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All Journal Jurnal Sitakara Greget
Anggono Kusumo Wibowo
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Arts Humanities Education

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DARI RELIEF CANDI MENUJU KARYA TARI: SEBUAH CATATAN KREATIF Anggono Kusumo Wibowo
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (561.26 KB) | DOI: 10.33153/grt.v12i2.493

Abstract

Temple reliefs appear to store data about motifs portraying dance movements that wereknown in the past, although in their depiction, these movements appear broken or fragmented(nyeklèk). As an analogy to this, the pattern of nyeklèkan movements that are well-known inthe Cakil dance can provide a source for creative ideas in the creation of new dances. The questionto be addressed in this paper is how we can use the temple reliefs as a source for creative ideas innew dances. The method used was to trace the values found on temple reliefs and then apply themto the context of performing dance movements, as well as in relation to kinesiology and thesegmentation of the body. Although not in a literal sense, this paper aims to discover the meaningof nyeklèk in all aspects of a performance (movement, music, and artistic setting). In this way,temple reliefs can be understood as the product of a traditional work in the form of artefacts thatcontain a particular meaning. Tradition apparently remains an endless source of ideas. Nyeklèkan,which until now has been understood as a vertex and or a defined bending of the body in Cakilanand strong male dance, is explored in refined or alusan dance with its free flowing movements byadapting the techniques of flowing contemporary dance movements which are based on the techniqueof releasing movements. Nyeklèkan is seemingly a moving frame of movements that areperformed with a technique of freezing at certain points. This provides a rich artistic contrastwhich shows the freedom and ability of the body to perform (or express the language of) a highquality of movements, in every segment of the body, in every field of stance, and in every techniquewhich is applied (whether traditional Javanese or modern-contemporary dance).
PROSES KREATIF PENCIPTAAN TARI KIDUNG TLEDHEK ADAPTASI TAYUB TULUNGAGUNG Juana Jihan Saputri; Anggono Kusumo Wibowo
Jurnal Sitakara Vol. 9 No. 2 (2024): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v9i2.14785

Abstract

Abstrak Penelitian ini bertujuan untuk mengetahui proses kreatif penciptaan karya tari Kidung Tledhek. Masalah difokuskan pada (1) Bagaimana bentuk koreografi tari Kidung Tledhek? (2) Bagaimana proses penciptaan tari Kidung Tledhek?. Guna mendekati masalah ini dipergunakan acuan teori dari Sumandiyo Hadi dalam bukunya yang berjudul Aspek-aspek koreografi kelompok, terdapat 10 elemen yang terdiri dari gerak, ruang, iringan musik, judul, tema, jenis tari, jumlah penari, tata rias dan busana, tata cahaya/ lighting, dan properti. Untuk membahas proses kreatif penciptaan menurut Prof. Dr. Sri Rochana tahapan penciptaan seni meliputi tehnik, eksplorasi, dan penyajian. Metode penelitian ini menggunakan jenis penelitian kualitatif dengan pendekatan koreografi yang ditekankan pada pengumpulan data, studi pustaka, wawancara, dan pengamatan oleh penulis. Hasil penelitian menunjukan bentuk koreografi berasal dari unsur tradisi namun dalam penggarapan karya tari ini menghasilkan suatu koreografi yang memberi nuansa baru. Kata kunci: bentuk, kreativitas, koreografi.   Abstractions This research aims to determine the creative process of creating the Kidung Tledhek dance work. The problem focuses on (1) What is the form of the Kidung Tledhek dance choreography? (2) What is the process of creating the Kidung Tledhek dance?. In order to approach this problem, refer to the theoretical reference from Sumandiyo Hadi in this book entitled Aspects of groups choreography, there are 10 elements consisting of movement, space, musical accompaniment, title, theme, type of dance, number of dancers, make-up and clothing, set lighting/lighting, and properties. To discuss the creative creation process according to Prof. Dr. Sri Rochana, the stages of creation include technical art, exploration and presentation. This research method uses a qualitative research type with a choreographic approach which emphasizes data collection, literature study, interviews and observation by the author. The reseach result show that the form of choreography comes from traditional elements, but in producing this dance work, a choreography that gives a new nuance is produced. Keyword: form, creativity, choreography.
Co-Authors Juana Jihan Saputri