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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 4 Documents
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Search results for , issue "Vol 12, No 1 (2013)" : 4 Documents clear
Analisis Kontekstual Adegan Pernikahan Ratu Ayu Kencanawungu Dalam Tari Langendriyan Sutarno Haryono
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3152.11 KB) | DOI: 10.33153/grt.v12i1.473

Abstract

The overall appearance of a dance is not a construction of which the elements can be analyzed individually but rather a complete and rounded unit (gestalt). Therefore, presentational symbols rather than discursive symbols emerge. Presentational symbols point to the hidden meaning behind the meaning that is directly visible, or reveal a level of meaning that is presupposed within the literal meaning. Of course, when interpreting the meaning of an art which contains a number of different elements, such as dance, a highly complex unit is observed which is made up of all the different elements that cannot be separated one from another. Keywords : Analysis, Contextual, Macapat, and Dance Movements.
Wayang Wong Sebagai Pusaka Keraton Yogyakarta Supriyanto Supriyanto
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3394.917 KB) | DOI: 10.33153/grt.v12i1.477

Abstract

Soedarsono has written widely on the subject of Yogyakarta style wayang wong (a traditional Javanese stage show) as a dramaturgical state ritual in the Yogyakarta Palace. In general, wayang wong is a dramaturgy that can be described as a wayang performance presented by human actors. The term wayang wong may refer to all dramaturgies but its stories are usually taken from the Mahabharata and Ramayana epics. Wayang wong includes dialogue which is performed by the dancers and is based on the art of wayang kulit or shadow puppet theatre. Based on the evidence found in a number of sources, it can be said that the creator of wayang wong in the Yogyakarta Palace was Sri Sultan Hamengku Buwono I who reigned from 1755 – 1794. From the time of Hamengku Buwono V, wayang wong was nurtured and developed until it reached its peak of existence during the reign of Sultan Hamengku Buwono VIII (1921 – 1939). During this period, wayang wong enjoyed its golden era, as could be seen from the number of wayang wong performances that were held, sometimes lasting for several days. However, after the death of Sultan Hamengku Buwono VIII, Yogyakarta style wayang wong experienced a decline in popularity. There were a number of different factors which led to the decline of this noble art form, including social and cultural factors, aesthetical factors, and the factor of patronage. Since its first appearance, traditional wayang wong was an important part of life, government, and state rituals in the Yogyakarta Palace. All of the Sultans from the Hamengku Buwono dynasty continued the tradition of wayang wong performances throughout their reign. In this sense, wayang wong as one of the noble cultures of the Yogyakarta court can also be understood to be a cultural heirloom. This has also been explained by Soedarsono in reference to the collection of serat kandha, or wayang wong story scripts that are kept in the Yogyakarta Palace. In addition, the position of wayang wong as a ritual performance was a blessing for the kawula dalem, or palace servants, who watched the performances. Performances of wayang wong in the Yogyakarta Palace were a form of state ritual which functioned as a ceremony to promote fertility and prosperity. The prayers surrounding this ritual were offered at the beginning and end of a performance and read by the pemaos kandha (narrator) of the wayang wong performance.Keywords : wayang wong, heirloom, court.
Topeng Cirebon Dalam Teori Fungsionalisme Toto Sudarto
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2799.468 KB) | DOI: 10.33153/grt.v12i1.479

Abstract

The word ‘function’ has been elaborated in many aspects. In every single context it also has a different meaning. Despite having a specific meaning, the meaning of the word ‘function’ differs from one discipline to another. A.R. Redcliffe Brown and Bronislow K. Malinowski are the pioneers of the theory of function amongst anthropologists. Their assumption, which is based on their theoretical constructs related to social and cultural integration, has an independent system and consists of every single part or element, since every element or part is not autonomous but rather is connected to and even dependent on each other. On the other hand, every element or part of the system can exist because it is needed, or experiences an interdependency or inherence not by accident, and its whole appearance belongs entirely to the orientation of a living system. The changing of each element will have an impact on other elements. The Cirebonese masked dance can be studied from several disciplines. In this article, the Cirebonese masked dance is examined using a theory of function, especially functionalism of anthropology. In addition the dance is assumed to be a system of performance which consists of various elements that are related to each other. This article on the Cirebonese masked dance will explore its dance symbols through the mask, in relation to its religious, educational, socio-political, economic, bureaucratic, and aesthetical elements.Keywords : function, theory of function, Cirebonese masked dance, functionalism. 
Bentuk Pertunjukan Jaipongan Dalam Budaya Populer Tubagus Mulyadi
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2103.792 KB) | DOI: 10.33153/grt.v12i1.483

Abstract

Jaipongan has become a part of the popular culture due to its dynamic movements, and its wide popularity has turned it into a consumptive culture which has the ability to make money. The presence of Jaipongan outside its own community is marked by its spread to a number of different areas, and also its merging or acculturation with other local art forms. Outside its own community, Jaipongan not only exists as a form of traditional dance or background dance but has also influenced other art forms, including music which now uses Jaipongan drum patterns.Keywords : Jaipongan, Popular Culture, and Consumptive. 

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