FLS2N is a forum for students to develop interests and talents in the field of arts and culture and compete to reach the peak of achievement. Through this program, it is hoped that students will be able to develop ideas and creativity in the arts from an early age to create self-confidence in their abilities and explore various potential intelligence. The 2023 FLS2N dance competition will be held by recording dance material in the form of a dance film with various provisions in accordance with the guidelines for recording dance films. In this case, we will review the Leuwi Abyudaya Dance Film created by the PKM PM Team as a form of community service for SMP Negeri 3 Depok. The author uses the creation method according to Alma M Hawkins, where this method consists of the Sensing, Feeling, Imaging, Transforming, Forming process, and use the cinematography composition method by Kurt Lancaster that consist of shot sizes and lenses, camera height and angle, camera motion, focal depth of field, light and dark, line and linear perspective, layers, weight, color, dan texture shot sizes and lenses, camera height and angle, camera motion, focal depth of field, light and dark, line and linear perspective, layers, weight, color, dan texture.

The Ronggeng Beken dance is a traditional dance art of multicultural communities in Bekasi City. This research aims to analyze the cultural identity of the Ronggeng Beken Dance in a multicultural society from a performance studies perspective. The method used in this research is a qualitative method with an ethnographic approach. Data collection was carried out by observation, interviews and document study. The results of the research explain that the Ronggeng Beken Dance, as a traditional dance art of multicultural society in Bekasi City, is a representation of Bekasi society which reflects the ethnic and cultural diversity in Bekasi City. Apart from that, mass performances of the Ronggeng Beken Dance, when analyzed from a performance studies perspective, produce a cultural identity for the city of Bekasi. Therefore, as a cultural identity, the preservation of the Bekasi Ronggeng Dance should continue to be carried out by the people of Bekasi City, one of which is by utilizing the role of education, both informal and formal education.

The aim of the research is to find out about the exploratory process in body sports courses to produce movement in creating dance works and to find out other factors that influence exploration, such as imagination, intuition, and creativity. The research method used is based on the problem to be solved, beginning with a study of the choreography development of Dance Program students using qualitative descriptive methods. The results of research conducted at Universitas Negeri Jakarta (UNJ) with the object of dance art education program students. The exploration process in body exercise courses can be a source of inspiration for movement through imagination, intuition, and creativity so that students are able to create dance works with varied movements. It is expected to support the research results. So that it can be used as an appreciation of motion and music as student choreography learning. A form of exploration of motion, through imagination, intuition, and creativity as a reflection of the student's body in expressing motion. students gain the discovery of personal movements so that during the choreography learning process students can feel the freedom of learning fun creative movements. Furthermore, students find movements that are appropriate to wiraga, wirama, wirasa, and beautiful movements.

Dance that is known by the general public is a dance that functions as a traditional ceremony, entertainment and performance. But on the one hand, dance is able to become a medium for expressing feelings, processing feelings and providing concentration. Using Margareth H. Doubler's method regarding the quality of movement, the dance therapy model was developed based on existing theories of dance therapy. The results also showed that there were changes felt in students who underwent dance therapy during four meetings as evidenced by the results of observations and interviews conducted together with students.

Based on Immanuel Kant’s perspective about morality, this study aims to identify the moral values in Gambiranom dance that are worthy of being used as a guideline in reviving the disappearing moral values. The researcher used a discourse analysis method and a qualitative approach to understand the symbolic meaning of discourse. The discourse in this study was the Gambiranom dance. In collecting the data, the researcher conducted interviews, observations, literary reviews, and documentation studies. The researcher also used the Miles and Huberman model of analysis technique to analyze the data. This study resulted in two primary data, the Gambiranom dance Hasta Sawanda and the form of presentation. The data resulted in an interpretation of Hasta Sawanda in Gambiranom dance as good will and the presentation form of Gambiranom dance as act rightly, both from the perspective of moral values by Immanuel Kant. The two data produced praiseworthy values, bringing forth the highest or ultimate good (Summum Bonum). A dancer can achieve the highest good if they implement act rightly and good will by the rules of Surakarta’s style of classical Javanese dance. It is a condition where the dancer succeeds in wholly merging themselves into the character of Irawan, where the spectators or audience no longer see the dancer as a dancer but as the character of Raden Irawan, the Prabu Gambiranom.

Hobby K Bhabha identified that the theory of Poscononialism is a branch of critical theory that focuses on the colonial experience based on the point of view of a colonized society, systematically postcolonialism means something that has a concern in the national culture after the departure of imperial power which is a branch of study of cultural studies focused on socio-cultural analysis. Homi K bhabha identified that within the Posconoloneonial there appears cross-cultural in society in forms such as attitudes and cultures that enter and are called Hybridity. In this case, it will be reviewed from the Gupay Pangwanoh Dance Works to reveal which aspects are Hybridity. As a methodological tool, the author uses the PLH method where this method is an empowerment that we do consists of a process of socializing lectures on brainstorming demonstrations and imitation. From this journal, the author found the identification of Hybridity in the Pangwanoh Gupay Dance, especially in the aspect of movement in the dance.

The betrothal is conducted before the traditional marriage ceremony is carried out. Betrothal is commonly called an engagement or application process carried out by the male party to the female side. This research was conducted to determine the sanctions in the customary law of the Malay community that apply if one of the bride and groom's parties cancels the betrothal agreement and how the law is carried out. The research uses qualitative methods that are descriptive analysis. This study uses Schleiermacher's romantic hermeneutics, which is a text analysis approach. Based on the results of the research discussion, it can be concluded that the Malays uphold the rules and laws of Islamic sharia in marriage. In this study, there are two versions of customary sanctions adopted by the Malay community. The customary sanction applied in Kuantan Singingi Regency, Kuantan Hilir Seberang District, regarding the annulment of marriage is the agreement of both parties to provide a number of materials to one of the aggrieved parties so that there is no misunderstanding. This sanction is carried out in order to have a deterrent effect on the party who breaks the promise or cancels the marriage.

Gembyung is a traditional art that uses large drums/tambourines as the main tool. Gembyung at the time of the performance displays traditional music and the music that is sung also contains sacred and solemn elements. This is firmly held by the Gembyung players to maintain the authenticity of the traditional arts passed down by their ancestors. Gembyung is a percussion instrument made of leather and wood. Based on the onomatopoeia (word follows sound), the word Gembyung comes from the sound of the percussion pattern gem (beat and hold) and byung (beat and release). At first the Gembyung Subang art developed in the pesantren environment. This Gembyung is usually performed at ceremonies of Islamic religious activities such as the commemoration of the Prophet's Birthday, Rajaban and Activities 1 Syuro which are held around places of worship. In the development of Gembyung, there has also been a change in the form of packaging in the presentation of performances as the goal of research on works of art. The research methodology is qualitative which is oriented towards works of art as a result of packaging products and innovative works, to be applied to performances in general in society.

The purpose of this study is creating a product of a digital-based encyclopedia on the concept of Nias ethnicity dance traditions in North Sumatra. This research led to a reference book product in the form of an e-book. This type of research method used is the Research and Development (R&D) method. The location of this study was conducted in the cities of Medan and Nias. Data collection techniques through observation, in-depth interviews, and documentation. Data is analyzed using a qualitative paradigm using project-based research, which is obtained through data reduction, data presentation and drawing conclusions. The results of the design of this Nias tradition dance encyclopedia book can be used for reference for students and the public about Nias regional dance traditions.

Dance that is known by the general public is a dance that functions as a traditional ceremony, entertainment or performance. But on the one hand, dance is able to become a medium for expressing feelings, processing feelings and providing concentration. By using Margareth H. Doubler's method of movement quality, the therapeutic dance model was developed based on existing therapeutic dance theories. The results also showed that there were changes felt to students who underwent therapeutic dance for four meetings as evidenced by the results of observations and interviews conducted together with students.