Article Per Year (5 Year)
p-Index From 2021 - 2026
1.532
P-Index
This Author published in this journals
All Journal Panggung Jurnal Sitakara Acintya Gelar : Jurnal Seni Budaya Greget ARTISTIC : International Journal of Creation and Innovation
Soemaryatmi Soemaryatmi, Soemaryatmi
Unknown Affiliation
Arts Humanities Education Languange, Linguistic, Communication & Media

Published : 11 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 4 Documents
Search
Journal : Greget

 1 
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.
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.
GARAP TARI SANG KARTINI KARYA RAJENDRO SUMARJONO DI KABUPATEN REMBANG Anita, Anita; Soemaryatmi, Soemaryatmi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i1.4438

Abstract

Tari Kartini Kabupaten Rembang merupakan karya Rajendro Sumarjono untuk mengikuti Festival dan Lomba Seni Siswa Nasional (FLS2N) tingkat SMP Kabupaten Rembang tahun 2011. Kemudian pada tahun 2014 Tari Sang Kartin diminta oleh Dinas Kebudayaan Kabupaten Rembang dan Dinas Pariwisata yang akan dilaksanakan secara rutin pada tanggal 20 April dalam rangka memperingati HUT RA Kartini di Pendopo Kabupaten Rembang. Permasalahan dalam penelitian ini adalah (1) bagaimana bentuk tari Sang Kartini, (2) bagaimana cara kerja tari Sang Kartini. Penelitian ini menggunakan metode penelitian kualitatif, melalui tahapan observasi, studi pustaka dan wawancara. Mengungkap bentuk karya tari Sang Kartini, menggunakan teori Slamet MD yang membahas tentang unsur-unsur pembentuk tari yang meliputi gerak, ritme, ekspresi atau perasaan, kostum, panggung, dan penari. Sedangkan untuk mengungkap karya tari menggunakan teori Rahayu Supanggah meliputi unsur-unsur kerja seperti bahan kerja atau wilayah kerja, penggarap, sarana kerja, perlengkapan atau alat kerja, penentu kerja, dan pertimbangan kerja. Hasil penelitian ini menunjukkan bahwa Tari Kartini merupakan tarian berkelompok yang dibawakan oleh 5 orang penari wanita. Struktur karya terdiri dari 3 bagian yang menggambarkan suasana kesedihan dan semangat juang. Musik pengiringnya merupakan jenis musik pentatonik sebagai pembangun suasana dan sebagai penguat gerak. Karya gerak yang digunakan mengacu pada tari Putri Gaya Surakarta yang dikembangkan dari segi volume, ritme dan tekanan. Sedangkan harta berupa kain merah yang dieksplorasi melambangkan semangat RA yang membara. Kartini. Karya tari ini dibawakan oleh penari wanita dengan postur tubuh yang sama dan dominan dibawakan dengan teknik gerakan kompak yang bertujuan menghadirkan semangat perjuangan. Unsur-unsur dalam karya tari ini dirajut dalam satu alur yang saling terkait yang menggambarkan perjuangan emansipasi perempuan.
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.
Co-Authors Anastasya Kusuma Wardani Anita Anita Anjali, Sangghita Darmasti, Darmasti Fachry Abda El Rahman Suharji Suharji Sukirman, Sri Ningsih Sumargono Utomo, Catur Prayogo Yulianti, Ninik Putri