The Existence of Ni Putu Ari Handayani as a Female Choreographer in Lombok

The aim of this research is to analyse dance through a feminist lens, specifically focusing on the work of Ni Putu Ari Handayani, a female choreographer in Lombok whose dance creations provide a manifestation of her presence and artistic contributions. This research employs a qualitative methodology using a case study design. Researchers employ qualitative methodologies to explore and comprehend societal issues that manifest in the region of Lombok. Moreover, the methodologies employed for data acquisition encompass interviews, documentation analysis, and literature review. The reviewer use the case study approach to offer descriptive and explanatory accounts of choreography that embodies the concept of existence. Furthermore, the present study incorporates Simone De Beauvoir's existentialist viewpoint. This research is grounded in Simone de Beauvoir's concept of existence. The dance works of Ni Putu Ari Handayani serve as a significant point of reference for examining the presence of women in Lombok. These works include Bisoq Meniq Dance (2017), Awan Jiwa Dance (2017), and Perempuan Ibu Bumi Dance (2019). The study's findings indicate that the presence of Lombok women is manifested through dance performances, which concurrently serve as a means of public amusement. Ni Putu Ari Handayani plays a crucial role in the preservation of the cultural practises and customs of the Sasak people through her engaging dance performances. Ni Putu Ari Handayani's dance works serve as a valuable reference for women to assert their presence in society. This research sheds light on the societal importance of women, particularly in the context of Lombok, by highlighting the significance of female artists.