo Dance at Setyo Langen Budoyo Art Association

Lailatul Sifa — 2026-11-06

This study aims so describe the forms and movement techniques of Punjen in the Topeng Lengger Sontoloyo Dance at the Setyo Langen Budoyo Art Association. The research problem in this study concern forms and movement techniques of Punjen in the Topeng Lengger Sontoloyo Dance. This research empolys a qualitative approach with a descriptive methode. Research data were obtained through observation, interviews, and documentation regarding Punjen movement in the Topeng Lengger Sontoloyo Dance at the Setyo Langen Budoyo Art Association. The analysis of the movement form encompasses body stance and positioning, direction of movement form encompasses body stance and positioning, direction of movement, movement patterns, use of space, and the sequence of movements found in the Punjen movement. Meanwhile, the analysis of movement technique encompasses the use of the body, energy, time, balance, coordination, and precision in executing each sequence of movements. The research findings are expected to provide a systematic overview of the forms and movement techniques of Punjen, a significant element of the Topeng Lengger Sontoloyo Dance. This research is also expected to serve as a source of information and documentation for dancers, instructors, art students, and the general public in understanding and preserving the Topeng Lengger Sontoloyo Dance at the Setyo Langen Budoyo Art Association.

Minangkabau Traditional Dance as Living Heritage in Dance Education: An Analysis of Local Wisdom Values and Its Potential as a Learning Resource in Elementary Schools

Serly Safitri — 2026-11-11

Traditional dance is not merely an artistic expression but also a form of living heritage through which cultural knowledge,
values, identity, and social practices are transmitted across generations. This study aims to identify and analyze local wisdom
and local knowledge embedded in Minangkabau traditional dance movements and examine their potential as learning resources
for dance education in elementary schools. A qualitative approach with qualitative content analysis was employed. Data were
collected through documentation and systematic observation of three Minangkabau traditional dances: Tari Piriang, Tari
Indang, and Tari Pasembahan. Each dance was analyzed based on movement units, movement meanings, cultural contexts,
local wisdom values, represented local knowledge, and potential educational applications. The findings indicate that the three
dances contain diverse and complementary cultural knowledge. Tari Piriang strongly represents agrarian life, environmental
connectedness, perseverance, cooperation, and knowledge of agricultural activities. Tari Indang emphasizes togetherness,
discipline, rhythm, coordination, solidarity, and nonverbal communication. Tari Pasembahan highlights respect, hospitality,
social etiquette, self-control, silek-based movement characteristics, and spatial orientation. Across the three dances, movement
practices integrate cultural values with embodied knowledge of body, space, rhythm, coordination, interaction, and expression.
These findings demonstrate that Minangkabau traditional dances have substantial potential as contextual learning resources in
elementary dance education. More importantly, their integration into education can position traditional dance as living heritage,
providing a meaningful space for transmitting local knowledge, cultural values, and identity to younger generations.

Strategies for Arts Education to Sustain Traditional Dance among Young Generations

Aufa Nadhif Calista — 2026-11-11

The preservation of traditional dance within educational settings plays an important role in sustaining cultural heritage
amid changing interests and the rapid development of digital technology. This study aims to analyze the role of schools in
sustaining traditional dance through classroom instruction, extracurricular activities, performance experiences, and the use
of digital media. A qualitative approach was employed, with data collected through observation, interviews, and
documentation within the school environment. The findings indicate that the sustainability of traditional dance is
supported by school involvement in providing rehearsal spaces, facilities, costumes, opportunities to participate in
competitions and performances, and teacher support in guiding students. Students' interest tends to develop when learning
activities provide opportunities for movement, self-expression, hobby development, and performance experiences.
However, the learning process continues to face challenges, including difficulties in mastering certain movements, limited
rehearsal time, and stereotypes that associate dance more strongly with female students. The use of digital media,
particularly instructional videos, helps students understand movement patterns and sequences, review learning materials,
and access movement references more flexibly. Nevertheless, technology functions primarily as a supporting medium, as
direct practice and teacher guidance remain necessary for refining movement techniques. These findings demonstrate that
sustaining traditional dance requires synergy among institutional school support, teacher competence, student
participation, practical experience, and the appropriate use of technology.

Utilization of YouTube in Dance Learning at Sanggar Omah Tari Kutowinangun

Rizky Barokah — 2026-11-11

This study aims to describe the use of YouTube in supporting the dance learning process at Sanggar Omah Tari
Kutowinangun, Kebumen Regency. The research employed a qualitative descriptive method. Data were collected through
observation, interviews, and documentation conducted at Sanggar Omah Tari Kutowinangun. The research informants
consisted of instructors and students involved in the dance learning process. Data were analyzed through the stages of
data reduction, data presentation, and conclusion drawing. The results show that YouTube is used as an additional learning
resource to search for dance references, observe movement examples, understand movement sequences, and review
materials independently. YouTube videos allow students to observe movements repeatedly and obtain a variety of dance
references. However, the use of YouTube has not fully helped students understand certain aspects of movement, such as
direction, technique, tempo, body position, and expression. Therefore, YouTube is used as a supporting medium that
complements face to face learning at the sanggar. The use of YouTube combined with demonstration, guidance, and
correction from instructors can support the dance learning process by providing additional learning resources for students.

Dance As A Physical Activity: Integration of Movement Aesthetics, Exercise, And Body Health

Ika Ratnaningrum — 2026-11-11

Dance has been understood only as one of the performing arts that is packaged in the form of cultural expression and
movement aesthetics, but in its development dance also has a very strong physical dimension. This article aims to
examine dance not only as a performing art, but as a physical activity through the integration of movement aesthetics,
sports principles, and body health. This study uses a qualitative approach with a literature study method, with data
sources in the form of books, journal articles, and scientific publications relevant to dance, physical activity, sports, and
health. The results of the study show that dance can meet the criteria as a physical activity because it involves structured,
repetitive body movements and requires energy expenditure. Dance has similarities with sports in terms of training
principles, such as intensity, duration, and frequency, and provides benefits for physical fitness, cardiovascular health,
flexibility, and body balance, because in dance it can also be measured through physiological indicators. Physiologically,
there is a relationship between dance, exercise and body health, this can be seen through the physical measurement of
dancers. Therefore, dance and sports have similar functions, but the difference is how to actualize their sense of
aesthetics and soulfulness. In addition, dance also contributes to mental and emotional health through aesthetic elements
and movement expression. Thus, dance art can be understood as a holistic physical activity and has the potential to be
developed as an alternative sport that supports a healthy lifestyle.

From Body to Digital Space: A Bibliometric and Thematic Mapping of Embodied Pedagogy and Technology in Dance Education

Hana Shilfia Iraqi — 2026-11-11

Digital technologies are increasingly reshaping dance education, yet the relationship between technological mediation
and embodied pedagogy remains conceptually fragmented across educational, cognitive, and computational research.
This study maps the intellectual, geographical, and thematic development of research at the intersection of embodied
pedagogy, digital technology, and dance education. A bibliometric analysis was conducted on 188 Scopus-indexed
publications using Biblioshiny, combining performance analysis with science mapping to examine publication growth,
influential sources and authors, geographical and citation patterns, keyword co-occurrence, thematic structures, and
research trends. The findings reveal a rapidly expanding and increasingly interdisciplinary research domain connecting
dance education with embodied cognition, virtual reality, human–computer interaction, learning systems, motion
capture, and related digital technologies. Embodied cognition remains an important conceptual foundation, while
technological themes have become increasingly prominent, indicating not a displacement of bodily learning but a
reconfiguration of embodiment within digitally mediated environments. Based on this convergence, the study proposes
digitally mediated embodiment as a bibliometrically informed conceptual lens for understanding how digital
technologies participate in the experience, representation, interpretation, and reflection of bodily movement in dance
education. The study contributes an integrated perspective that moves beyond the conventional body–technology
divide and provides a foundation for future empirical research on how emerging technologies can support
technologically enhanced dance education while preserving its kinesthetic, affective, aesthetic, relational, and cultural
dimensions.

Instructors' Strategies in Ballet Instruction to Support the Development of Children Aged 3-6 Years at B-Three Dance Academy, Semarang

Ikhsanul Rayyan — 2026-11-11

The objective of this study is to outline the measures taken by the coaches when carrying out ballet dance teaching and in
promoting the development of children between the ages of 3 and 6 at the B-Three Dance Academy in Semarang. A
descriptive qualitative research method was used in this study. The data came from the coaches and children aged 3 to 6 who
took part in the ballet dance lessons at the B-Three Dance Academy in Semarang. The data were gathered by observing
the lessons, interviewing the coaches, and reviewing records of the learning activities. Analysis of the data was carried out in
three steps: reducing the data, presenting it, and drawing conclusions. The findings show that the coaches' work in delivering
ballet lessons includes adjusting the learning materials, the methods, the tempo, and the way in which movements are
presented in accordance with the children's characteristics and abilities. In order to keep the children's attention and
involvement throughout the lesson, the coaches used. communicative approaches, demonstrated movements, repeated
activities, played games, and provided motivation. The learning process helps to promote the children's development,
especially in their motor skills, body coordination, balance, concentration, self-confidence, and ability to follow instructions.
It was found that differences in the children's characteristics and abilities represented one of the difficulties the coaches
encountered when preparing suitable learning experiences. This study provides a summary of the strategies used by coaches
in giving ballet dance lessons to young children and the connection between these strategies and the children's development
through dance activities.

The Meaning of Jlamprang Batik Dance as a Representation of Pekalongan City's Cultural Identity

Diska Neskiya Febriana — 2026-11-11

Batik Jlamprang Dance is a creative dance that has developed in Pekalongan City and is inspired by the Batik Jlamprang
motif as one of the region’s cultural identities. This study aims to describe the meanings contained in Batik Jlamprang
Dance through its movements, costumes, properties, and its connection with the Batik Jlamprang motif. This study
employs a qualitative method with a descriptive approach. Data were collected through observation, interviews with artists
and practitioners of Batik Jlamprang Dance, and documentation of performances. The results show that Batik Jlamprang
Dance depicts the batik-making activities of the Pekalongan community, from the process of applying wax to the
production of batik motifs. The dance movements reflect perseverance, precision, creativity, and hard work, while the
geometric and orderly Batik Jlamprang motif serves as an inspiration for the development of the dance movements and
visual elements. Thus, Batik Jlamprang Dance not only functions as a performing art but also serves as a medium for
conveying cultural values and strengthening the cultural identity of the people of Pekalongan City.

Batik and Embodied Cultural Knowledge in Beksan Setu Pon at Pura Mangkunegaran

Denik Ristya Rini — 2026-11-11

Batik in Javanese dance is often perceived primarily as costume or visual ornament, although its motifs, modes of wearing,
and cultural associations may embody knowledge connected to court traditions and performance practices. This study
examines the role of batik as embodied cultural knowledge in Beksan Setu Pon at Pura Mangkunegaran, Surakarta. It aims
to explore how batik operates within dance performance and how the relationship between textile, body, movement, and
cultural context contributes to the transmission of living heritage. The study employs a qualitative ethnographic approach
through participant observation, visual documentation, and interviews with cultural and dance practitioners associated
with Mangkunegaran. The findings indicate that batik functions beyond its aesthetic role as performance attire. Its
presence connects the dancer’s body with cultural conventions, court identity, and knowledge embedded in performance
practices. Through wearing, moving, and performing, cultural knowledge is experienced and reproduced rather than
transmitted solely through verbal explanation. Beksan Setu Pon therefore provides a performative space in which batik,
bodily practice, and court tradition interact in sustaining cultural knowledge. The study highlights embodied practice as an
important mechanism for transmitting local knowledge and maintaining living heritage amid contemporary cultural
change.

THE MEANING OF GUCI DANCE IN RUWAT BUMI TRADITION IN TEGAL REGENCY

Riska Rahma Alya — 2026-11-11

This study aims to examine and describe the presentation of the Guci Dance and uncover its meaning and values within
the context of the Ruwat Bumi tradition in the Guci Tourism area, Tegal Regency. This research employed a qualitative
approach with descriptive analytical methods and a case study. Data collection techniques included participatory
observation, in-depth interviews and documentation. Data analysis included data reduction, data presentation, and
conclusion drawing, with data validity tested through triangulation. The results indicate that the Guci Dance presentation
encompasses a variety of movements that combine flexibility, balance, and dexterity. The Guci Dance's distinctive
character is characterized by its brightly colored costumes, symbolizing joy and hope; and musical accompaniment with
lyrics containing moral messages and prayers. Meaningfully, the Guci Dance serves as an expression of gratitude, respect
for nature and the Creator, and a symbol of togetherness and the cycle of life. Its values include religious values, mutual
cooperation, environmental preservation, and respect for ancestors and local wisdom. This research is expected to serve
as a reference for efforts to preserve the Guci Dance and the Ruwat Bumi tradition.

Dance in the Dalang’s Hands: Embodied Dance Knowledge in Kiprah Wayang Kulit

Sigid Ariyanto — 2026-11-11

Dance knowledge plays an important role in shaping movement in Wayang Kulit, particularly in kiprah, a dance-like
movement sequence performed by Wayang Kulit characters. Although a dalang does not dance directly with his own visible
body, he embodies and translates his understanding of movement through his hands into the Wayang Kulit characters'
movements. This study examines how embodied dance knowledge informs the practice of kiprah in Wayang Kulit, focusing
on the relationship between the dalang’s bodily experience, hand movements, sabet (Wayang Kulit movement), and rhythm.
Using a qualitative approach, the study draws on the researcher’s experience as a dalang and his previous experience in
Javanese dance. The researcher uses Kiprah Boma as the primary case to examine how dance knowledge is applied in Wayang Kulit
movement. Data are derived from audiovisual documentation, movement observation, and reflective analysis of the
researcher’s performance practice. The analysis focuses on selected movement motifs and examines how knowledge of
rhythm, accentuation, movement quality, character, and the relationship between movement and kendang (drumming) is
embodied in the dalang’s manipulation of the Wayang Kulit. Rather than treating the dalang’s hands merely as a technical
means of controlling the Wayang Kulit, this study considers them as a medium through which embodied dance knowledge
is translated into Wayang Kulit movement. The study highlights the significance of dance experience as embodied
movement knowledge in sabet practice and its potential relevance to teaching and learning Wayang Kulit movement.

Critical Awareness and Social Behavior of Students in Dance Extracurricular at SD 3 Kupang, Ambarawa

Jesslyn Adelia — 2026-11-11

Dance education in elementary schools is often treated mainly as motor skill training, even though it has the potential to
foster students' critical awareness and social behavior. This study examined how dance education is actualized in the dance
extracurricular at SD Negeri 3 Kupang, Ambarawa, how students' critical awareness and social behavior develop, and how
the activity contributes to students' social transformation. A qualitative descriptive case study was used, with the dance
extracurricular as the unit of analysis. Data were collected during two rehearsal sessions (26 September and 3 October
2026) through participatory observation, semi-structured interviews with one dance coach and two student participants, and
documentation. The data were analyzed using the interactive model of Miles, Huberman, and Saldaña and validated through
source and technique triangulation. The results show that dance education was actualized beyond movement technique,
through group tasks, peer support, and explanations of cultural meaning. Students' critical awareness was emerging, shown
by their growing willingness to voice opinions and to reflect on their learning difficulties, but it remained transitional
between naive and critical. Social behavior appeared as cooperation across grades, mutual help, discipline, responsibility,
growing confidence, and closer friendships. These patterns offer initial indications of social transformation, although the
short observation period limits conclusions about lasting change. The findings can inform dance coaching that strengthens
critical reasoning and social responsibility alongside movement technique.

IMPLEMENTATION OF AESTHETIC ASSESSMENT IN DANCE EDUCATION AT SCHOOL

Khaira Adinda Amanati — 2026-11-11

Aesthetic assessment is an important component of dance education because dance learning involves not only technical
and kinesthetic abilities but also students’ capacity to express, interpret, appreciate, create, and communicate meaning
through the body. In the context of a changing world, dance education needs to move beyond conventional approaches
that primarily emphasize mastery and reproduction of movement. The concept of Embodied Futures: Transforming
Dance Education in a Changing World offers a broader perspective by positioning the body, movement, lived experience,
culture, and participation as important sources of knowledge in dance education. This study aims to examine the
implementation of aesthetic assessment in senior high school dance education through an embodied futures perspective,
with SMA Negeri 2 Semarang as the contextual focus. The study employs a descriptive qualitative approach through
literature-based analysis of dance education, aesthetic assessment, performance assessment, embodied pedagogy, cultural
sustainability, inclusion, and contemporary approaches to dance education. The analysis indicates that aesthetic assessment
can be developed through several dimensions, including bodily and facial expression, movement quality, interpretation,
musicality, creativity, cultural understanding, collaboration, reflection, and communication. An embodied futures
perspective also encourages assessment practices that recognize students as active participants in constructing meaning
through movement rather than merely as performers who reproduce predetermined choreography. Therefore, aesthetic
assessment should be contextual, reflective, inclusive, and responsive to social and cultural changes. Such an approach can
support the development of students’ artistic abilities while preparing them to engage creatively with future challenges.