RHYTHMIC SIGN LANGUAGE IN SPLIT-SCREEN BALINESE DANCE TUTORIALS: AN INCLUSIVE LEARNING MODEL FOR DEAF DANCERS
DOI:
https://doi.org/10.65336/WJAEL.2026.31003Keywords:
rhythmic sign language, split-screen, Balinese dance, inclusive dance learning, Deaf dancers, Larajiva CommunityAbstract
The learning of traditional Balinese dance for Deaf persons with disabilities continues to face challenges in understanding rhythm, tempo, and movement synchronization because most dance instruction is delivered through auditory media. This study aims to analyze the development and implementation of split-screen Balinese dance tutorial videos that integrate rhythmic sign language as an inclusive dance learning model for Deaf dancers. The study employed a qualitative approach using a Design-Based Research (DBR) design within the Larajiva Community Bali. Data were collected through observation, semi-structured interviews, video documentation, and focus group discussions, and were analyzed using thematic analysis. The findings indicate that the instructional media developed consisted of two tutorial videos: Pendet Dance for female dancers and Baris Dance for male dancers. The split-screen design enabled learners to observe dance movement demonstrations on the left side of the screen and rhythmic sign language performed by the instructor on the right side simultaneously. Analysis of the sectional structures of Pendet Dance (Pepeson, Pengadeg, and Panyuwud/Pekaad) and Baris Dance (Pepeson, Pengawak, Pengecet, and Pekaad) revealed that rhythmic sign language functioned as a marker of beats, tempo changes, movement accents, and choreographic transitions synchronized with the gamelan accompaniment. The integration of dance movements, rhythmic sign language, and musical structure created a multimodal learning system that enhanced accessibility, rhythm comprehension, movement synchronization, and independent learning among Deaf dancers. This study proposes a culturally grounded model of inclusive Balinese dance pedagogy that can be applied in other arts communities and inclusive dance education settings.
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