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All Journal Jurnal Sitakara Gelar : Jurnal Seni Budaya Greget
Supriyanto, Supriyanto
Institut Seni Indonesia Surakarta
Arts Humanities Education

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Journal : Greget

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SENI PERTUNJUKAN WAYANG TOPENG GAYA YOGYAKARTA S., Supriyanto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (968.416 KB) | DOI: 10.33153/grt.v14i2.1711

Abstract

Wayang Topeng Pedalangan is one of the links in the chain of history of the performing arts in Java and is believed to have been in existence since the 7th century. The art oftopeng Panji, or the Panji masked dance, first emerged after the appearance of the Panji stories inthe middle of the 13th century during the era of the Singasari Dynasty. During the era of theDemak Dynasty, in the 15th century, topeng Panji was developed by a number of religious leaders,including Sunan Kalijaga. The 16th century marked the beginning of the masked dance beingpreserved and developed by traditional puppet masters, or dalang, and their relatives. These dalangpassed on the art of topeng from generation to generation through their network of relatives whoare referred to as Trah Dalang. The role and function of the dalang is connected with the style ofthe performance which is known as Pedalangan style. The influence of the dalang in topengPanji is still evident today in the areas of Yogyakarta, Klaten, Malang, and Cirebon, each of whichis of course adapted to suit its own regional style. Around the middle of the 20th century, the artof topeng pedalangan was revived and reinterpreted by Krida Beksa Wirama to become a classicalversion of topeng in Yogyakarta style. A number of refinements were made to the techniques andform of the dance which adopted the style of classical Yogyakarta dance. Over time, and with thegrowth of various dance groups which performed classical Yogyakarta style dance, such as YayasanSiswa Among Beksa, Mardawa Budaya, Pamulangan Beksa Ngayogyakarta, and Suryokencana,the classical style of masked dance was perfected by the artists of Yogyakarta.Keywords: Topeng, Dalang, Classical.
PERTUNJUKAN OPERA AGNUS PERDITUS KARYA MATHEUS WASI BANTOLO Estherlita Priskanike Yudiaernanda; Supriyanto Supriyanto
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4034

Abstract

Agnus Perditus is a dance genre opera, Agnus Perditus is taken from Latin means lost sheep. The work of Agnus Perditus was directed by Matheus Wasi Bantolo for a joint Christmas event between the Indonesian Institute of the Arts Surakarta and Sebelas Maret University which was held at Teater Besar of the Indonesian Art Institute, Surakarta. In 2016 the combined Christmas was directed by Matheus Wasi Bantolo. The theoretical basis in this study uses the concept of working on Rahayu Supanggah which examines the process of working on an art, as well as the theory of form approach from Suzanne K. Langer in her book entitled "Problematic Art" which is translated by F.X Widaryanto. This research is a qualitative research with analytical descriptive method, which describes the results of the observations clearly based on the actual situation. The data collection stage was carried out through observation, interviews, and literature study. The purpose of this research is to reveal the form of the work of Matheus Wasi Bantolo's Agnus Perditus. Opera Agnus Perditus was presented in a joint Christmas celebration event between the Indonesian Institute of the Arts Surakarta and the Sebelas Maret University Surakarta. The work is inspired by the New Testament Bible story in the Gospel of Luke 15: 11-32, which tells of a lost sheep and the film "Prodigal Son" which tells of a lost sheep or a lost child has been found, so it is used as an idea to work on creation the work of Agnus Perditus.Keywords: Dance form, working process, opera, Matheus Wasi Bantolo.
BENTUK TARI BEDHAYA KAWUNG KARYA M.G. SUGIYARTI Bella Twoaras Merdekawati; Supriyanto Supriyanto
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.v21i1.4436

Abstract

Tari bedhaya merupakan tarian yang hidup dan tumbuh di lingkungan keraton. Bedhaya adalah salah satu bentuk tarian sakral di keraton, khususnya di Jawa. Tarian bedhaya ini dibawakan pada acara-acara resmi keraton. Tari Bedhaya adalah bentuk tarian berkelompok yang biasanya ditarikan oleh sembilan orang penari wanita. Tari Bedhaya masih dilestarikan di keraton Yogyakarta dan Surakarta. Penelitian ini mengungkap dua permasalahan yaitu bagaimana proses penciptaan tari Bedhaya Kawung dan bagaimana bentuk tari Bedhaya Kawung karya M.G. Sugiyarti. Penelitian ini bersifat kualitatif dengan pendekatan koreografi, metode yang digunakan adalah deskriptif analisis. Dalam membedah masalah proses penciptaan karya tari Bedhaya Kawung menggunakan teori dari B.P.H. Suryodiningrat, sedangkan untuk membedah masalah bentuk tariannya menggunakan teori R.M. Soedarsono. Hasil penelitian menunjukkan bahwa proses penciptaan tari Bedhaya Kawung memiliki tiga tahapan, yaitu: latar belakang tari Bedhaya Kawung, ide atau gagasan, aturan penyusunan tari Bedhaya Kawung gaya Yogyakarta. Sumber gerak tari Bedhaya Kawung menggunakan gaya Yogyakarta. musik yang digunakan adalah seperangkat gamelan tala pelog, kendang dan terompet. Riasan yang digunakan cantik, sedangkan busana yang digunakan adalah rompi tanpa lengan dan motif kain dengan motif kawung. pola garap gerak tari Bedhaya Kawung yang dikembangkan sesuai dengan pola garap gerak tari.
Co-Authors Bella Twoaras Merdekawati D., Dharsono Estherlita Priskanike Yudiaernanda Mukhlas Alkaf Mukhlas Alkaf Soemaryatmi Soemaryatmi Suharji Suharji Suharji Suharji