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All Journal Harmonia: Journal of Research and Education Acintya Gelar : Jurnal Seni Budaya Greget
Dwi Wahyudiarto
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Arts Humanities Education

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Journal : Greget

 1 
KAYA TARI “MANUKSMA” SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2709.728 KB) | DOI: 10.33153/grt.v5i2.293

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and Still many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] panda waKeyword: Puppet, Enviroment
KAYA TARI MANUKSMA SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2563.817 KB) | DOI: 10.33153/grt.v2i2.257

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and St ill many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] pandawa Keyword: Puppet, Enviroment.
PRESENTASI ESTETIS JARANAN SENTEREWE KOMUNITAS MANUNGGAL REKSO BUDOYO DALAM FESTIVAL JARANAN TRENGGALEK TAHUN 2023 Margareta, Sherly Hanggary; Wahyudiarto, Dwi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.6729

Abstract

This study examines the aesthetic presentation of the Jaranan Senterewe performance by the Manunggal Rekso Budoyo community at the 2023 Trenggalek Jaranan Festival. The research aims to analyze both the structural form and aesthetic components of the performance, using Sumandiyo Hadi’s theory of performance form and Doris Humphrey’s theory of performance aesthetics (as translated by Sal Murgiyanto). Employing a qualitative research method, data were collected through observation, interviews, and literature review. The findings indicate that the Jaranan Senterewe performance comprises distinctive elements such as dominant movements of the hands, feet, and head influenced by East Javanese traditions; a rigging stage as the performance space; pelog-based musical accompaniment with gendhing lancaran and sampak patterns; and a thematic emphasis on struggle and heroism. The performance features a group dance format with 14 male dancers, traditional costumes, bold makeup, neutral lighting, and symbolic props including kuda kepang, whips, Celeng, and Barongan. The aesthetic structure includes four main components: (1) Design, encompassing spatial formations and temporal sequencing; (2) Dynamics, involving variations in movement and musical intensity; (3) Rhythm, marked by traditional patterns such as mungkus and midak; and (4) Motivation, structured into opening, main, and closing sections. This study concludes that Jaranan Senterewe is a performance rich in symbolic meaning and artistic expression, contributing to the cultural vibrancy of East Javanese traditional arts.
Co-Authors Margareta, Sherly Hanggary Maryono Maryono Midiyanto, Midiyanto Slamet MD, Slamet Widawati, Setya Yuliarmaheni, Ni Nyoman