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KEPENARIAN TOKOH KEN DEDES DALAM KEN DEDES: THE SOLILOQUY KARYA MATHEUS WASI BANTOLO Dea Putri Komala Sari; Matheus Wasi Bantolo
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

The fullness of the work of Ken Dedes: The Soliloquy is an interpretation of a female character named Ken Dedes from the work of Arok The Godfather’s Soliloquy of Matheus Wasi Bantolo. The study discusses the process and forms of fullness from Ken Dedes: the Soliloquy. To describe this, several concepts were used: In reviewing the fullness of matter using the concept of Alma Hawkins, to describe the form of opera using the concept of Peter Sellars and Matheus Wasi Bantolo, while describing the form of In the works using the Suzane K Langer concept is reinforced by the concept of dance analysis according to Janet Adshead. Writing and reviewing using qualitative methods that are descriptive interpretative, with the observation process participant action research. Results of this study showed that the fullness process conducted based on the process of exploration, improvisation and composition as a stage of the work of the fullness of Ken Dedes: the Soliloquy. The present form of presentation is a new interpretation of the character Ken Dedes in the work of Arok The Godfather’s Soliloquy. The fullness of Ken Dedes: The Soliloquy has a form of dish with an opera concept that uses five dancers who each have dual roles as dancers and musicians. Many movements adopted the movement of Javanese traditions in Surakarta style by combining the elements of Latin dance motion in them. It is based on the thought of choreographer to elaborate on The character Ken Dedes as a woman in the past with female figures in The Godfather film and female figures at present. The fullness of the work of Ken Dedes: The Soliloquy has a perspective on how Ken Dedes as women with the various problems faced can be aligned with women today. Keywords: fullness, character Ken Dedes, Opera.

PEMBENTUKAN GERAK TARI DILA PANGETO KARYA INDRA JAYA DI KABUPATEN SUMBAWA BARAT NUSA TENGGARA BARAT A Azizah; Matheus Wasi Bantolo
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

AbstractDila Pangeto Dance is a work created by Indra Jaya in 2016. This research will emphasize the choreography which includes Indra Jaya as the creator, the idea of creation about the world and education, the process of creation that there is exploration, improvisation, and composition, as well as the formation of dance motion Dila Pangeto. To discuss the above problems using the foundation of Theory: Choreography using Seymour theory, the form of servings using the theory of Suzanne K. Langer, and formation of motion using the theory of Doris Humphrey. This dance research uses a descriptive method of analytic with qualitative data types through the data collection stage i.e. observation, interviews, library studies, as well as data analysis stage. The results of the study were the choreography Dila Pangeto which discusses the creators, ideas of creation, and the process of creation and the form of dance in which there is a serving structure divided into five parts, and the dance elements of Dila Pangeto include two female dancers, a parallel floor pattern, and zigzag, the stage space that has been provided by the organizing committee, dressing and clothing using West Sumbawa costumes, Dila and shawl properties, West Sumbawa Music and the addition of violin instruments, as well as Motion derived from the motion of West Sumbawa Dance and Gentao or Pencak Silat. The formation of Dila Pangeto Dance uses the motion of West Sumbawa Dance and Gentao. The formation of the dance movements of Dila Pangeto in the movement patterns such as Ngengke ‘, Palangan Telas, Nyempung, Bagerik, plump besai ‘, Bolang sweep ‘, Juluk Betak, Pio Ngibar, remove Pengkenang, Betak Jala, Sempanang, Telnyak ninting, Pusuk nyer, puntal yarn, Nesek , ninting Seleng, ente Dila, swivel dila, Jonyong, Basalunte ‘, Tanak, Ngijik, and Bajempit contains more designs using a unidirectional line design, the dynamics of gentle motion, functional rhythm or rhythm, mechanisms, and emotional The motivation of the life of West Sumbawa. Characters and character in each motion pattern the Dila Pangeto dance has a gentle, polite, and graceful character.Keywords: Dila Pangeto dance, Indra Jaya, choreography, and formation Motion.

KOREOGRAFI KRIDHA MANGGALA KARYA DWI MARYANI DEBITA EMY RACHMAWATI; Matheus Wasi Bantolo
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3457

This research is a discussion about the dance Kridha Manggala by Dwi Maryani which was created based on the Javanese dance tradition of Surakarta and Poco-Poco dance. The problem in this study was the form and creation of this work. To discuss the issue using the thought of choreography according to Sal Murgiyanto, the category of contemporary dance based on tradition according to Matheus Wasi Bantolo, the form of the dish using the analysis of Janet Adshead, and the process of creation using thinking of Alma M Hawkins. The methods in this study are descriptive analytic with qualitative data, and use a choreographed approach.The results showed that this work is a work Dwi Maryani showed that there is a combination of two elements that are Java elements and the Poco-Poco. The second combination of this element makes a fierce idea for Dwi Maryani in creating the work of Kridha Manggala. The combination of these two elements can be seen in terms of motion, music, and costumes. The process of creating this work through stages, viewing, sensing, interning, imagining or imagination, tilling, and forming. Live through the exploration, improvisation, and composition stages. Keywords: Kridha Manggala, Dwi Maryani, choreography.

KUDA-KUDA PENCAK SILAT DALAM PENCIPTAAN TARI JI KARYA GALUH PUSPITA SARI PADA TAHUN 2018 DI GEDUNG TEATER BESAR ISI SURAKARTA Galuh Puspita Sari; Matheus Wasi Bantolo
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v18i2.2869

JI Dance Works is a new choreography work that departs with the basic motion of horses on the Pencak Silat as well as the phenomenon of binary opposition in life in which two things both have the meaning of balance in his achievements. The problem that will be discussed in this research is how the concept of binary opposition and Pencak Silat in the creation and how to form the dance works. To outline the creation problem using the concept of Alma M. Hawkins strengthened by the creation of contemporary dance according to Matheus Wasi Bantolo and the cultivation of Pencak Silat moves to dance according to Mathias Supriyanto. This writing and assessment use practice based research method with qualitative basis of interpertative destriptif, with participant action research process. The process of creation in JI dance Works is based on Observation, improvisation, composition and evaluation techniques. JI Dance works in a pair of choreography with a fighting theme As the concept of binary opposition in the life and the design of the basic motion of horses in the Pencak Silat as a source of the idea of creation and combined with the concept of binary opposition as inspiration by taking the essence of balance of both things t Telecast. The motion developed through the basic motion of horses, styles, and also the Kembangan (art of fighting) is found in the PSHT Pencak Silat College. Developing the basic motion of Pencak Silat into the dance by searching for similarities, from the shape of horses to Pencak Silat with the shape of the climb on the dance that was given the science of choreography such as levelgiving, volume, and the creation of the atmosphere in the dish Combined with the possibility of dance music and the Nglambari. Keywords: kuda-kuda Pencak Silat, JI dance, binary opposition.

KOREOGRAFI SANCTAE FAMILIAE KARYA MATHEUS WASI BANTOLO Trisila Wahyu Kinasih; Matheus Wasi Bantolo
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Sanctae Familliae is a work created by Matheus Wasi Bantolo to commemorate the Christmas feast day in 2014. The problem in this study was (1) how the choreography Sanctae Familiae and (2) How the creativity of Matheus Wasi Bantolo in the work. In this study using qualitative research methods, with the approach of choreography. To get an answer from the problem about the form of the work of Sanctae Familiae using the concept of Sumandiyo Hadi on the elements of dance consisting of A.) Motion Dance, B.) Makeup and clothing, C.) Dance accompaniment, D.) Lighting, E.) Number of dancers and genders, F.) Theme, G.) Dance room, H.) Dance title, I.) mode or way of presentation, J.) Type of dance. To know the creativity of Matheus Wasi Bantolo uses the concept of Alma. M Hawkins. Creativity is a special ability to create something new, to achieve it is done three stages of creativity, namely exploration, improvisation, and composition. The essence of the work is the fight between angels representing goodness and demons that symbolize ugliness, and is similar to black and white. All men are the same in the eyes of God, which means no difference. Because love does not know goodness or ugliness, because God is love. The results of this study suggest that the choreography of Sanctae Familiae was formed from the life experiences of Matheus Wasi Bantolo, and because of his desire to give an outside form of his response and his unique imagination. Sanctae Familiae is realized through motion, music, drama that is packaged in the form of opera, is the result of creativity, the sensitivity of the environment, the experience of life and its imagination Matheus Wasi Bantolo. So he managed to present Sanctae Familiae choreography with totality. Keywords: Sanctae Familiae, choreography, creativity.

ANALISIS GERAK TARI ANOMAN RAHWANA KARYA DIDIK BAMBANG WAHYUDI Efpry Ayu Wardhani; Matheus Wasi Bantolo
Greget Vol. 21 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i1.4435

Tari Anoman Rahwana merupakan karya tari berupa penggalan yang diciptakan oleh Didik Bambang Wahyudi pada tahun 1987. Penelitian ini bertujuan untuk mendeskripsikan bentuk penyajian, analisis gerak, dan pembentukan gerak tari Anoman Rahwana. Metode penelitian yang digunakan adalah metode deskriptif analitik dengan data kualitatif, yang melalui tahapan pengumpulan data yaitu observasi, wawancara, dan studi pustaka. Permasalahan yang ada dalam penelitian ini dibahas menggunakan landasan teori Soedarsono untuk menganalisis bentuk penyajian, sedangkan untuk analisis gerak menggunakan landasan teori Soedarsono dan pembentukan gerak menggunakan teori Doris Humphrey. Hasil analisis menunjukkan gerak tari Anoman Rahwana mengandung gerak representasi yang memiliki makna yang jelas dan gerak non representasi yang digarap untuk mendapatkan bentuk yang artistik. Formasi gerak tari Anoman Rahwana dalam pola geraknya lebih banyak mengandung rancangan garis yang berlawanan, dinamika dengan berbagai tempo yang berbeda, menggunakan ritme dan mekanisme yang fungsional, serta motivasi gerak yang diilhami oleh kehidupan sehari-hari, sebagai gerak penghubung atau transisi dan untuk membedakan pola gerak. dalam karakter tari gagah gaya Surakarta.

GAYA PENCIPTAAN HADAWIYAH ENDAH UTAMI DALAM TARI BEDHAYA SANTRI Utama, Ansilia Erna; Bantolo, Matheus Wasi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4692

The research entitled “Hadawiyah Endah Utami’s Creation Style in Bedhaya Santri Dance” is an attempt to see the creation style of a choreographer in creating works. Bedhaya Santri Dance was created by Hadawiyah Endah Utami to fulfill Tatik Harpawati’s request who wanted an Islamic-themed dance for a wedding ceremony at Pendapa Ageng ISI Surakarta. This research aims to examine the creation style and expression in the dance. To uncover the problem, a qualitative method was used with a choreography approach supported by data collection through observation, interviews, and library studies. This study bases its analysis on Janet Adshead’s theory to understand the form and creation style in Bedhaya Santri dance, as well as the contribution of Adina Armelagos. The results of this study identify three main parts of the dance: forward movement, stopping movement, and backward movement. And there are several characteristics in this dance form that can be seen through its elements, including, all dancers are female, costumes use face curtains as a depiction of a woman's value, Islamic-themed music with verses from the book Al Barzanzi, floor patterns related to space and Javanese philosophy. This dance involves seven female dancers with music from Javanese gamelan and sholawat, providing a spiritual dimension. The costumes and makeup worn emphasize religious values, while Hadawiyah Endah Utami's creative style emphasizes calm and detailed Javanese techniques. This dance also depicts Islamic spirituality through flowing and intermittent movements, creating a distinctive style for choreographers to present innovation in Islamic dance.

REFLEKSI PENCIPTAAN TEATRIKAL TARI GOOD ANRONG Sholihin, Muhammad Ibnu; Bantolo, Matheus Wasi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4974

The research entitled Reflections on the Theatrical Creation of Good Anrong Dance is a research that focuses on tracing the process of creating Good Anrong Dance Theatrical works. This study reveals three problems, namely the reflection of mother's acceptance, the transformation of ideas into the creation process, and the form of presentation of the work. This study uses the Practice Based Research method. To dissect each problem, this study uses Kubler Ross theory to reveal the reflection of maternal acceptance, Wahyu Santoso prabowo's theory of net concepts, krenteg, karep, Lois Ellfeldt, Suzanne K Walther to analyze the transformation of ideas into the creation process, and the theory of Janet Adshead and Slamet MD to describe the form of presentation of the work. The data were collected through observation, literature study, and interviews. The results of the study show: first, the idea of the Theatrical work of Good Anrong Dance on the theme of Acceptance emerged as a form of criticism of social phenomena that underlies the formation of the idea of creating a reflection of mother's acceptance. Second, efforts to develop and express the idea of reflection of mother's acceptance into the form of work, continue with creative activities in the form of the stages of idea transformation carried out during the creation process. The stages of transforming ideas into the creation process include exploration, improvisation, evaluation, formation, training process, and presentation process. The theatrical work of Good Anrong Dance is a form of creativity and expression of freedom to the readers of the theme, taking into account the context of the form of creation. Theatrical work of Good Anrong Dance builds dramatic elements through dancers, movements, visual arrangements, and elements of sound, expression or feeling related to the theme and idea of the work.

PEMBERDAYAAN PEREMPUAN: REPRESENTASI FEMINISME TOKOH DRUPADI DALAM PULUNG GELUNG DRUPADI KARYA WASI BANTOLO Elvina, Luh; Wasi Bantolo, Matheus
Jurnal Sitakara Vol. 9 No. 2 (2024): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v9i2.14907

Karya Drama Tari dan Musikal Pulung Gelung Drupadi adalah sebuah karya yang digarap oleh seniman asal Jawa Tengah yaitu Wasi Bantolo dan dipentaskan pada tahun 2014. Karya ini menceritakan sebuah kisah Dewi Drupadi pada epos Mahabharata yang ketegangan pada keteguhan Dewi Drupadi dalam mempertahankan harga dirinya yang telah ditemui oleh Dursasana dalam permainan dadu. Penelitian ini menggunakan teori feminisme dari Rosemarie Putnam Tong dalam bukunya yang berjudul Feminist Thought (Tong, 2009) sebagai acuan untuk membedah karya drama tari dan musikal Pulung Gelung Drupadi ini. Hasil penelitian ini adalah uraian mengenai bentuk karya Pulung Gelung Drupadi dan analisis tentang aliran feminisme yang terkandung dalam beberapa aspek seperti koreografer dan penggarapan karya Pulung Gelung Drupadi. Kata Kunci: Pulung Gelung Drupadi; Wasi Bantolo; Feminisme.

ANALISIS GERAK TARI ANOMAN RAHWANA KARYA DIDIK BAMBANG WAHYUDI Wardhani, Efpry Ayu; Bantolo, Matheus Wasi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i1.4435

Tari Anoman Rahwana merupakan karya tari berupa penggalan yang diciptakan oleh Didik Bambang Wahyudi pada tahun 1987. Penelitian ini bertujuan untuk mendeskripsikan bentuk penyajian, analisis gerak, dan pembentukan gerak tari Anoman Rahwana. Metode penelitian yang digunakan adalah metode deskriptif analitik dengan data kualitatif, yang melalui tahapan pengumpulan data yaitu observasi, wawancara, dan studi pustaka. Permasalahan yang ada dalam penelitian ini dibahas menggunakan landasan teori Soedarsono untuk menganalisis bentuk penyajian, sedangkan untuk analisis gerak menggunakan landasan teori Soedarsono dan pembentukan gerak menggunakan teori Doris Humphrey. Hasil analisis menunjukkan gerak tari Anoman Rahwana mengandung gerak representasi yang memiliki makna yang jelas dan gerak non representasi yang digarap untuk mendapatkan bentuk yang artistik. Formasi gerak tari Anoman Rahwana dalam pola geraknya lebih banyak mengandung rancangan garis yang berlawanan, dinamika dengan berbagai tempo yang berbeda, menggunakan ritme dan mekanisme yang fungsional, serta motivasi gerak yang diilhami oleh kehidupan sehari-hari, sebagai gerak penghubung atau transisi dan untuk membedakan pola gerak. dalam karakter tari gagah gaya Surakarta.

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