RM. Pramutomo
Prodi Seni Tari Fakultas Seni Pertunjukan Institut Seni Indonesia Surakarta

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Journal : Greget

TINJAUAN GARAP GERAK TARI PENTHUL DI MELIKAN,TEMPURAN PARON KABUPATEN NGAWI Sri Maryati Andayani; RM. Pramutomo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (997.784 KB) | DOI: 10.33153/grt.v17i1.2298

Abstract

Tari Penthul Melikan merupakan kesenian tradisional kerakyatan di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tari Penthul Melikan diciptakan oleh Bapak Munajah pada tahun 1952 di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tarian ini diciptakan untuk menghibur masyarakat setelah selesai membangun sekolah di Dusun Melikan pada saat itu. Penelitian ini menggunakan landasan teori bentuk oleh Susanne K. Langer. Sedangkan teori garap oleh Rahayu Supanggah meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap. Tujuan penelitian ini adalah untuk menganalisis bentuk dan garap tari Penthul Melikan. Dalam penelitian ini penulis menggunakan metode penelitian kualitatif. Hsil penelitian ini dapat diperoleh gambaran yang berkaitan dengan bentuk dan garap tari Penthul Melikan. Bentuk tari Penthul Melikan tidak terlepas dari elemen-elemen pembentuknya yang saling berkaitan seperti gerak tari, penari, tata busana, properti. Sementara itu garap tari meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap.Kata kunci : tari Penthul Melikan, bentuk, garap gerak.AbstractThe Penthul Melikan dance is a traditional folk dance found in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The Penthul Melikan dance was created by Bapak Munajah in 1952 in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The dance was created to entertain the community after the construction of a new school was completed in the Hamlet of Melikan at that time. This research is based on Susanne K. Langer’s theory of form and Rahayu Supanggah’s theory of treatment (garap) which includes the material for garap, the person implementing the garap, the medium of garap, the tools or equipment of garap, the determinants of garap, and the considerations of garap. The goal of the research is to analyze the form and treatment of the Penthul Melikan dance. In this research, the writer uses a qualitative research method. The results of the research present a description of the form and treatment of the Penthul Melikan dance. The form of the Penthul Melikan dance is connected with the interrelated elements of its formation, including the dancers’ movements, dancers, costumes, and properties. The treatment of the dance includes the material for garap, person implementing the garap, medium of garap, tools or equipment of garap, determinants of garap, and considerations of garap.Keywords: Penthul Melikan dance, form, treatment of movement.
TARI SEBIMBING SEKUNDANG SEBAGAI TARI PENYAMBUTAN TAMU DI KABUPATEN OGAN KOMERING ULU SUMATERA SELATAN Ani Mandam Dari; RM Pramutomo
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.v20i1.4036

Abstract

This article examines the form of Seguid Sekundang dance presentation in Ogan Komering Ulu Regency, South Sumatra. Problems regarding form are discussed using the theory of R.M Soedarsono in the book Diktat Pengantar Pengetahuan dan Komposisi Tari. This article uses a qualitative research method with descriptive analysis. The collection of data and information is done by observing or observing the object of research, interviews, and literature studies. Sebimbing Sekundang dance was made at the request of Regent Ogan Komering Ulu as as guest welcome dance in 1971. This dance is the result of observations in several sub-districts in Ogan Komering Ulu Regency by combining various cultural forms, especially traditional dance from five tribes (Daye, Komering, Ogan, Ranau, and Semende) in Ogan Komering Ulu Regency.This dance uses properties of a fan, tepak sirih, umbrella, and spear. However, it is the use of distinguishes this dance from the welcoming dance in South Sumatera. The music accompanying the Sebimbing Sekundang dance is another song entitled Ribu-Ribu originating from the Ogan area. Then the arrangement itself by Z. Khusni Karana became the music to accompany the Sebimbing Sekundang dance. This dance reflects the majesty of universe which uses many forms and motifs of plants.Keywords :Form, Analysis of The Movement of The Sebimbing Sekundang Dance.
TARI OPAK ABANG SEBAGAI SIMBOL IDENTITAS MASYARAKAT KABUPATEN KENDAL Putri Novalita; RM. Pramutomo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (885.171 KB) | DOI: 10.33153/grt.v17i1.2294

Abstract

AbstrakTari Opak Abang berasal dari Desa Pasigitan, Kecamatan Boja, Kabupaten Kendal. Opak Abang adalah akronim kata Opak yang diambil dari kata kethoprak dan Abang merupakan alat musik pengiringnya yaitu terbang atau rebana. Gerakan pada tari Opak Abang sederhana dan banyak yang diulang-ulang. Ragam gerak dan musik pada tari Opak Abang yang khas dengan menggunakan gerak-gerak kerakyatan yang rampak dan diiringi alat musik rebana. Tari Opak Abang diresmikan dan diakui oleh Pemerintah Kabupaten Kendal sekitar tahun 1970-an. Tari Opak Abang dianggap oleh masyarakat Kabupaten Kendal sebagai salah satu tarian yang menjadi identitas Kabupaten Kendal. Permasalahan penelitian ini adalah bagaimana bentuk pertunjukan tari Opak Abang dan mengapa tari Opak Abang menjadi simbol identitas masyarakat Kabupaten Kendal. Metode penelitian yang akan digunakan untuk melaksanakan penelitian menggunakan pendekatan etnokoreologi. Jenis penelitian ini menggunakan metode penelitian kualitatif deskriptif analitis. Penelitian kualitatif menggunakan teknik pengumpulan data antara lain dengan studi pustaka, observasi, wawancara, dokumentasi dan analisis data.Kata kunci: Opak Abang, Simbol, Identitas, Kendal.AbstractOpak Abang dance come from, Pasigitan Village, Boja Subdistrict, Kendal Regency. Opak Abang is an acronim, Opak is come from kethoprak and Abang is one of music escort it is terbang or rebana. The motion of Opak Abang is simple and a lot of repetitive motion. The typical Range of motion and music in Opak Abang using populist motions that dense and the music rebana is escorted. Opak abang dance inagurated and recognized by Kendal Regency Goverment about 1970’s. Opak Abang dance reputed by Kendal Regency society as one of dance that to be the identity of Kendal Regency. The problem of this research is How is the performance form of Opak Abang dance and Why is Opak Abang dance is to be an identity of Kendal Regency society. The method of this reseach is using ethocoreology approach. This type of the research is using qualitative research methods descriptive anaysis. Qualitative research using data collecting technique it is with literature review, observation, interview, documentation and data analysis.Keywords : Opak Abang, Symbol, Identity, Kendal.