The aim of this research is to find out the specifications of the choreographic form and the symbolic meaning of wirèng in the Kasunanan Palace. A qualitative descriptive research design with form-matching techniques was employed; meanwhile, the data collection techniques employed observation, interviews, and literature study. The data analysis includes the form of the wirèng choreography and its symbolic meaning. From the results of the study, it was found that the choreographic form of wirèng in Kasunanan was used for pair dances and had a soldier’s theme, while in Mangkunagaran wirèng was used to denote the term dance because wirèng is synonymous with the word beksan which means dance. The pattern of the wirèng choreography in Kasunanan has specifications, namely: (1) it is performed by male and female dancers in an even number, (2) it consists of three parts, namely the initial part (maju beksan), the main part (beksan), and the final part (mundur beksan), (3) in the main part of the dance there are variations of the dance scenes and variations of war scenes, such as madras wars or gending wars, referring to a typical war dance which is accompanied by slow (lamba) and constant (steady) rhythmic gendhing or music, and ruket wars which are accompanied by fast-rhythmic pieces of music (mipil-lancaran), (4) changes and differences always follow every change of part in the composition of the accompaniment pieces. Wirèng’s symbolic meaning reflects the value system prevailing in the palace environment, symbolized by the numbers zero, two, and three, movement characteristics, and movement patterns (gawang) in the choreography.

This study aims to analyze the creativity of children (dancers) in the Geculan Bocah dance performance and how the performance becomes a space to arouse creativity. The case study in this research was the phenomenon of the Geculan Bocah dance performance in Sanggar Tanuwiyoyo Semarang Regency. The method used is a qualitative research method through a phenomenological approach. Data collection was done by using the method of observation, interviews, and documentation. The data analysis test used the Miles and Hubberman model through data reduction, data presentation, and drawing conclusions. Data validity used triangulation of sources, techniques, and methods. The results showed that Geculan Bocah dance performance consisted of 3 parts, namely the beginning, middle (core) and final (ending). Each part of the performance requires the creative role of the child as a dancer. Children’s creative roles include individual creativity, collaborative creativity, and communal creativity. Individual creativity attempts every child to show good performance. Collaborative creativity can be seen in the cohesiveness and togetherness during the show. The communal creativity arises because it is influenced by the audience and the atmosphere of the performance. The Geculan Bocah dance performance is a creative product, a creative space/ process, and a driver for the development of children’s creativity.

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