Anggono Kusumo Wibowo
Institut Seni Indonesia Surakarta

Published : 12 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 3 Documents
Search
Journal : Acintya

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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (468.636 KB) | DOI: 10.33153/acy.v8i1.1911

Abstract

Preparation of dance with the title “Cakil Juga Manusia (Cakil Also Human: Ing)” inspired by some contemporary thinking associated with the figure of Cakil. In the world of show tradition Puppet Stage, Cakil identical as antagonist iconic to the nature of evil and bad. Nevertheless, its presence is 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 populist dialogue considered communicative audience. The show is entertaining and communicative as well as 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 of honest, innocent, and innocent. The work “Cakil Juga Manusia” try to work on one scene that is packaged in a dance drama story about inner feelings Cakil figure in romance. The process of this 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 team selection, implementation of the exercises, the deepening and strengthening of the work, up to the 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 Cakil 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 process 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

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (942.493 KB) | DOI: 10.33153/acy.v9i1.2125

Abstract

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 “Dewa Ruci”, 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 “Dewa Ruci”.
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

Abstract

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