Garuda - Garba Rujukan Digital

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

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(nyeklÃ¨k). As an analogy to this, the pattern of nyeklÃ¨kan 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 nyeklÃ¨k 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. NyeklÃ¨kan,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. NyeklÃ¨kan 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).

PEMBERDAYAAN MASYARAKAT MELALUI PENYUSUNAN TARI BOTHOKLO SEBAGAI IKON DESA WISATA LEMBAH DUNGDE DESA MLILIR, KALURAHAN GENTUNGAN, KEC. MOJOGEDANG, KABUPATEN KARANGANYAR Dwi Wahyudiarto; Anggono Kusumo Wibowo; Dwi Rahmani
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 5 (2022): Seni, Tenologi, dan Masyarakat #7
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v5i1.168

Abstract Community Empowerment through the Bothoklo Dance as an Icon of the Dungde Valley Tourism Village, Mlilir Village, Gentungan Village, Mojogedang District, Karanganyar Regency, is an accompaniment program to the community as a tangible manifestation of the implementation of the Vision of the Indonesian Institute of the Arts Surakarta. The preparation of Bothoklo Dance as an icon of a tourist village, comes from the traditional culture of the Mlilir Village community. The preparation process is carried out with the community, this is a form of creative creative education so that the community awakens its creative spirit. The method used in the preparation of the Bothoklo dance is the three R method, namely Re-Visiting, Re-Questioning and Re-Interpreting. The results of the preparation of the Botoklo Dance are then trained to the community as a strengthening of tourist attraction. The training was carried out in the Dungde Valley Tourism Village, Mlilir Village, Gentungan Village. This is intended to be closer and introduce the Surakarta Indonesian Art Institute campus to the public. In addition, the form of training with the community can also be an attraction for the community / tourists who come to the Dungde Valley. The result of this community empowerment is the composition of the Bothoklo Dance with the theme of mythological animals in Mlilir Village, packaged in the form of group dance. The music used is a variety of ethnic groups in the Mlilir area, while the clothing uses the artistic rods of mendong with the current packaging. Bothoklo dance is taught to the Mlilir community to be developed as a tourist village icon.

KOMPOSISI GAMELAN KELOMPOK SARDULO ANUROGO PADA FESTIVAL REYOG NASIONAL 2019 Sigit Setiawan; Anggono Kusumo Wibowo
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.5443

This research reveals the composition of the Reyog Ponorogo gamelan, a case study of the Reyog Sardulo Anurogo group in Jember, East Java, in the context of the 2019 National Reyog Festival. The reason for selecting Sardulo Anurogo as the case study subject is due to the group's interesting pluralism aspect, where Reyog is not only studied by the Javanese Ponoragan ethnic group, but also by other ethnic groups in Jember, Madura. The 2019 National Reyog Festival also marked a significant moment for Sardulo Anurogo, as they achieved a top 3 position in the festival, representing the group's highest achievement. The approach used is based on the ideas of I Wayan Sadra, who proposed four methods for composing music. These are (1) the principle of growth, (2) sound transformation or medium, and (3) range or tonal area. These principles areapplied to analyze the composition of the Reyog Sardulo Anurogo gamelan. The research result is the categorization of Reyog music development methods, which can be used as a prototype for composing and enhancing the creative aspects of Reyog gamelan.

The Organology of Pencak Silat and Reog Ponorogo Dance Septa Dwi Saputro; Anggono Kusumo Wibowo
Jurnal Seni Tari Vol 12 No 2 (2023): Vol 12 No 2 (2023)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v12i2.75358

Pencak Silat is one of the well-developed sports in Indonesia, pencak silat is also a self-defence art that teaches spiritual and physical education to its devotees in living up to the moral values in it. The material object of this research is pencak silat and the formal object is the aesthetics of pencak silat. Through the collaboration of the Reog Ponorogo dance with the pencak silat movement, the aim is to create beautiful new creative movements. The implementation method uses training, practice and history through description, analysis and synthesis. The results of the research are martial arts styles which consist of mental-spiritual aspects, self-defence, arts and sports, and also arts in martial arts divided into wiraga, wirama and wirasa as well as collaboration with the Ponorogo reog arts. The art in pencak silat includes every attitude and movement that is shaped and regulated to achieve maximum artistic beauty. The criteria for art, especially dance, have been used as a guideline. The criteria are formulated with the words wiraga, wirasa, and wirama, which have the meaning of harmony and harmony between the body (raga), taste, and rhythm in displaying every attitude and movement of artistic martial arts which consists of three parts, namely exhibition arts, recreational arts pencak silat, and performance arts pencak silat.

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

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.

â€œCAKIL JUGA MANUSIAâ€ (DASAR KONSEPTUAL ME-MANUSIA-KAN CAKIL DALAM PERTUNJUKAN) Wibowo, Anggono Kusumo
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Preparation of dance with the title â€œCakil Juga Manusia (Cakil Also Human: Ing)â€ inspired by someÂ contemporary thinking associated with the figure of Cakil. In the world of show tradition PuppetÂ Stage, Cakil identical as antagonist iconic to the nature of evil and bad. Nevertheless, its presence isÂ always awaited by the audience because of its motion is interesting, distinctive, attractive and acrobatic. In addition to the motion, the character traits that ngglece using everyday language of populistÂ dialogue considered communicative audience. The show is entertaining and communicative as well asÂ the populist spur compilers for presenting a claim jogetan Cakil new ones with shades of populist. Ina fragment of a story, Cakil presented as being humane because it has love, has the property ofÂ honest, innocent, and innocent. The work â€œCakil Juga Manusiaâ€ try to work on one scene that isÂ packaged in a dance drama story about inner feelings Cakil figure in romance. The process of thisÂ work is done by a coherent process stages. Starting from the literature, field studies, data reduction,the discovery of forms till, independent search process, the selection of dancers, the production teamÂ selection, implementation of the exercises, the deepening and strengthening of the work, up to theÂ staging. This work is specifically aimed to re-discover the contrast of the characters Cakil. The rationale behind the idea of this work is the desire to realize the humanity of Cakil, that he has a love,feelings, loyalty, and a sense of sensibility. This effort will greatly affect the appearance of vokabulervokabuler new motion in the frame of a typical motion Ceklekan. Novelty characters and their CakilÂ vokabuler new motion will be attempted to be developed in the frame of narrative fragments of stories. This will add to the challenges of exploration and character motion in the cultivation processÂ works.Keywords: Cakil, the concept works, fragments of Love, and Ceklekan.

PENGALAMAN EKSPLORASI PERTUNJUKAN TARI DALAM ACARA PEMBUKAAN FESTIVAL SEBAGAI TEMUAN METODE CIPTA SENI (Studi Kasus Proses Penciptaan Karya Tari Seno Kridho) Samsuri, S.,; Wibowo, Anggono Kusumo
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

In the domain of public dance performances, aspects of space, time, and particular interests greatlyaffected creative outcomes. Space, time, and particular interests were sometimes considered as limiting the creativity. In this art work planning, the limitation of space, time and interests were used as atrigger for creativity. On this occasion the dance performance creation would be directed to make aset of dance performances as a festival opening by carrying a wayang story titled â€œDewa Ruciâ€, andtrying to show typical performance requirements for a festival opening ceremony, namely: festive, fullof surprises, message events, and still pay consideration to the dramaturgy impression in the packaging. Dance performances as the opening of a festival was a form of performances packaging thatwere within the limits of space, time, and particular interests, it could not be negotiated. While theshort duration still demanded excitement and surprise, the message content of the event must beshown in the work. This became a huge creative challenge for an artist. The experience of creating aperformance in this interest context, became a methodological experience that could be proposed asa finding.Keywords: festival opening perfomance packaging, drama â€œDewa Ruciâ€.

Estetika Garap Tubuh dan Properti dalam Karya Tari Gandhewa Raga Wibowo, Anggono Kusumo; samsuri, samsuri
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4675

ABSTRACTThe dance entitled Gandhewa Raga is a group dance of men and women. This dance is worked on with the beauty of the body and operatives. The body functions as a medium to express the contents of dance and property, as one of the media, said the complement. Disclosure of the beauty of the body worked with property media, namely gandhewa. The motion displayed is the exploration motion of the gandhewa form. The movement of Gandhewa Raga dance is a movement of the Surakarta stout and princess style traditions. This work process aims to explore, find out the meaning of property, and understand the aesthetic values of the body and property. The results of this study are explorations and disclosures of body and property values. The method used is creating dance work with the process of investigation, improvisation, and composition. The aesthetic of the Gendhewa Raga dance will emerge after carrying out the stages of the method. The aesthetic value of body and property can be seen from the form of dance composition that has been arranged and can be enjoyed. This beauty can be enjoyed by aspects of dance movements, namely energy, space, and time, dance accompaniment, fashion make-up, dance performers, staging venues, and property processing. Keyword: Gandhewa Raga, Aesthetic, Phsycal dance, body and property ABSTRAKTari Gandhewa Raga merupakan tari kelompok putra dan putri. Tarian ini merupakan tari yang digarap dengan keindahan tubuh dan poperti. Tubuh yang berfungsi sebagai media untuk mengungkapkan isi tari da propertisebagai salah satu media ungkap pelengkapnya. Pengungkapan keindahan tubuh digarap dengan media propert yaitu Gandhewa. Gerak yang ditampilkan adalah gerak eksplorasi dari bentuk Gandhewa. Gerak karya tari Gandhewa raga adalah gerak tradisi gaya Surakarta gagah dan putri. Proses kekaryaan ini bertujuan untuk bereksplorasi, mengetahui makna properti, dan memahami nilai-nilai estetis tubuh dan property. Hasil penelitian ini merupakan eksplorasi dan pengungkapan nilai tubuh dan properti. Metode yang digunakan adalah metode menciptakan karya tari dengan proses eksplorasi, improvisasi dan komposisi. Estetika ketubuhan tari Gandhewa Raga akan muncul setelah melaksanakan tahapan metode tersebut. Nilai estetis ketubuhan dan propertidapat dlihat dari bentuk koposisi tari yang sudah tersusun dan sapat dinikmati. Penikmatan keindahan tersebut dapat dilihat dengan aspek gerak tari yaitu tenaga, ruang dan waktu, serta iringan tari, tata rias busana, pelaku tari, tempat pementasan dan pengolahan properti Kata kunci: Gandhewa Raga, Estetika, Tari Fisik, Tubuh dan Properti

PROSES PENCIPTAAN DAN BENTUK TARI NGARAP DALAM KARYA TIKEW: CIRCLE OF LIFE “JAK BAWANG ADOK KEUGHIKAN” Adiwendro, Fonda; Wibowo, Anggono Kusumo
Jurnal Sitakara Vol. 10 No. 1 (2025): Jurnal Sitakara
Publisher : Universitas PGRI Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31851/sitakara.v10i1.17691

Penelitian ini bertujuan untuk mengetahui proses penciptaan dan bentuk sajian karya Tari Ngarap. Masalah difokuskan pada (1) Bagaimana proses penciptaan karya Tari Ngarap? (2) Bagaimana bentuk sajian karya Tari Ngarap? Guna mendekati masalah proses penciptaan digunakan acuan teori dari Alma Hawkins yang meliputi tahap eksplorasi, tahap improvisasi, dan tahap pembentukan. Sedangkan masalah bentuk sajian digunakan acuan teori dari Soedarsono yang meliputi gerak tari, pola lantai, musik tari, tata rias busana, properti, waktu dan tempat pertunjukan. Metode penelitian ini menggunakan Practice Led Research, salah satu metode penelitian artistik yang mengacu pada isu penelitian di tengah masyarakat dan dijawab dengan karya tari. Data-data dikumpulkan melalui observasi, wawancara, studi pustaka dan diimplementasikan melalui penyusunan konsep, eksplorasi, pembentukan, serta pelatihan. Kajian ini menyimpulkan bahwa melalui proses penciptaan tari dapat membentuk sajian karya Tari Ngarap yang berangkat dari fenomena panen atau Ngarap Tikew. Karya ini termasuk dalam karya koreografi baru yang tersusun atas interpretasi pengkarya terhadap trilogi hubungan antara Tuhan, manusia, dan alam. Kata Kunci: Proses Penciptaan; Bentuk; Ngarap Tikew

MARKURIUS UWING’S CREATIVITY IN THE WE’ JONGGAN DANCE Puspita, Kristina Mela Sarita Dea; Wibowo, Anggono Kusumo
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6408

The We' Jonggan dance creation by Markurius Uwing at Sanggar Borneo Tarigas has expressive and aesthetic complexity. The We' Jonggan dance is a social event for the Dayak tribe to express joy and establish harmony in living their daily lives. This study aims to describe the source of inspiration, form and function of the We' Jonggan dance performance. This study uses a qualitative descriptive research method. Data were collected through interviews and observations, as well as interpretive data analysis. The We' Jonggan dance creation with its complexity and existence is able to create opportunities for collaborative or colossal work with interdisciplinary knowledge. The artistic creative process in the creation of the We' Jonggan dance is carried out based on the aesthetic experience of its creator. This aesthetic experience can be transformed into a dance form with movement techniques and dance essence that are full of meaning. The results of this study are expected to be able to create development, variation or creation based on dance works of Indonesia.

Title

Found 12 Documents
Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title Search

Found 12 Documents Search

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Title

Found 12 Documents
Search