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Supendi, Eko
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PROSES PENCIPTAAN KARYA TARI UNBALANCED Dewi, Septiana; Supendi, Eko
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5426

Abstract

Unbalanced is a dance work composed by Septiana Dewi in 2022 and performed at the Great Theater Building of the Indonesian Institute of the Arts in 2023. The Unbalanced dance work was inspired by the empirical experience of a deaf and mute person named Irfan Nurdiawan, a disabled athlete. Irfan Nurdiawan has had hearing loss since birth. However, Irfan tries to show others that he can also achieve like other normal children. The Unbalanced dance work is in the form of a group with five female dancers and Septiana Dewi as a dancer and choreographer. In the process, the dancers try to feel what kind of experience a deaf and mute person feels by covering their ears in a closed room and also in a crowded environment. This study is intended to describe the form of the Unbalanced dance work performance and the process of creating the Unbalanced dance work. The description of the form of the Unbalanced dance performance uses the theory of Slamet MD in his book entitled melihat Tari in 2016, and the process of creating the Unbalanced dance work uses the theory of Alma M. Hawkins quoted by Bambang Pudjasworo et al in the book Karya Cipta Seni Pertanggungaan in 2017. The method used in this study is qualitative research which includes observation, interviews and documentation. The results obtained in this study are in the form of a description of the form of performance consisting of movement, dancers, costume make-up, floor patterns, dance music and the place where the Unbalanced dance work is performed as well as the process of creating the Unbalanced dance work.
STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS” Supendi, Eko; Isnanta, Satriana Didiek
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3140

Abstract

ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance  also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance.  ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa.  Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari. 
Penciptaan Tari Anak-anak Disabilitas Kami Tak Berbeda Kuncoro, Jonet Sri; supendi, eko
Acintya Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i1.3148

Abstract

ABSTRACT  The dance work entitled "Kami Tak Berbeda” (We Are Not Different) is a dance work specifically for children with disabilities. This work is a development of previous works made by Jonet Sri Kuncoro. In this work combines deaf children, the blind, and physically disabled. This work is supported by three extraordinary schools in Solo Raya, namely SLB Cangakan Karanganyar and SLB B-C Hamong Putro Sukoharjo. This work was created with the approach of developing a pattern of six arising dots cell consisting of three rows with two dots on Braille letters made of 4/4 measure and sign language for the deaf and poetry reading. The peak process of the practice is a dance performance that has a form of performance combining the development of Braille letters pattern with sign language in group choreography supported by musical accompaniment as a power to express the atmosphere. Keywords: Disability, Deaf, Blind, Braille, Sign Language.  ABSTRAK Karya tari berjudul “Kami Tak Berbeda” merupakan karya tarian yang dikhususkan untuk anak-anak disabilitas. Karya ini merupakan pengembangan dari karya-karya sebelumnya yang dibuat oleh Jonet Sri Kuncoro. Pada karya ini menggabungkan antara anak-anak tuna rungu, tuna netra, dan tuna daksa. Karya ini di dukung oleh tiga sekolah luar biasa Kota Solo Raya, yaitu SLB Negeri Cangakan Karanganyar, dan SLB B-C Hamong Putro Sukoharjo. Karya ini diciptakan dengan pendekatan pengembangan pola enam sel titik timbul yang terdiri dari tiga baris dengan dua titik pada huruf Braille yang dibuat birama 4/4 dan bahasa isyarat bagi tuna rungu serta pembacaan puisi. Sebagai proses puncak dari latihan adalah pergelaran karya tari yang memiliki bentuk pertunjukan memadukan pengembangan pola huruf Braille dengan bahasa isyarat dalam koreografi kelompok yang didukung oleh iringan musik sebagai daya ungkap suasana. Kata kunci: Disabilitas, Tuna Rungu, Tuna Netra, Braille, Bahasa Isyarat.
Kolaborasi Karya Tari Suara Hati Supendi, Eko; Sri Kuncoro, Jonet; Suroto, Suroto
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5059

Abstract

Research on art creation entitled Suara Hati Dance Collaboration involving dancers (students) and children with visual impairments (disabilities) to answer concerns about how a dancer feels dancing in the dark. This research method is a collaboration between the potential of dancers and the artistic potential of blind children. The dancers’ explorations were inspired by the behavior of the character Gendari in the  Mahabarata story, who closed his eyes all his life only to feel the same darkness as his husband, Destrarastra. Exploring the potential of blind children is an important part of this research to determine the process and form of work. The results of this study provide an artistic experience for dancers, moving in the dark just following their auditory instincts. Providing space for expression and artistic experience for blind children, fostering self-confidence, courage, and a sense of pride in being able to work with dancers and appear in performances that are shown publicly.Keywords: voice, heart, collaboration, visual impairment, Gendari, movement, darkness.