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INDONESIA
Greget
Published by Institut Seni Indonesia Surakarta
ISSN : 1412551X     EISSN : 2716067X     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Greget focuses on theoretical and empirical research in the Dance Arts. The journal welcomes the submission of manuscripts with the theoretical or empirical aspects from the following broadly categories.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 5 Documents
 1 
Search results for , issue "Vol 1, No 2 (2002)" : 5 Documents clear
BARONG KUNTISRAYA (Sekilas Segi Estetisnya) I Nyoman Putra Adnyana
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3671.396 KB) | DOI: 10.33153/grt.v1i2.207

Abstract

Barong Kuntisraya, a dancing-role play performance, is a traditional Balinese one that makes the use of theme related to the Rwa Bineda myth. Balinese truly put their belief upon Rwa Bineda that becomes the myth. They are sure that the two distinctive or opposite powers appear side by side in the human life in the world. In its on-stage performance, it presents two enormous powers through the Barong showing the good and Rangda representing the bad.The peifo~mance of Barong Kuntisraya is so interesting, either as the show or as the example on the ground that the reflected aesthetic expressions in the performance invites us to think and contemplate the various meanings behind the actions.Key Word: Aesthetic, Barong Kuntisraya.
ESTETIKA ISLAM DALAM KONTEKS KEHIDUPAN SOSIAL Setyo Widyawati
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4731.232 KB) | DOI: 10.33153/grt.v1i2.213

Abstract

The aim of this writing is to give commentary on Islamic Aesthetics In the frame of sicial life. The con.sequency of this is that islamic Aesthetics fixes two goals, worldly and heavenly goals. Moslems believe that heavenly goal is important than the worldly one, and to achieve this goal moslems need dzikrullah in any activity including working with arts. Dzikrullah means remembering A118h in an intense Consciousness with persistent intensity (istiqomah).Man needs art to express his feeling of beauty which is inherently born with him, while an expression of art becomes one of the manifestations of dzikruliah itself. Beauty is identified as art Islamic Aesthetics offers a concept of how to work with art in an Islamic way, and how to express beauty which contains truth and goodness. The supreme source of beauty is Allah Himself and He, too, the destination of beauty. The essence of art gets its reality in the brilliant brain of Allah. Consequently, artistic creativity generating from Allah’s beauty gives out spiritual values in broad spectrum.Islamic spirituality as an essence of islamic art has a close relation with the dimension of Islamic inner spirit, the dimension of inferiority of/slam. Al Quran and Al Hadits supply resources which inspire artists to get forms of Islamic inner dimension, the inspiration if which has the quality of supreme individual. Two examples of these forms are the calligraphy which is the art of writing Arabic characters and ten architecture of mosques.Calligraphy and the architecture of mosque are artistic works of supreme individual quality with the beauty reflected by Allah’s inspiration. Calligraphy reflects two kinds of beauties, the aesthetic and the trancendental ones. Islamic artistic objects show the values of beauty in themselves as far kinds of nd the trancendental ones. Islamic alues of beauty in themselves as faras generated from perpetual source of inspiration which will never stop flowing. Islamic spiritual message is the presence of consciousness of The One God through the beauty of artistic expressions formed by the artists.Keywords:Islamic art, dzikrullah, lslamic spirituality
KONSEP BIWANWISALUS DALAM TARI KURSUS Toto Sudarto
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4808.744 KB) | DOI: 10.33153/grt.v1i2.227

Abstract

West Java, dance in recognized by Sudanese dance, one kind of Sudanese in Tan Kursus (Course Dance). Tan Kursus develops from Tayub dance which co//aborted Topeng Cirebon. With in developing of Tan Kursus seems performing art for mans. There are five matters of criteria must be attended for rich of perfectly level for the dancers in Sudanese dance.I would like to study as specially the criteria of danser in kind of Tan Kursus. The criteria are acronym of Biwanwisalus (bisa, wanda, wirahma, sari~ alus). A/us/body coordination: in general skill uses all the body parts, othe,wise to run up the movement of the dance. Wanda/suitable of realizer: the dance structure of reaching of types suitable by the dance with runing up. The type are including costume, make up and dancer body. Wirahma/rasa irama: in on time to cuny of movements rhythm 0/though on time how to understand to ward dance music. Sari/penghayatan: deep understanding of thema and impression for etting energy will accure for the dance to the trough out to became impression wich effected by outsiderhnterpretation ability. Alus/aliran gerak: is throwing down of movement from level to following level withuot accunng difficulty.Key word: Biwanwisalus, Kursus Dance, changes, and developments.
NILAI-NILAI ESTETIS TARI GAMBYONG Sri Rochana Widyastutiningrum
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7922.109 KB) | DOI: 10.33153/grt.v1i2.229

Abstract

The performance of Gambyong Dance has a relationship with aesthetic value. This dance expresses the feminineness, softness, and liveliness of a woman. The aesthetic values of Gambyong Dance especially of the harmony between the movement of the dancer and the rhythm of the melody of the drumming. To present the dance, the choreographer and the emotion of the dancer have a great influence in determining the aesthetic of Gambyong Dance. So, if the dancer have a good emotion and is able to express It perfectly, the aesthetic values will exist and might become the expression of the erotic and sensual Gambyong Dance. This expression will fulfill if the Gambyong Dance danced by the dancer who meet the criteria of Jogèd Mataram and Hastha Sawanda dances.Key word: Aesthetic value, Joged Mataram, and Hastha Sawanda.
TARI PIRING PADANG MAGEK (Sebuah Tinjauan Estetik) Syahrial Syahrial
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5222.897 KB) | DOI: 10.33153/grt.v1i2.245

Abstract

Tan Pinng is a traditional art which can be found in every nagan in Minangkabau. Nagari Padang Magek, in Tanah Datar Regency West Sumatera Province, is a nagan which has and maintains Tan Piring. As a traditional art, Tan Pinng holds certain aesthetic values. The aesthetic values are reflected by unity, complexity, and intensity a series of mevements supported by other aspects like costumes, ivoperties, musics, and the like in their presentation. Key word. Aesthetic, unity, complexity, and intensity.

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