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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 8 Documents
 1 
Search results for , issue "Vol 14, No 1 (2015)" : 8 Documents clear
TARI BARONGAN KUCINGAN PADA PERTUNJUKAN JARANAN KELOMPOK SENI GUYUBING BUDAYA DI KOTA BLITAR Sisilia Dian Santika Dewi
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1101.06 KB) | DOI: 10.33153/grt.v14i1.1665

Abstract

The Barongan Kucingan dance is a dance which imitates the movements of a cat and issupported by properties in the form of a barongan(a lion’s head) that covers the face of the dancer.The Barongan Kucing dance is believed to depict the King Singo Barong. This research aims tofind out more about the form and role of the Barongan Kucing dance as performed by the GuyubingBudaya Art Group at a Jaranan art performance in the town of Blitar. The research is qualitativein nature and uses an analytical descriptive method which analyzes the results of the observationin the field and describes them in written form. One of the stages of the research is data collection,obtained through a library study, observation, documentation, and interviews. The results of theresearch about the form of the Barongan Kucing danceas performed by the Guyubing Budaya ArtGroup show in detail various aspects or elements of its choreography, including the dancer, themovements, the floor patterns, the music, the costumes, and the properties. The role of the BaronganKucing dance in the Jaranan art performance by the Guyubing Budaya Art Group is to attract theattention of the audience at the start of the performance and again at the end of the performance toprovide a climax which is marked by a trance dance.Keywords: Form of Performance, Barongan Kucingan Dance, and Role.
PENGGARAPAN BENTUK PERTUNJUKAN RONTEG SINGO ULUNG DI PADEPOKAN SENI GEMA BUANA PRAJEKAN KIDUL, KABUPATEN BONDOWOSO Euis Mirna Nurchahya
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (910.042 KB) | DOI: 10.33153/grt.v14i1.1657

Abstract

This research uses a qualitative method with an interpretative descriptive form whichpresents a picture, description, and explanation of the data obtained from observation and interviews. The results of the data are then presented and explained accordingly. The performance ofRonteg Singo Ulung was created in 1990 and obtained its copyright in 2004. It has earned anumber of rewards and has also become an icon of the Bondowoso district. The goal of this researchis to discover how the performance of Ronteg Singo Ulung was created and how its differentelements are treated, including the background to its creation, its creator, its motivating factors,its artistic interpretation, and its proponents. The method used for collecting data included alibrary study, together with observation, and interviews.Keywords: Form of Ronteg Singo Ulung and Interpretation.
PERTUNJUKAN KABARET OYOT GODHONG DI MIROTA BATIK YOGYAKARTA Ni Luh Made Kartika Ratna Dewi
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1199.508 KB) | DOI: 10.33153/grt.v14i1.1667

Abstract

The research entitled “The Performance ofOyot GodhongCabaret in Mirota BatikYogyakarta” is in the form of a qualitative descriptive analysis which uses a creative approach.The goal of the research is to describe analytically the form of the performance and the creativework of all those who support the Oyot Godhong Cabaret in Miroto Batik Yogyakarta. By applying a qualitative method with an analytical descriptive approach, the research findings show thatthe performance of the Oyot Godhong Cabaret is in the form of a dance and musical performancewhich is performed mainly by transgender artists with a group of backing dancers who present agroup composition with many variations. The structure of the performance consists of anopening(traditional Javanese) dance, which is separate from the main part of the performance.This is followed by the opening section of the Cabaret and the main performance, which is mainlyperformed using lip-synch, and the final section. The mood of the performance is lively, joyful,and interspersed with laughter. Based on the characteristics and entertaining nature of the performance, Oyot Godhong Cabaretmay be described as a form of Kitsch performance.Keywords: Cabaret, Transgender, and Creativity.
KEPENARIAN SUWITRI DALAM TARI TOPENG DI SLARANG LOR, DUKUHWARU, KABUPATEN TEGAL Fatkhudin Tri Nugroho
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (976.548 KB) | DOI: 10.33153/grt.v14i1.1659

Abstract

The research entitled The Artistry of Suwitri in Masked Dance in the Village of SlarangLor in the Dukuhwaru District of Tegal discusses the process of Suwitri’s artistry as a maskeddancer in Slarang Lor and Suwitri’s performance inTari Topeng Slarang Loror the Masked Danceof Slarang Lor. The method used in this research is qualitative interpretative. The techniques fordata collection include observation of recordings and direct observation, supported by a librarystudy and in-depth interviews. The theoretical foundation for uncovering the process of Suwitri’sartistry uses the theories of Habitus and Pierre Bourdie while the study of Suwitri’s performanceuses Janet Adshead’s dance analysis and the artistic demands for performing masked dance, whichinclude ngrungokena kendhang, gerakane kudu pas karo pakem, and ndelengna raineng topeng, or listening to the sound of the drum, making sure the movements follow the rules, andwatching the face of the mask. Suwitri is the only masked dance maestro who is able to perform 6different characters, as a result of her artistic background andthe process through which she learnedto dance to a level at which she has been affirmed as a maestro of Slarang Lor Masked Dance.Keywords: Artistry, Suwitri, Slarang Lor Masked Dance.
SUMINI LEDHEK BARANGAN DARI SUKOREJO, KEDUNG JERUK, MOJOGEDANG, KABUPATEN KARANGANYAR S., Sudarno
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1004.32 KB) | DOI: 10.33153/grt.v14i1.1669

Abstract

The object of this research is Sumini, a woman from the village of Sukorejo, in the KedungJeruk, sub-district of Mojogedang, in the district of Karanganyar, whose profession is a Ledhek barangan artist. The research aims to discover Sumini’s journey to become a Ledhek baranganartist and her style of movements when performing, or “mbarang Ledhek”. It is a qualitativeresearch study which uses a choreographic approach. In order to analyze Sumini’s journey to become a Ledhek barangan artist, T. Inrahim Alfian’s theory of history is used. In order to analyzeSumini’s style of movements, the writer uses Desmond Morris’s theory, as quoted and presentedby Soedarsono. Due to her skill and perseverance, Sumini has managed to create a unique style ofmovement in her performance of Ledhek barangan, such as movements that are performed witha large volume and a technique in which the left foot is positioned on tiptoe(gejuk)behind theright foot.Keywords: Ledhek barangan, Sumber Laras, Sumini.
GARAP GERAK TARI KIJANG KENCANA DALAM EPISODE HILANGNYA DEWI SINTA SENDRATARI RAMAYANA PRAMBANAN YAYASAN RARA JONGGRANG Kawuryansih Widowati
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1066.716 KB) | DOI: 10.33153/grt.v14i1.1661

Abstract

The aim of this research is to describe the treatment of the movements in the Kijang Kencanadance, including the form of the performance of the particular episode entitled Dewi Sinta’s Disappearance, the different elements of treatment of the dance movements in the Kijang Kencanadance, and an analysis of the movements. The method used in the research is a qualitative methodand the data obtained was descriptive in nature. The data obtained was processed and analyzed ina qualitative manner. The treatment of the movements in the Kijang Kencana dance is analyzedwith reference to the treatment of the dance movements found in the performance of the RamayanaDance-drama by the Rara Jonggrang Foundation in Prambanan. The analysis of these movementsuses a theory of treatment, or garap, and theories of distortion and stylization. The Kijang Kencanadance is a dance in which the patterns of movement imitate the patterns of movement in the dailylife of a deer (kijang). This imitation of the pattern of movements subsequently undergoes adistortion and stylization to become the movements that are seen in the Kijang Kencana dance inthe episode Dewi Sinta’s Disappearance in the Ramayana Dance-drama.Keywords: Episode DewiSinta’s Disappearance, Kijang Kencana, and treatment.
TOPENG JOKO BLUWO DALAM PERTUNJUKAN WAYANG TOPENG JENGGLONG JOYO, MOJOSONGO, SURAKARTA Kristian Mulyaningtyas
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1014.893 KB) | DOI: 10.33153/grt.v14i1.1663

Abstract

The object of this research is the masked dance Joko Bluwo, or topengJoko Bluwo, which isfound in Padepokan Jengglong Joyo, Mojosongo, Surakarta, and is a form of folk dance that hasgrown and developed in Surakarta, in particular in the Mojosongo area. The research aims tolearn more about the existence of the arts that are found in Padepokan Jengglong Joyo, Mojosongo,Surakarta, focusing specifically on the movements in the choreography of topeng Joko Bluwo andthe movements of the character of Joko Bluwo. A qualitative method is used to explain the information that was obtained in the field through an ethnochoreological approach. The data wascollected using an interactive method and then analyzed descriptively. The results of the researchshow that topeng Joko Bluwo has a unique character which can be recognized from the shape of themask, the voice, and the movements, in which the arms stretch no higher than the shoulders andthe legs are opened no wider than the width of the body.Keywords: Topeng Joko Bluwo, Padepokan Jengglong Joyo, Choreography, Unique Movements.
TARI CALENGSAI DI KABUPATEN BANYUMAS REPRESENTASI SIMBOL STATUS ETNIS JAWA DAN ETNIS TIONGHOA Eikka Sullistyaningsih
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (882.137 KB) | DOI: 10.33153/grt.v14i1.1655

Abstract

The goal of this research is to discover the form of the Calengsai dance by looking at theprocess through which the work was created. The artistic treatment or interpretation of theCalengsai dance uses Rahayu Panggah’s theory of Garap (interpretation), beginning with thematerial for interpretation and continuing through to the different considerations for interpretation. In order to reinforce the description about the representation of status symbols present in theCalengsai dance, Marvin Olsen’s concepts of Behavioural Interaction and Symbolic Interactionare used. The method used in writing this thesis is a qualitative method with an ethnochoreologicalapproach which uses an analytical descriptive form of discussion, presenting the data obtainedabout the creative ideas that emerge from the Calengsai dance through Calung, Lengger, andBarongsai. The process of artistic interpretation in the Calengsai dance and the representation ofstatus symbols present in the Calengsai dance can be seen from the analysis of the form of theCalengsai dance. The results of the research show that the role of the Calengsai dance in theBanyumas region is a status symbol for the ethnic Javanese and ethnic Chinese communitiesthrough Behavioural Interaction and Symbolic Interaction that are analyzed by looking at theform of the Calengsai dance.Keywords: Calengsai, Status Symbol, Dance.

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