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All Journal Acintya Greget Hanifiya: Jurnal Studi Agama-Agama Jurnal Kajian Seni Gesture: Jurnal Seni Tari Paradigma: Jurnal Kajian Budaya
R.M. Pramutomo
Fakultas Seni Pertunjukan Institut Seni Indonesia, Surakarta
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
TARI NHAY LARA RUDA: SEBUAH REFLEKSI HUMANISME PEREMPUAN TIONGHOA MUSLIM Latifah, Salsabila Alfi; Pramutomo, R.M.
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.v25i1.6771

Abstract

This study explores the creative process behind the Nhay Lara Ruda dance by Salsabila Alfi Latifah, focusing on six fundamental components: (1) source materials, (2) personnel, (3) facilities, (4) tools and equipment, (5) influencing factors, and (6) creative considerations. The analysis of the dance form is divided into two key aspects: (a) the physical form—comprising elements that are perceptible through the five senses, such as movement, music, props, and floor patterns; and (b) the expressive form—which encompasses aesthetic and symbolic meanings. This analytical framework is informed by Rustopo’s perspective, as cited in Sejarah Tari Gambyong: Seni Rakyat menuju Istana, which conceptualizes artistic form as the embodiment of an artist’s internal experiences, made manifest through tangible media. It emphasizes the dynamic interplay between form (wadah) and content (isi). The notion of garap (creative composition) follows Rahayu Supanggah’s theoretical model, which underscores the synthesis of technical execution and artistic intuition. Employing a qualitative research methodology, the study utilizes a combination of performance analysis, literature review, in-depth interviews with selected informants, and direct observation of the Nhay Lara Ruda choreography. The findings indicate that the dance originates from an aesthetic vision and symbolically portrays the character and life journey of Nhay Lara Ruda. The work serves not only as a form of artistic entertainment but also as a symbolic narrative of perseverance and the human pursuit of happiness.
PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
Co-Authors Dewi, Maharani Lutvinda Elvina, Luh Handayani, Ketut Putri Kuncoro, Jonet Sri Latifah, Salsabila Alfi S Sriyadi Sari, Yoni Wulan Sugiarti, Yeni Wibowo, Angga Febri Widyastutieningrum, Sri Rochana