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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

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

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

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.

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

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.

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

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.

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