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All Journal Panggung Jurnal Sitakara Acintya Gelar : Jurnal Seni Budaya Greget ARTISTIC : International Journal of Creation and Innovation
Soemaryatmi Soemaryatmi, Soemaryatmi
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Arts Humanities Education Languange, Linguistic, Communication & Media

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Karya Kolosal Tari Bandungrejo dalam Rangka Hari Tari Dunia di Surakarta Soemaryatmi, Soemaryatmi
PANGGUNG Vol 28, No 1 (2018): Kontestasi Tradisi: Seni dalam Visualisasi Estetik, Naskah, dan Pertunjukan
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v28i1.441

Abstract

The aim of the research of the colossal artwork of Bandungrejo dance which was held on the 9th World Dance Day in ISI Surakarta is to description the information about the development of artistic creativity that has been developed in the community. The method that is used in this research involves the collection of data by using observation, interview, and documentation. The data processing is done by triangulation techniques. This study uses a sociological approach that considers art that the artwork is an expression of community groups.The research result showed that the colossal artwork of Bandungrejo dance is such a culmination of all of the artworks which is compiled into a dance masterpiece. The idea of this colossal folk dance is adopted from the legend of Ki Joko Bandung whose stages of presentation structure consisted of introduction, midle, climax and closing. It has wide range of motions which consists of symbolic motions, realist movements (daily-life motions) and motions of some customized characters. The musical composition that is used as a companion in the colossal dance is such a popular folk song, Ilir-ilir, Elo-elo narration, Gandrung Kemakmuran, Guyub Rukun Makaryo, and Langgam Rahina.Keywords: colossal work, folk dance, dance dayABSTRAK Tujuan penelitian karya kolosal tari Bandungrejo dalam Hari Tari Dunia ke-9 di ISI Surakarta adalah untuk mendeskripsikan perkembangan kreativitas seni yang ada di masyarakat. Metode penelitian yang digunakan meliputi pengumpulan data dengan teknik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan teknik trianggulasi. Penelitian menggunakan pendekatan sosiologi seni yang beranggapan bahwa karya seni merupakan ekspresi kelompok masyarakat. Hasil penelitian menunjukkan karya kolosal tari Bandungrejo merupakan kulminasi dari beberapa karya yang ada menjadi sebuah karya yang besar. Ide garap tari kolosal kerakyatan diangkat dari legenda Ki Joko Bandung. Struktur sajian terdiri dari bagian awal, tengah, klimaks dan penutup. Ragam gerak tari  yang digunakan sangat bervariasi terdiri dari gerak simbolis, gerak realis (sehari-hari) dan beberapa menyesuaikan dengan karakter tokoh yang ada. Komposisi musikal, lagu kerakyatan, Ilir-ilir,  Elo-elo Gandrung Kemakmuran dan Guyub Rukun Makaryo hingga langgam Rahina adalah Musik yang mengirinyaKata kunci;  karya kolosal, tari rakyat, hari tari.
Dampak Akulturasi Budaya pada Kesenian Rakyat Soemaryatmi, Soemaryatmi
PANGGUNG Vol 22, No 1 (2012): Menggali KEkayaan Bentuk dan Makna Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v22i1.33

Abstract

The sub district of Selo lies between the slope of Merapi and Merbabu mountains. It has several arts which are still developing because of the support from the surrounding societies. Folk arts in Selo have been performed in second and forth weeks since 2008 in the Hall of Tourism Office, Selo sub district. Some of the dance forms have come to acculturation, for example, dances of Campur Bawur, Suro Indeng, Buditani and Prajuritan. Folk arts become a media for conveying feeling and thinking coming from the artist along with the supporting society. Involvemen of the arts in ritual as well as non ritual events shows that the arts have important role in the society’s life.The dances of Campur Bawur and Prajuritan  as the media of expression have been performed in onther areas such as Surakarta for the sake of appreciation and entertainment. Arts performance also represents the society’s legitimacy or belief of the dead spirit. The dead spirit as the embryo of human being and the societies is considered to be able to protect and give safety to the socienty. As an entertainment, the form of its movement is simple and the accompaniment is dynamic. Every per- formance is mostly affected by situation of the society.  The forms of make up, costums, movements, and accompaniment have mixed with moern performance. Keywords: folk dance, aculturation, entertainment.
REFLEKSI PENCIPTAAN TARI NYI PANDANARAN PRAJURIT PEREMPUAN Anjali, Sangghita; Soemaryatmi, Soemaryatmi
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.v21i2.5985

Abstract

The Nyi Pandanaran Prajurit Perempuan dance is a choreography created by Sangghita Anjali in 2021. This dance will be performed at the ISI Surakarta Great Theater building on January 7, 2022. The Nyi Pandanaran Prajurit Perempuan dance has a theme of soldiering. This work is presented by a single female dancer. The title of this research is Reflection on the Creation of the Female Warrior Nyi Pandanaran Dance which will reveal two problems, namely how the creative process of the female warrior Nyi Pandanaran dance is and how the form of the dish is presented. To dissect the Creative Process problem, Mel Rodhes's theory of 4P (Four P’s Creativity) Thoughts is quoted by Utami Munandar, while the Form of Serving uses the theory of Forms according to Djelantik. This study uses an artistic practice-based research method consisting of Re-Visiting/visiting again, Re-Questioning/questioning, and Re-Interpreting/re- interpreting. The results of this study indicate that the Creative Process of compiling the Nyi Pandanaran Prajurit Perempuan dance was produced through the stages of preparation, incubation, illumination, and leveraging/evaluation. Nyi Pandanaran Dance Prajurit Perempuan is a dance that is presented in a singular form. The dance moves used are traditional movements with clothing designs inspired by the Semarang model warriors, and using gamelan musical instruments combined with modern musical instruments such as the saxophone and chimes. These elements are assembled into one in a presentation, in a plot consisting of three scenes that reveal an atmosphere of majesty, firmness, determination, persistence, and submission. The Nyi Pandanaran Prajurit Perempuan dance is a choreographic creativity that is packaged in totality.
BENTUK DAN PROSES PENCIPTAAN KARYA TARI ABHIMANTRA PADA KOMPETISI FESTIVAL KESENIAN INDONESIA 2023 DENPASAR BALI Anastasya Kusuma Wardani; Soemaryatmi, Soemaryatmi
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.v9i2.14882

Abstract

Penelitian bertujuan menjelaskan secara analitik tentang sebuah proses penciptaan karya tari dalam konteks kompetisi atau perlombaan FKI 2023 yang membuka peluang pada mahasiswa terbaik di Institut perguruaan tinggi seni, untuk tampil sebagai juara. Melihat fakta-fakta proses penciptaan karya tari Abhimantra yang diciptakan dalam konteks perlombaan ini, menarik untuk dibahas secara ilmiah karena membuka wacana untuk memahami bentuk karya dan proses penciptaannya dalam konteks perlombaan, yang karakternya selalu berada dalam tekanan psikologis untuk menang, mewakili kelompok atau institusi, dan kreatif dalam ruang sempit aturan-aturan lomba. Rumusan permasalahan pada tulisan ini adalah mempertanyakan 1) bentuk Karya Tari Abhimantra dan 2) proses penciptaan Karya Tari Abhimantra. Metode penelitian artikel yang digunakan adalah penelitian kualitatif dengan penggalian data pengamatan partisipatif karena penulis adalah penari dalam karya Abhimantra. Penelitian ini menggunakan teori analisis Sumandiyo Hadi tentang bentuk dan proses penciptaan karya tari dan teori analisis Ahimsa Putra tentang teks dan konteks karya seni. Melalui penelitian ini disimpulkan bahwa 1) Karya tari Abhimantra adalah karya tari bentuk duet atau pasangan yang menggunakan konsep garap tari surealis bersumber dari pengembangan vokabuler Gaya Surakarta, ekplorasi gerak-gerak volume besar, gerak ekstrim yang beresiko, dan ekplorasi unsur pendukung koreografi seperti tata busana, rias, tata cahaya, serta musik, 2) penciptaan karya tari ini tidak bisa leluasa karena harus mengikuti Juknis lomba, dan 3) secara psikologis penciptaan tari ini di bawah tekanan keinginan untuk memenangkan perlombaan dan 4) karya tari Abhimantra koreografi yang khas dalam konteks kepentingan perlombaan. Penulisan artikel ilmiah ini memandang bahwa, pada proses penciptaan karya tari Abhimantra adalah kreativitas yang harus mencurahkan lebih banyak energi kreatif agar mampu mewujudkan karya tari yang berhasil dalam konteks perlombaan. Kata kunci: Karya Tari; Kompetisi; Bentuk; Proses Penciptaan; Teks dan Konteks.
STUDI PUSTAKA TARI SRIMPI MUNCAR GAYA YOGYAKARTA DAN GAYA MANGKUNAGARAN SURAKARTA Soemaryatmi, Soemaryatmi
Acintya Vol. 13 No. 2 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i2.4123

Abstract

ABSTRAK Penelitian dengan judul  Studi Pustaka Tari Srimpi Muncar Gaya Yogyakarta dengan Gaya Mangkunegaran Surakarta, merupakan penelitian  membandingkan dua judul tari yang sama guna  menemukan persamaan  untuk ditarik ke dalam konklusi baru. Penelitian pustaka ini bersifat  kualitatif, dengan menggunakan metode  studi pustaka dan pendekatan koreografi.Hasil penelitian menunjukan bahwa, tari Srimpi Muncar yang berkembang di Mangkunagaran Surakarta memiliki persamaan nama dan bentuk dengan tari yang berkembang di Istana Yogyakarta. Jenis tarian yang pada awalnya memiliki nilai sakral dan  dipergelarkan di kalangan terbatas yaitu istana,   seiring perubahan jaman menjadi pertunjukan hiburan dan disajikan dikalangan masyarakat.Tari Srimpi Muncar di Yogyakarta  diciptaan olah Hamengku Buwana ke VI sedang Srimpi Muncar di Mangkunegaran Surakarta disusun kembali oleh Mangkunegara VII. Di dalam sajiannya kedua Tari Srimpi Muncar terdapat perbedaan dan persamaan yang menarik. Tari Srimpi Muncar disusun dengan gerakan tari yang bersumber dari tari bedhaya,  dalam penyajiannya terdapat pengembangan gerak yang spesifik yaitu gerak sojah dan gerak guladrahan, dalam seluruh sajiannya memiliki teknis atau gaya yang berbeda. Adapun persamaannya, struktur sajian, iringan yang digunakan gending Muncar, desain kostum yang digunakan juga menyesuaikan dengan tokoh yang diperankannya yaitu putri cina dan putri jawa. Tema yang diangkat adalah percintaan dengan sumber ceritera mengambil dari Serat Menak yang bernafaskan ke-Islaman.  Kata Kunci: Tari, Muncar, Sojah, Guladrahan, Putri Cina ABSTRACTThe research entitled Literature Review about Srimpi Muncar Dance in Yogyakarta and Mangkunegaran Surakarta Style is a research that compare same dance in two different style. It aimed to find some similarities and then integrated into a new conclusion. It is a qualitatively research which uses literature method and choreography approach.Research result shows that Srimpi Muncar Dance which has developed at Mangkunegaran Surakarta actually has some similarities such as name and format with one else at Yogyakarta Palace. At first, this dance with sacred value performed for special audience. But now, it performed for all audience and come to be entertainment material. Srimpi Muncar dance either in Yogyakarta style or Mangkunegaran style, still in relation with its history. Both of dances have some differences and similarities in performance. Srimpi Muncar dance arranged with specific movements based on bedaya dance. They have specific movement such as sojah and goladraham but different in technique and style. They are equally accompanied by gendhing called Muncar. Costume for these dance allowing characters, Chinese and Javanese princes. Dance theme is romance inspired by Serat Menak with Islamic nuance. Keywords: Muncar Dance, Sojah, Guladrahan, Chinese princess. 
KEPENARIAN ADI PUTRA CAHYA NUGRAHA DALAM TARI NGREMA BOLET JOMBANGAN Utomo, Catur Prayogo; Soemaryatmi, Soemaryatmi
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.v25i1.7077

Abstract

This research explores two main issues related to the form, technique, and performance quality of Adi Putra Cahya Nugraha in the Ngrema Bolet Jombangan dance: (1) the formal structure of the Ngrema Bolet Jombangan dance, and (2) the characteristics of Adi Putra Cahya Nugraha’s performance in terms of dance technique and expression. The study is grounded in the theoretical perspectives of Alma M. Hawkins on dance form, Sumandiyo Hadi’s theories of form and technique, and Tri Broto Wibisono’s concept of asisapapongolati. Using a qualitative research methodology with a choreographic approach, data were collected through field observation, interviews, and documentation. The findings reveal that the Ngrema Bolet Jombangan dance is a traditional folk dance with a warrior theme, performed in solo, duet, or group formations. Its structure consists of four main sections: (A) Ajon-ajon (opening), solah kanuragan, and isen; (B) Solah kridha and solah busana; (C) Solah budhalan; and (D) Pungkasan (closing). Adi Putra Cahya Nugraha, as the pengreman (lead dancer), demonstrates refined technical abilities and expressive qualities consistent with the principles of asisapapongolati. His dance practice incorporates both ritualistic and technical preparation, including nyebeng, nyajen, and gladen. Additionally, Adi showcases a personal stylistic identity through specific movement techniques such as adeg tanjak, saduk sampur, selentik sampur, and gantungan jaranan. This study contributes to the understanding of individual interpretation within traditional dance forms and highlights the role of personal style in sustaining and innovating cultural performance practices.
CREATIVE PROCESS OF HALANG DANCE Yulianti, Ninik Putri; Soemaryatmi, Soemaryatmi
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4431

Abstract

Halang dance is a choreographic work that departs from a folk tale, namely the love story of Raden Inu Kertapati with Galuh Candra Kirana who faces many obstacles. The formulation of the research problem, namely: How is the creative process of creating Halang dance? This study uses a practice-based research methodology. The creative process in creating this dance uses the 3R theory. The result shows that the artistic process gives freedom of interpretation and creativity to anyone to realize ideas in the form of works. Halang dance is a work of art that is done through a creative process by going through the steps of Re-Visiting, Re-Questioning, and Re-Interpreting. Then through the steps of the creation process, namely exploration, improvisation, composition, evaluation, rehearsal, and performing. Halang dance is performed by four scenes as a literal dramatic choreography. The elements in Halang dance are able to convey the atmosphere and message to the audience that in truth life will never be separated from all problems and love will continue to grow and develop in souls who have sincerity.
Sapta Cipta Rasa Tunggal Offering Dance at the 51st Dies Natalis of ISI Surakarta suharji, Suharji; Soemaryatmi, Soemaryatmi; Darmasti, Darmasti; Efrida, Efrida; Sumargono, Sumargono; Sukirman, Sri Ningsih
Gelar: Jurnal Seni Budaya Vol. 20 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i2.4591

Abstract

This research is a case study of the performance of the offering dance at the ISI Surakarta 51st Dies Natalis Ceremony (held on July 15th, 2015) by seven dancers. The seven dancers previously acted as leaders of the Senate procession, after the members of the senate sat in their seats, they danced to express the character of Bima so that it could be said that the dance was part of the ceremonial event. The sesaji dance is an expression of Bima's character, which in Javanese collective knowledge is a complex system of symbols. This phenomenon is approached through the constructivism paradigm, especially from the point of view of interpretivism where the methodological mission is to elaborate a reflective events. The research question posed is what constitutes a gift or alms in the Sapta Cipta Rasa Tunggal – title of that dance — as offering dance considering that offerings lexico-etymologically means giving alms or charity. Triangulative data as objects of observation are videos of dance performances via the YouTube platform, interviews with source persons, and library data. The conclusions drawn are: 1) this sesaji dance is a form of mnemonic (kinetic mnemonic) in the form of motion as a tool for reflective memory; 2) offering dance and imitation of the imaginary character in the kind of the Bima containing doxa – knowledge that does not need to be verified – that the ethical attitudes that humans should have are teteg, tatag, teguh, tanggon, and tanggap.
Co-Authors Anastasya Kusuma Wardani Anjali, Sangghita Darmasti, Darmasti Efrida Efrida, Efrida Suharji Suharji Sukirman, Sri Ningsih Sumargono Utomo, Catur Prayogo Yulianti, Ninik Putri