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All Journal Gelar : Jurnal Seni Budaya Lakon Jurnal Pengkajian & Penciptaan Wayang
Eko Wahyu Prihantoro
ISI Surakarta
Arts Humanities Education

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PERTUNJUKAN TAYUB SEBAGAI SARANA RITUAL PERNIKAHAN DI TUNJUNG SEMI MLALE JENAR SRAGEN Eko Wahyu Prihantoro
Gelar : Jurnal Seni Budaya Vol 10, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1148.808 KB) | DOI: 10.33153/glr.v10i2.1417

Abstract

Mlale Village, Sub District Jenar, District Sragen has a unique tradition, namely a ritual conducted  by a local community. This ritual is held to celebrate a wedding ceremony by performing Tayub. This research aims to:  a) describe the wedding ceremony at Mlale Village by performing Tayub as its ritual means, b) interprete the meaning of movements  and melody (gendhing) in Tayub dance. The style of this research is interpretative description of a qualitative nature. The first step in this research is data collection through field study, observation,and interviews, and the second step is data processing by analyzing qualitatively the form, function and meaning. Those steps are applied consecutively beginning from reduction, data reformation or display, and ending in conclusion. This research uses a holistic approach involving all aspects in performing art. The research results show that  the performance is meant as a gratitude and request  to God hoping that  wedding will  last eternally,  and be blessed, be protected against disturbance, be granted all desire, have a child  and happiness. Key words : ritual, Tayub, meaning, Sragen
Sekartaji Mask Ballet in Surakarta Darmasti Darmasti; Eko Wahyu Prihantoro; Suharji Suharji; Budi Setyastuti
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

Abstract

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 
Pertunjukan Tayub Sebagai Sarana Ritual Pernikahan Di Karangmojo Jenar Sragen Eko Wahyu Prihantoro
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 15, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (440.774 KB) | DOI: 10.33153/lakon.v15i2.3002

Abstract

Karangmojo Village, Sub District Jenar, District  Sragen has a unique tradition namely a ritual conducted by local community. This ritual is held to celebrate a wedding ceremony by performing Tayub. This research aims to: a) describe the wedding ceremony at Karangmojo Village by performing Tayub as its ritual means, b) interprete the meaning of movements and melody (gendhing) in Tayub dance.  The style of this research is interpretative discription of aqualitative nature. The first step in this research is data collection trough field study , observation and interviews, and the scond step is data processing by analyzing qualitatively the form, function and meaning. Those steps are applied consecutively beginning from reduction, data reformation or display, and ending in conclusion. This research uses  a holistic approach involving all aspects in performing art. The research result shows that the performance is meant as a gratitude and request  to God hopping that the wedding will last eternally, be blessed, and be protected against disturbance, be granted all desire, have a child and happiness.Keywords: ritual, Tayub, meaning,Sragen.   Pengantar
Riwayat Sang Anoman Eko Wahyu Prihantoro
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 20, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v20i1.5453

Abstract

The History of Sang Anoman is a story that contains the whereabouts of Anoman since birth and aducated by tree Gods so that he is able to find his unity by returning to his origins and is shon in the form of adance drama with dialoge on the devolepment of wayang orang. The show is aimed at the ritual awareness of the community in oneness. What is meant by ritual awarenes is something important related to life and death, while the comumunity in oneness is togetherness of the community in preserving life, namely the three main things related land water and air. Thus the history of Sang Anoman fosters sympathy an empathy for the people to care for the universe.
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

Abstract

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 
Co-Authors Budi Setyastuti Darmasti Darmasti Darmasti, Darmasti Setyastuti, Budi Suharji Suharji Suharji Suharji