Developing Body Awareness, Social Interaction, and Creativity through Mind Muscle Exercises in Dance Learning: A Case Study at SDN Pulorejo 1 Jombang
##plugins.themes.bootstrap3.article.main##
Abstract
Elementary dance education is commonly delivered through imitation and rote memorization, thereby constraining opportunities for children to develop body awareness, social interaction, and creative movement exploration. Although creative dance has been extensively theorized, the integration of mind–muscle exercises as an embodied pedagogical approach in elementary dance learning remains insufficiently examined. This study investigates how mind–muscle exercises facilitate the development of body awareness, social interaction, and creativity among primary school students in dance education. A qualitative case study was conducted at SDN Pulorejo 1 Jombang, involving 26 first-grade students. Data were collected through classroom observations, semi-structured interviews, documentation, and field notes and subsequently analyzed using thematic analysis. The findings indicate that mind–muscle exercises significantly enhanced students’ awareness of body parts, movement quality, spatial orientation, and energy regulation, enabling more intentional and confident movement execution. Moreover, the activities fostered meaningful social interaction through processes of imitation, collaboration, negotiation, and collective movement composition. Creativity emerged dynamically throughout the learning process, as students actively explored, modified, recombined, and expressed original movement ideas rather than merely replicating teacher demonstrations. These findings suggest that mind–muscle exercises operate as an effective embodied pedagogical strategy, repositioning the child’s body from a passive object of imitation to an active subject of exploration, interaction, and creative expression. This study contributes to the field of elementary dance pedagogy by offering an exploratory, participatory, and body-awareness-oriented instructional model that supports embodied learning and the development of creativity in primary education contexts.
Downloads
##plugins.themes.bootstrap3.article.details##
Copyright (c) 2026 Ratih Asmarani, Agus Cahyono, Djuli Djatiprambudi, Eko Sugiarto

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
References
[1] H. Kotaman, S. Ö. İnceoğlu, and Ş. Kotaman. “Dancing program and young children’s social development”. In: Curr. Psychol. 43 (2024), pp. 19171–19179. doi: https://doi.org/10.1007/s12144-024-05730-1.
[2] A. V. Wahyudi and I. Gunawan. “Olah tubuh dan olah rasa dalam pembelajaran seni tari terhadap pengembangan karakter”. In: JPKS (Jurnal Pendidik. dan Kaji. Seni) 5.2 (2020), pp. 96–110. doi: http://dx.doi.org/10.30870/jpks.v5i2.8610.
[3] M. Jazuli. “Model Pembelajaran Tari Pendidikan pada Siswa SD/MI Semarang”. In: Harmon. J. Arts Res. Educ. 10.2 (2010). doi: https://doi.org/10.15294/harmonia.v10i2.59.
[4] D. D. Triana, W. Kharisma, R. Rukmana, and F. A. Ghazaly. Panduan Mata Pelajaran Seni Tari Fase A-F. Badan Standar, Kurikulum, dan Asesmen Pendidikan Kementerian Pendidikan Dasar dan Menengah Republik Indonesia, 2025.
[5] E. Konstantinidou. “Research in Dance Education Creative dance studies in elementary schools: a systematic search and a narrative review”. In: Res. Danc. Educ. 26.4 (2025), pp. 388–422. doi: 10.1080/14647893.2023.2177266.
[6] H. Payne and B. Costas. “Creative Dance as Experiential Learning in State Primary Education: The Potential Benefits for Children”. In: J. Exp. Educ. 44.3 (2021). doi: 10.1177/1053825920968587.
[7] F. N. N. Muhammad, R. Miftahurrahmi, and Khilyatussa’adah. “Implementasi Metode Drill dalam Pembelajaran Tari di Unit Kegiatan Mahasiswa Bidang Tari Program Studi PGMI”. In: Ainara J. (Jurnal Penelit. dan PKM Bid. Ilmu Pendidikan) 5.2 (2024), pp. 100–105. doi: https://doi.org/10.54371/ainj.v5i2.450.
[8] A. Rahman. “Penggunaan Metode Imitasi dalam Pembelajaran Tari Melinting Melalui Sistem Daring di SMP Negeri 5 Metro”. In: Linggau J. Elem. Sch. Educ. 1.2 (2021), pp. 1–7. doi: https://doi.org/10.55526/ljese.v1i2.162.
[9] D. A. Prabandari and E. Kusumastuti. “Pembelajaran Ragam Gerak Perangan dalam Tari Renggamataya Putri Berbasis Metode Imitasi dan Drill: Studi Kasus di Yayasan Pamulangan Beksa Sasminta Mardawa Yogyakarta”. In: SIBATIK J: J. Ilm. Bid. Sos. Ekon. Budaya, Teknol. Dan Pendidik. 4.8 (2025), pp. 1841–1856. doi: https://doi.org/10.54443/sibatik.v4i8.3075.
[10] E. Kusumastuti. “Pendidikan seni tari melalui pendekatan ekspresif bebas, disiplin ilmu, dan multikultural sebagai upaya peningkatan kreativitas siswa”. In: Harmon. J. Arts Res. Educ. 10.2 (2010). doi: https://doi.org/10.15294/harmonia.v10i2.61.
[11] G. N. A. Yudaparmita. “Keterampilan Gerak Dasar Anak Usia Dini dalam Merdeka Belajar”. In: Widya Kumara J. Pendidik. Anak Usia Dini 3.1 (2022), pp. 21–30.
[12] M. Heristian, A. Efi, and B. Budiwirman. “Mengembangkan Karakter Anak Melalui Pembelajaran Seni Budaya”. In: Gorga J. Seni Rupa 11.2 (2022), p. 410. doi: 10.24114/gr.v11i2.35339.
[13] M. I. Sukaria, Nursalim, A. S. W. Mumang, and A. Marsuki. “Pembinaan Ekstrakurikuler Seni Tari untuk Mengembangkan Kreativitas dan Kepercayaan Diri Siswa Sekolah Dasar melalui Program Asistensi Mengajar”. In: ININNAWA J. Pengabdi. Masy. 4.1 (2026), pp. 96–101. doi: https://doi.org/10.26858/jjsabe28.
[14] D. Andini, J. K. Dewi, and K. Runnisa. “Pembelajaran Seni Tari dalam Membentuk Karakter dan Kreativitas Peserta Didik di Sekolah Dasar”. In: J. Penelit. Dan Pendidik. Dasar Islam 1.1 (2025), pp. 22–34. doi: https://doi.org/10.53888/ijppdiv.i1i1.949.
[15] K. Chappell. “Research in Dance Education Creativity in primary level dance education: moving beyond assumption”. In: Res. Danc. Educ. 8.776699793 (2007), pp. 27–52. doi: 10.1080/14647890701272795.
[16] E. Kusumastuti. “Penerapan Model Pembelajaran Seni Tari Terpadu pada Siswa Sekolah Dasar”. In: Mimb. Sekol. Dasar 1.1 (2014), pp. 7–16. doi: https://doi.org/10.53400/mimbar-sd.v1i1.858.
[17] A. Paoli and et al. “Mind-muscle connection: Effects of verbal instructions on muscle activity during bench press exercise”. In: Eur. J. Transl. Myol. 29.2 (2019), pp. 106–111. doi: 10.4081/ejtm.2019.8250.
[18] L. del Barrio and M. E. Arus. “Music and Movement Pedagogy in Basic Education: a Systematic Review”. In: Front. Educ. (2024). doi: 10.3389/feduc.2024.1403745.
[19] F. I. Dewi and L. R. D. Sakuntalawati. Membangun Karakter dan Keterampilan Sosial Anak Berbasis Tari Tradisional. CV Sintesia, 2023.
[20] T. Mattsson and M. P. Gripson. “‘I did not know that the pupils loved dancing … until the projector came’: constructions of dance as learning activity in school-age educare”. In: Res. Danc. Educ. (2024), pp. 1–21. doi: 10.1080/14647893.2024.2359112.
[21] N. Yulianti, N. Sya’idah, Desyandri, and F. Mayar. “Pentingnya Penerapan Pembelajaran Seni Tari dalam Membentuk Mental Siswa di Kelas 3 Sekolah Dasar”. In: J. Pendidik. dan Konseling 4.3 (2022), pp. 1877–1882. doi: https://doi.org/10.31004/jpdk.v4i3.4974.
[22] R. N. S. Retnawulan, A. Budiman, and B. Barnas. “Kreativitas Gerak Tari dengan Stimulus Media Audio Visual”. In: Ringkang 4.1 (2024), pp. 161–175. doi: https://doi.org/10.17509/ringkang.v4i1.74314.
[23] E. D. Pratiwi, A. Rulyansah, P. Mariati, and D. Widiana. “Analisis Penerapan Metode Eksploratif pada Pembelajaran Seni Tari untuk Meningkatkan Kreativitas Siswa Kelas 2 di SDN Made 1 Surabaya”. In: Media Penelit. Pendidik. J. Penelit. dalam Bid. Pendidik. dan Pengajaran 16.2 (2022), pp. 145–151. doi: https://doi.org/10.26877/mpp.v16i2.12604.
[24] D. Assyakurrohim, D. Ikhram, R. A. Sirodj, and M. W. Afghani. “Metode Studi Kasus dalam Penelitian Kualitatif”. In: J. Pendidik. Sains dan Komput. 3.1 (2023), pp. 1–9. doi: https://doi.org/10.47709/jpsk.v3i01.1951.
[25] Asrulla, Risnita, M. S. Jailani, and F. Jeka. “Populasi dan Sampling (Kuantitatif), serta Pemilihan Informan Kunci (Kualitatif) dalam Pendekatan Praktis”. In: J. Pendidik. Tambusai 7.3 (2023), pp. 26320–26332.
[26] N. I. Zahroh, L. A. Nasution, A. D. Tazqia, H. A. I. Faiha, and D. Nurhayati. “Strategi Pengumpulan Data dalam Penelitian Kualitatif: Teknik, Tantangan dan Solusinya”. In: TARBIYATUL ILMU J. Kaji. Pendidik. 3.6 (2025), pp. 107–118.
[27] D. Vandera, B. A. Wulandari, and B. Y. Afanda. “Pendekatan Tari Kreatif dalam Meningkatkan Kreativitas Gerak pada Muatan Pembelajaran Tari untuk Siswa Kelas VI SDIT Baiturrahim Jambi”. In: J. Tonggak Pendidik. Dasar J. Kaji. Teor. dan Has. Pendidik. Dasar 2.1 (2023), pp. 44–51. doi: https://doi.org/10.22437/jtpd.v2i1.24289.
[28] N. Cappello, E. Anttila, and D. Cañabate. “Body As Classroom Movement-based Performing Arts as an Approach to Embodied Transformative Learning in a Secondary School Classroom”. In: Int. J. Educ. Arts 25 (2024). doi: https://doi.org/10.26209/ijea25n20.
[29] A. Buono. “Fostering somatic movement literacy with young children”. In: Res. Danc. Educ. 23.5 (2021), pp. 1–21. doi: 10.1080/14647893.2021.1879773.
[30] M. C. Magalhaes. “Somatic Approaches in the Education Formation in Dance: from the dryness of the background to curriculum as cartography”. In: Rev. Bras. Estud. DA PRESENÇA - Brazilian J. Presence Stud. 13.3 (2023), pp. 1–27. doi: https://doi.org/10.1590/2237-2660129382vs02.
[31] A. Anderson and R. Mathews. “Dance/movement interventions and students with disabilities: A critical review”. In: Routledge Open Res. (2025), pp. 1–29. doi: https://doi.org/10.12688/routledgeopenres.18514.2.
[32] S. C. Koch, R. F. F. Riege, K. Tisborn, J. Biondo, L. Martin, and A. Beelmann. “Effects of Dance Movement Therapy and Dance on Health-Related Psychological Outcomes. A Meta-Analysis Update”. In: Front. Psychol. 10 (2019). doi: 10.3389/fpsyg.2019.01806.
[33] E. S. Engelhardt and M. Vulcan. “Dance Movement Therapy with Children: Practical Aspects of Remote Group Work”. In: Child. 9.6 (2022). doi: 10.3390/children9060870.
[34] N. S. Pereira and A. M. Pinto. “Including educational dance in an after-school socio-emotional learning program significantly improves pupils’ self-management and relationship skills? A quasi experimental study”. In: Arts Psychother. 53 (2017). doi: 10.1016/j.aip.2017.01.004.
[35] A. Twiner and M. Lucassen. “Supporting children’s understanding around emotions through creative, dance-based movement: A pilot study”. In: Learn. Cult. Soc. Interact. 37 (2022). doi: 10.1016/j.lcsi.2022.100659.
[36] C. Engdahl and S. Ceder. “Exploring Movement in Creative Dance: Introducing ’Dancemblage’ in Physical Education Teacher Education”. In: J. Res. Arts Sport. Educ. 7.3 (2023), pp. 43–58. doi: 10.23865/jased.v7.5852.
[37] E. Pürgstaller. “Assessment of Creativity in Dance in Children: Development and Validation of a Test Instrument”. In: Creat. Res. J. 33.1 (2020), pp. 33–46. doi: 10.1080/10400419.2020.1817694.
[38] L. Oppici, E. Frith, and J. Rudd. “A Perspective on Implementing Movement Sonification to Influence Movement (and Eventually Cognitive) Creativity”. In: 11.September (2020). doi: 10.3389/fpsyg.2020.02233.
[39] R. Weber and S. Reed. “Pedagogical perspectives on developing creativity in dance students”. In: J. Dance Educ. 22.2 (2022), pp. 119–128. doi: 10.1080/15290824.2020.1827147.
[40] S. Ravn. “Embodied Learning in Physical Activity: Developing Skills and Attunement to Interaction”. In: 4.January (2022). doi: 10.3389/fspor.2022.795733.
[41] T. Ørbæk. “Bodily Learning Through Creating Dance: Student Teachers’ Experiences From Norwegian Physical Education Teacher Education”. In: 3.October (2021), pp. 1–14. doi: 10.3389/fspor.2021.758944.
Ratih Asmarani