This thesis aims to describe
the "Srimpi Ranggêno Pandêk Dance Form and Style in the Topѐng Dhâlâng Kadaryono Performance in Bondowoso Regency",
which lives in the Bondowoso Regency area. The research was carried out using
qualitative research methods, with data collection techniques through:
observation, interviews, literature study, and documentation study. Test the
validity of the data through triangulation techniques, namely triangulation of
sources, methods, and time. Data analysis was carried out through the stages of
data reduction, data classification, data presentation, and drawing conclusions.
The results of the study show that the form and style of Tari Srimpi
Ranggêno Pandêk in the Topѐng Dhâlâng Kadaryono Performance in Bondowoso Regency, is a form of female
group dance which is supported by several elements including: the number of
dancers, five dancers (girl dancers or young men), the theme of the dance
offering , patterns and dance movement techniques in the typical female style
of Topѐng Dhâlâng Kadaryono, floor patterns that symbolize the 4 cardinal
directions, distinctive make-up and clothing designs which are adopted from the
Srimpi dance fashion design of the Surakarta style, dance music uses the main
piece, namely Ranggêno Pandêk, and structure dance which consists of
three dance parts, namely: the opening dance, the main dance, and the closing
dance. The formation of Tari Srimpi Ranggêno Pandêk style was influenced
by the internal style of the Topѐng Dhâlâng Kadaryono group and the external style. The internal style,
especially seen in the elements of the dance movement, is the result of the
arrangement of patterns and movement techniques created by the Topѐng Dhâlâng Kadaryono
group. While the external style is very visible in the clothing design which is
very similar to the design of the Srimpi Surakarta dance style, especially in the
attributes of the crown and other clothing accessories.