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KREATIVITAS DJOKO PRAKOSA DALAM KARYA TARI KRIDHA DWIPANGGA DI KABUPATEN SRAGEN Pertiwi, Intan Hanny; Setyastuti, Budi
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.v22i2.5601

This research problem was formulated as a form of Kridha Dwipangga Dance performance which explains Djoko Prakosa's creative process. The results of this research show that the Kridha Dwipangga dance is a choreography and creativity of Djoko Prakosa with the theme of elephant fauna. Kridha Dwipangga Dance is intended as a form of education, tourism, and is expected to become an icon of Sragen Regency. The intended form of education is that the Kridha Dwipangga dance can be taught as learning material for Elementary School (SD) – Junior High School (SMP) levels. Apart from that, there is also education to introduce the Sangiran Archaeological Site to students. The form of tourism intended is related to the Circular Letter received by Sragen Regency from the Central Java Province Tourism and Culture Office so that each region can develop its tourism potential, including artistic and cultural potential. For this reason, Djoko Prakosa was asked to create a typical dance from Sragen Regency, hereinafter called the Kridha Dwipangga Dance. It is hoped that the iconic form of the Kridha Dwipangga dance will strengthen and publicize the Sangiran Archaeological Site which reveals many facts about well-known animal fossils, including elephants which are visualized in the form of dance. The Kridha Dwipangga dance icon presented by a group of female dancers inspired by the strong, protective and nurturing character of the elephant animal is a reflection of the Regent's attitude and responsibilities in running the government of Sragen Regency.

GARAP EKSPRESI TEMBANG DAN ANTAWECANA WAYANG BOCAH SAMPARAN SAMPIRANKU Nandhita, Chikal Safa; Pamenang, Nandhang Wisnu; Setyastuti, Budi; Karyono
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5828

Tembang and antawecana are one of the components of dance which is called the verbal component. These components can be enjoyed through language, speech and the intonation of a sentence. Cultivating the verbal component can influence the results of the expression produced based on the delivery of the verbal component through the intonation of the song and the emphasis of the words in the antawecana. Strengthening the expressions of wayang orang or wayang anak players can be accompanied by tembang and antawecana. It depends on the accuracy of tembang and antawecana used and placed in the right position. The existence and choice of place is also an asset in finding the desired expression for a wayang orang artist. Wayang orang Samparan Sampiranku is one of the children's wayang works that uses songs and antawecana as a form of expression in communicating and conveying emotions. This research emphasizes descriptive analysis carried out to find an analysis of the expressions obtained based on the description of the songs and antawecana contained in the Wayang Bocah work entitled Samparan Sampiranku presented by Sanggar Sarwi Retno Budoyo in 2022 at the Wayang Bocah Festival. Keywords: Tembang, Antawecana, Garap, Expression

Sekartaji Mask Ballet in Surakarta Darmasti, Darmasti; Prihantoro, Eko Wahyu; Suharji, Suharji; Setyastuti, Budi
Gelar: Jurnal Seni Budaya Vol. 19 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i2.3514

ABSTRAKSendratari Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya. Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Mask balet

KREATIVITAS DJOKO PRAKOSA DALAM KARYA TARI KRIDHA DWIPANGGA DI KABUPATEN SRAGEN Pertiwi, Intan Hanny; Setyastuti, Budi
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.v22i2.5601

This research problem was formulated as a form of Kridha Dwipangga Dance performance which explains Djoko Prakosa's creative process. The results of this research show that the Kridha Dwipangga dance is a choreography and creativity of Djoko Prakosa with the theme of elephant fauna. Kridha Dwipangga Dance is intended as a form of education, tourism, and is expected to become an icon of Sragen Regency. The intended form of education is that the Kridha Dwipangga dance can be taught as learning material for Elementary School (SD) – Junior High School (SMP) levels. Apart from that, there is also education to introduce the Sangiran Archaeological Site to students. The form of tourism intended is related to the Circular Letter received by Sragen Regency from the Central Java Province Tourism and Culture Office so that each region can develop its tourism potential, including artistic and cultural potential. For this reason, Djoko Prakosa was asked to create a typical dance from Sragen Regency, hereinafter called the Kridha Dwipangga Dance. It is hoped that the iconic form of the Kridha Dwipangga dance will strengthen and publicize the Sangiran Archaeological Site which reveals many facts about well-known animal fossils, including elephants which are visualized in the form of dance. The Kridha Dwipangga dance icon presented by a group of female dancers inspired by the strong, protective and nurturing character of the elephant animal is a reflection of the Regent's attitude and responsibilities in running the government of Sragen Regency.

GARAP EKSPRESI TEMBANG DAN ANTAWECANA WAYANG BOCAH SAMPARAN SAMPIRANKU Nandhita, Chikal Safa; Pamenang, Nandhang Wisnu; Setyastuti, Budi; Karyono
Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol. 23 No. 2 (2023): Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi
Publisher : Surakarta: Jurusan Karawitan Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i2.5828

Tembang and antawecana are one of the components of dance which is called the verbal component. These components can be enjoyed through language, speech and the intonation of a sentence. Cultivating the verbal component can influence the results of the expression produced based on the delivery of the verbal component through the intonation of the song and the emphasis of the words in the antawecana. Strengthening the expressions of wayang orang or wayang anak players can be accompanied by tembang and antawecana. It depends on the accuracy of tembang and antawecana used and placed in the right position. The existence and choice of place is also an asset in finding the desired expression for a wayang orang artist. Wayang orang Samparan Sampiranku is one of the children's wayang works that uses songs and antawecana as a form of expression in communicating and conveying emotions. This research emphasizes descriptive analysis carried out to find an analysis of the expressions obtained based on the description of the songs and antawecana contained in the Wayang Bocah work entitled Samparan Sampiranku presented by Sanggar Sarwi Retno Budoyo in 2022 at the Wayang Bocah Festival. Keywords: Tembang, Antawecana, Garap, Expression

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