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All Journal Acintya Gelar : Jurnal Seni Budaya Greget Jurnal Cahaya Mandalika Harmonia: Journal of Arts Research and Education
Sulastuti, Katarina Indah
Gelar : Jurnal Seni Budaya
Arts Humanities Languange, Linguistic, Communication & Media

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TARI TOPENG SEKARTAJI ONĔNG HASIL REINTERPRETASI TARI TOPENG SEKARTAJI TUNGGAL KARYA SULISTYO HARYANTI Puspitaningrum, Windri Estri; Sulastuti, Katarina Indah
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.v22i1.4966

Abstract

The Sekartaji Tunggal Mask dance by Sulistyo Haryanti is an interpretation of the SekartajiMask fragment which was reinterpreted to become the Sekartaji Onĕng Mask dance. This studyanswers the problems of (1) the form of the Sekartaji Tunggal Mask dance, (2) the process and resultsof the reinterpretation of the Sekartaji Tunggal Mask dance by Sulistyo Haryanti to become theSekartaji Onĕng Mask dance. The method used in this qualitative research is descriptive analytics.In discussing the problem of form, the concept of form is used by Katarina Indah Sulastuti that formis related to dance or choreographic compositions which include interrelated elements, includingmotion, make-up, dance music, floor patterns, dramatic designs, properties, place and time ofperformance. Dharsono Sony Kartika discussed the reinterpretation of art that conceptually tries toreinterpret traditional art forms. By following with modern techniques and the artist's style ofexpression individually in expressing ideas, the creation of works of art can reinterpret traditionalart idioms, as a model of conservation, and development, or also known as cultural personalexpression. The results showed that the form of the Topeng Sekartaji Tunggal dance by SulistyoHaryanti uses the movements of the developed bedhaya and srimpi dances. The music for the dancerefers to Fragmen, the clothing used refers to the character Sekartaji, the floor pattern uses straightand curved lines. The process and results of the reinterpretation produce the Topeng Sekartaji Onĕngdance through the stages of preparation, exploration, improvisation, the training process, thestabilization/rehearsal stage and the reinterpretation results are carried out in the motion of the mask,the dance music adds songs and monologues. Corrective makeup uses a paes style mask with a dodotklembrehan dress. The dramatic design is reinterpreted with 5 peak points towards the climax and 4descending points, the floor pattern emphasizes the curved line pattern.
TINJAUAN HOLISTIK TARI TOPENG CEPAK KARYA CAHWATI SUGIARTO DI KABUPATEN TEGAL Utami, Anne Amalia; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.5867

Abstract

The “Topeng Cepak” dance creation by Cahwati Sugiarto inspired of the Puppet “Golek Cepak” and “Topeng Endel” dance. Tradition art with little interest. However, Cahwati Sugiarto created the Topeng Cepak dance to people’s interest traditional art in Tegal Distrik. Research problem is (1) What is Cahwati Sugiarto role as an artist in Tegal District? (2) What is the form of the dance “Topeng Cepak” by Cahwati Sugiarto? (3) How does the public responds to the dance “Topeng Cepak” by Cahwati. Researchers use a holistic approach from H.B. Sutopo with three interrelated components such as Genetic Analysis, Objective Analysis, and Afective Analysis. The Researcher used the theory of dance form by Widyastutieningrum is physical form and expressions form. The Research used the theory of audience responses by Sulastuti is audience comprehender, audience trained, and audience general. This type of research is qualitative research with descriptive analysis method. Data Collection techniques using observation, interview, and literature review. The research results show that Cahwati Sugiarto is a talented and creative artist in creating works of art. The “Topeng Cepak” dance has a feminine and masuculine characteristics in perform. The “Topeng Cepak” dance is a single dance that has a movement style inspired by puppet “Golek Cepak”, “Topeng Tegalan” dance, Cirebon Style, Surakarta Style and Banyumasan Style. The “Topeng Cepak” dance get a good response from public, because it was unique, energetic, and music style from Cirebon and Banyumas.
INTERPRETASI PADA TOKOH SRIKANDI DALAM TARI SRIKANDI CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI Firdha, Agustin; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The character of Srikandi in the dance Srikandi Cakil by Didik Bambang Wahyudi portrays a Javanese woman who is graceful and charming yet has a masculine character that is agile, clever, and confident, capable of defeating opponents, including men. Srikandi is depicted as a firm and resolute figure. Agustin became interested in interpreting this character in her own dance. This research focuses on Agustin's interpretation and the process of interpreting the character of Srikandi in Srikandi Cakil. In discussing the form of the interpreted dance, the concept from Katarina Indah Sulastuti is used, covering elements of movement, makeup-costume, music, floor patterns, dramatic design, props, and performance space. Meanwhile, the interpretation process is based on Bahari's theory, which states that interpretation is the act of understanding the meaning, message, and values contained in a work. This research is qualitative, using the Practice Based Research method, with data collected through participatory observation, interviews, literature review, and document studies, and presented descriptively and interpretively. The research findings show that the structure of Agustin's interpretation of Srikandi in Srikandi Cakil remains grounded in the traditional Surakarta dance style. The interpretation develops elements of movement, music, floor patterns, and dramatic design. Movement interpretation is applied to the battle, dialogue (antawecana), and combat gestures in the song. Music interpretation includes adding dialogue, song (tembang/palaran), and a vocal segment (pocapan) at the end of the dance. Floor pattern interpretation involves adding curved lines. The interpretation process follows stages of preparation, exploration, dancer adaptation, work realization, rehearsal, evaluation, and presentation.
PEMBELAJARAN SENI TARI DI SMPLB BINA KARYA INSANI KARANGANYAR Sulastuti, Katarina Indah
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1636.501 KB) | DOI: 10.33153/acy.v7i1.2001

Abstract

This research aims to identify a model of dance learning in SMPLB Bina Karya Insani Karanganyar. Dance learning for the special need students in SMPLB is very important for the ability and the chance to express become an activity that is able to make a strong self-confidence grows. For the reason, it is urgent to provide a special learning system for the students in order to express themselves through dance activities. The research target is identification of the dance learning model for the students in SMPLB Bina Karya Insani Karanganyar. The research uses descriptive qualitative method. The ways include: library study of learning model for dance practice; observation and exploration ofdance learning model for the tunagrahita students; descriptive qualitative analysis of dance learning model for tunagrahita students; and designing dance learning model for tunagrahita students. The research result shows that the identification of dance learning method in SMPLB Bina Karya Insani become a reference for arranging the design of dance learning model with a newmethod.Keywords: identification, learning method, dance art, SMPLB.
INTERPRETASI PADA TOKOH SRIKANDI DALAM TARI SRIKANDI CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI Firdha, Agustin; Sulastuti, Katarina Indah
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.5963

Abstract

The character of Srikandi in the dance Srikandi Cakil by Didik Bambang Wahyudi portrays a Javanese woman who is graceful and charming yet has a masculine character that is agile, clever, and confident, capable of defeating opponents, including men. Srikandi is depicted as a firm and resolute figure. Agustin became interested in interpreting this character in her own dance. This research focuses on Agustin's interpretation and the process of interpreting the character of Srikandi in Srikandi Cakil. In discussing the form of the interpreted dance, the concept from Katarina Indah Sulastuti is used, covering elements of movement, makeup-costume, music, floor patterns, dramatic design, props, and performance space. Meanwhile, the interpretation process is based on Bahari's theory, which states that interpretation is the act of understanding the meaning, message, and values contained in a work. This research is qualitative, using the Practice Based Research method, with data collected through participatory observation, interviews, literature review, and document studies, and presented descriptively and interpretively. The research findings show that the structure of Agustin's interpretation of Srikandi in Srikandi Cakil remains grounded in the traditional Surakarta dance style. The interpretation develops elements of movement, music, floor patterns, and dramatic design. Movement interpretation is applied to the battle, dialogue (antawecana), and combat gestures in the song. Music interpretation includes adding dialogue, song (tembang/palaran), and a vocal segment (pocapan) at the end of the dance. Floor pattern interpretation involves adding curved lines. The interpretation process follows stages of preparation, exploration, dancer adaptation, work realization, rehearsal, evaluation, and presentation.
The aesthetics of virtual wayang performances during the covid-19 pandemic Sunardi, Sunardi; Rianto, Jaka; Sulastuti, Katarina Indah; Harpawati, Tatik; Asmoro, Purbo; Sugihartono, Ranang Agung
Gelar: Jurnal Seni Budaya Vol. 21 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v21i1.4571

Abstract

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.
Aesthetic Transformation of Javanese Wayang Performances in the Digital Era Sunardi, Sunardi; Saka, Putri Ananda; Sulastuti, Katarina Indah; Mulyana, Aton Rustandi; Ansari, Isa; Novianto, Wahyu; Kiswanto, Kiswanto; Putro , Renaldi Lestianto Utomo
Harmonia: Journal of Arts Research and Education Vol. 25 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v25i1.11320

Abstract

This study examines how technological advancements have transformed the aesthetics of wayang performances in Java. Data collection methods include observations of wayang performances, interviews, literature reviews, and internet searches to capture the aesthetic transformation of wayang performances in the digital age. Given the existing literature’s tendency to discuss wayang performances within a limited scope, this research provides a more comprehensive contribution by positioning wayang performances as an integrated entity encompassing dalang creativity and audience response. Through the analysis of diverse wayang performances, the study demonstrates that aesthetic transformation is evidenced by the dalang’s hybrid presentation techniques, the emergence of novel story repertoires, and increased audience engagement. Significant findings from this study include the growth of dalang’s creative and adaptive capabilities, enhanced interpretative approaches in composing wayang stories, and the audience’s influence in shaping mass aesthetic trends. This study provides important contributions to the pedalangan (puppetry) and the relations of wayang, dalang, audience, and technology. Furthermore, this study contributes to the academic discourse on cultural adaptation in the digital age and provides pragmatic resources for the artistic development of Javanese puppetry.
PEMBELAJARAN SENI TARI DI SMPLB BINA KARYA INSANI KARANGANYAR Sulastuti, Katarina Indah
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i1.2001

Abstract

This research aims to identify a model of dance learning in SMPLB Bina Karya Insani Karanganyar. Dance learning for the special need students in SMPLB is very important for the ability and the chance to express become an activity that is able to make a strong self-confidence grows. For the reason, it is urgent to provide a special learning system for the students in order to express themselves through dance activities. The research target is identification of the dance learning model for the students in SMPLB Bina Karya Insani Karanganyar. The research uses descriptive qualitative method. The ways include: library study of learning model for dance practice; observation and exploration ofdance learning model for the tunagrahita students; descriptive qualitative analysis of dance learning model for tunagrahita students; and designing dance learning model for tunagrahita students. The research result shows that the identification of dance learning method in SMPLB Bina Karya Insani become a reference for arranging the design of dance learning model with a newmethod.Keywords: identification, learning method, dance art, SMPLB.
TARI TOPENG SEKARTAJI ONĔNG HASIL REINTERPRETASI TARI TOPENG SEKARTAJI TUNGGAL KARYA SULISTYO HARYANTI Puspitaningrum, Windri Estri; Sulastuti, Katarina Indah
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.v22i1.4966

Abstract

The Sekartaji Tunggal Mask dance by Sulistyo Haryanti is an interpretation of the SekartajiMask fragment which was reinterpreted to become the Sekartaji Onĕng Mask dance. This studyanswers the problems of (1) the form of the Sekartaji Tunggal Mask dance, (2) the process and resultsof the reinterpretation of the Sekartaji Tunggal Mask dance by Sulistyo Haryanti to become theSekartaji Onĕng Mask dance. The method used in this qualitative research is descriptive analytics.In discussing the problem of form, the concept of form is used by Katarina Indah Sulastuti that formis related to dance or choreographic compositions which include interrelated elements, includingmotion, make-up, dance music, floor patterns, dramatic designs, properties, place and time ofperformance. Dharsono Sony Kartika discussed the reinterpretation of art that conceptually tries toreinterpret traditional art forms. By following with modern techniques and the artist's style ofexpression individually in expressing ideas, the creation of works of art can reinterpret traditionalart idioms, as a model of conservation, and development, or also known as cultural personalexpression. The results showed that the form of the Topeng Sekartaji Tunggal dance by SulistyoHaryanti uses the movements of the developed bedhaya and srimpi dances. The music for the dancerefers to Fragmen, the clothing used refers to the character Sekartaji, the floor pattern uses straightand curved lines. The process and results of the reinterpretation produce the Topeng Sekartaji Onĕngdance through the stages of preparation, exploration, improvisation, the training process, thestabilization/rehearsal stage and the reinterpretation results are carried out in the motion of the mask,the dance music adds songs and monologues. Corrective makeup uses a paes style mask with a dodotklembrehan dress. The dramatic design is reinterpreted with 5 peak points towards the climax and 4descending points, the floor pattern emphasizes the curved line pattern.
PENGENALAN NILAI-NILAI KEARIFAN LOKAL MELALUI KREASI DAN INOVASI KARYA TARI Sulastuti, Katarina Indah
Jurnal Cahaya Mandalika ISSN 2721-4796 (online) Vol. 4 No. 3 (2023)
Publisher : Institut Penelitian Dan Pengambangan Mandalika Indonesia (IP2MI)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36312/jcm.v3i2.1640

Abstract

In the midst of world civilization, with advances in information and communication technology that are developing rapidly and increasingly sophisticated, it has a significant influence on the threat of the existence of local wisdom values that live in society, which will result in further distance between people and their own culture. Therefore, it is necessary to introduce the values of the local wisdom of the nation's culture to the younger generation. Strategic efforts to maintain the existence of local wisdom values include continuing to echo local wisdom values among the younger generation. The introduction of local wisdom values can be done creatively and innovatively through dance. As an example of the case in the form of an innovative dance model that contains local wisdom values is the Ham Budaya Dance. Innovation and creation are carried out through classical traditional dance forms (dance that lives in the palace), with the development of its elements. The method used is Practice Led Research, which is an artistic research model with steps (1) Observing phenomena to map problems, and collecting the necessary data from the field (2) Developing dance concepts and designs, (3) Collecting Oral data, Libraries, Documents , (4) Exploration, sorting and selecting data: motifs of dance elements originating from classical dance, local wisdom values of national culture which are important to be introduced and/or conveyed to the younger generation (5) Analysis, deciphering data, observing content and meaning, linking and assembling adapted to the design concept of dance innovation with aesthetic considerations. The result of this artistic research is a creative and innovative dance model that represents the local wisdom values of the nation's culture.
Co-Authors Ansari, Isa asmoro, purbo Aton Rustandi Mulyana Firdha, Agustin Kiswanto Kiswanto Novianto, Wahyu Puspitaningrum, Windri Estri Renaldi Lestianto Utomo Putro Rianto, Jaka Saka, Putri Ananda Sugihartono, Ranang Agung Sunardi Sunardi Tatik Harpawati Utami, Anne Amalia