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Katarina Indah Sulastuti

Institut Seni Indonesia (ISI) Surakarta

Author-ID : 3316038

Arts Humanities

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GERAK DAN KARAKTER TARI PADA TOKOH WIBISANA DALAM LAKON SMARATAPA WAYANG ORANG KAUTAMAN Dwi Ariyani; Katarina Indah Sulastuti
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Motion research and characters dance on the character Wibisana in the Lakon Smaratapa Wayang Orang Kautaman is reviewing the issues of the form of Wibisana character, motion and character dance in the Wibisana figures in the Lakon Smaratapa on October 19, 2018 at the Teater Besar ISI Surakarta. These two problems are examined using several concepts. Analysis tool to examine the form of Wibisana figures, using the verbal and nonverbal concepts by Maryono. Dance and character discussion on Wibisana figures using the concept of motion arrangement by Dorris Humprey, as well as the concept of character in Wayang Kulit, there are three types of characters: typology, temperanment, and character. The research also seeks to examine the sense of taste from the cast of the characters outlined in the concept of sengguh, lungguh, and mungguh. This research is qualitative, data collected through observations, interviews, library studies, and data analysis. The result of the study was first, Wibisana was one of the characters of Wayang Kulit Purwa in Ramayana Epic, the presentation of the form refers to Wayang kulit which is seen from Antawecana, motion, makeup, and fashion. Secondly, it is known that the cultivation of motion and the character of the dance is based on the motion of the alus banyu mili and is given an emphasis on the motion that brings out the character of the dance figure Wibisana that Alus Lanyap Wibisana characters are also supported by vocals in the form of tembang and antawecana. The discussion of Wibisana’s character is seen from the background, known that his character is authority, defending truth, good, and willingly sacrificing. Keywords: forms of servings, motion, dance characters.

PERAN JOGED DANYANG DALAM RITUAL BERSIH DESA DI DUSUN NATAH Siti Khasanah; Katarina Indah Sulastuti
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Joged Danyang is the core dance in the village’s clean ritual ceremony held in Natah hamlet of Tirtomoyo district Wonogiri. Natah villagers believe that Natah Hamlet is guarded by Danyang named Gadhung Mlathi. People believe that if not implementing a clean ritual village then there will be catastrophe. The problems that will be discussed in this research are roles and forms. The method used is a qualitative method with a descriptive analytical approach displays the observation results based on the actual circumstances. A discussion on the form of Joged Danyang using the theory of Suzane K. Langer includes: Dancers, motion, makeup, dance music, time and place, and offerings. To discuss the role of Joged Danyang using the theory of Sumandiyo Hadi as worship or adoration to the spirit of ancestors and communication with God or the Almighty, as a means of influencing the power of nature and as a means for legitimacy. Results of this study showed that the form of a Joged Danyang very simple, movement experiencing repetition and view of dancers focus on Danyang furniture. Joged Danyang role respect and communication to the community. Joged Danyang from the clean ritual of the village. Some impacts of entertainment, economic aspects, and aspects of the Social. Thus Joged Danyang has an important role in Natah community of Tirtomoyo Sub-district and surrounding areas.Keywords: Joged Danyang, form, and role.

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