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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 2 (2015)" : 8 Documents clear
STUDI KELAYAKAN TARI LEPAS REYOG PONOROGO SEBAGAI MODEL PENDIDIKAN DASAR DAN MENENGAH DI KABUPATEN PONOROGO M., Maryono
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (894.692 KB) | DOI: 10.33153/grt.v14i2.1707

Abstract

To day, the problem that we get is lower appreciation of youth as next generation towardtheir culture themselves. They very like, familiar and feel more as ancient tradition, out of dateand no prestige. Consequently, since people not be oriented any more to values of Javanese culture,costum, and leave the art containing adi luhung values, their attitude turn into brutal, emotional, do not have ashed culture ang less respect of older. Basically, our society life has experienced an apprehensive moral degradation. Therefore, we recently need art education to realizecharacter building among student, giving appreciation and understanding of art for them as nextgeneration. Using art education of reyog based on norms, values, ethics, and aesthetic of cultureenvironment containing adi luhung values, student character as leader generation with nationspirit and Indonesian characteristic will be built. Reyog is dance drama. To apply it to be art local subject matter, it needs for sufficientpackage that devide into some independent dance: Warok, Jathilan, Bujangganong, Kelana Sewandana, and dhadhak Merak. These dances are adapted with curricula guidance from National Education of Ponorogo. Elementery student are demanded to recognize and understandabout basic manner of reyog, however, high shool student are hoped know about basic manner andpresent independent dance of reyog based on valid rule in evaluation creteria of reyog.Keywords: education, local subject matter, reyog, and sufficiency.
TARI BEDAYAN PADEPOKAN TUGUREJO DI DESA SRAGI KECAMATAN TALUN KABUPATEN BLITAR SEBAGAI EKSPRESI KOMUNITAS Windari Astuti
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (800.073 KB) | DOI: 10.33153/grt.v14i2.1717

Abstract

The performance of the Bedayan Dance of PadepokanTugurejois an example of an art formfrom Padepokan Tugurejo which continues to exist today. The Bedayan Dance ofPadepokanTugurejo, which has a duration of 30 minutes, is a tool or bridge for the community ofPadepokan Tugurejo to channel their own individual expression of the soul. The questions addressed in the research, amongst others, are what is the form of the Bedayan Dance ofPadepokanTugurejo and why is the expression of the community formed through this dance. Themethod used to answer these questions is a qualitative descriptive research method in which thedata was collected through the steps of direct observation, interviews, and a library study. Thetheoretical foundation used is based on the theories of Y.SumandyoHadiandStephanieRoss. Theresults of the research show that the lack of interest among the young generation in the continuation of this art form means that the performance of this art continues to be given by members ofthe older generation. Through the Bedayan Dance of PadepokanTugurejo, it is possible to form theexpression of the soul of the artists from PadepokanTugurejo.Keywords:Bedayan PadepokanTugurejo, Form of Performance, Expression, Community.
MAKNA “TUJUH” DALAM TARI BEDHAYA DIRADHA META Nur Rokhim
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (651.11 KB) | DOI: 10.33153/grt.v14i2.1709

Abstract

TheBedhaya Dirada Metadance is performed by seven male dancersand is a symbol ofrespect to soldiers who have died in battle. The number seven in the Bedhaya Dirada Meta danceis closely related to the philosophy of Mankunegara I’s struggle. The basis of Mankunegara I’sstruggle in essence cannot be separated from the concept of leadership of the knights of Mataramwhich promotes three aspects, namely religion, morality, and culture. Of these three aspects, itsseems that the main philosophy used as a basis for Mankunegara I’s struggle is the concept ofreligious Islamic teachings in order to reach a level of perfection and to draw closer to God theCreator.Keywords: meaning, seven, bedhaya dirada meta.
SENI PERTUNJUKAN WAYANG TOPENG GAYA YOGYAKARTA S., Supriyanto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (968.416 KB) | DOI: 10.33153/grt.v14i2.1711

Abstract

Wayang Topeng Pedalangan is one of the links in the chain of history of the performing arts in Java and is believed to have been in existence since the 7th century. The art oftopeng Panji, or the Panji masked dance, first emerged after the appearance of the Panji stories inthe middle of the 13th century during the era of the Singasari Dynasty. During the era of theDemak Dynasty, in the 15th century, topeng Panji was developed by a number of religious leaders,including Sunan Kalijaga. The 16th century marked the beginning of the masked dance beingpreserved and developed by traditional puppet masters, or dalang, and their relatives. These dalangpassed on the art of topeng from generation to generation through their network of relatives whoare referred to as Trah Dalang. The role and function of the dalang is connected with the style ofthe performance which is known as Pedalangan style. The influence of the dalang in topengPanji is still evident today in the areas of Yogyakarta, Klaten, Malang, and Cirebon, each of whichis of course adapted to suit its own regional style. Around the middle of the 20th century, the artof topeng pedalangan was revived and reinterpreted by Krida Beksa Wirama to become a classicalversion of topeng in Yogyakarta style. A number of refinements were made to the techniques andform of the dance which adopted the style of classical Yogyakarta dance. Over time, and with thegrowth of various dance groups which performed classical Yogyakarta style dance, such as YayasanSiswa Among Beksa, Mardawa Budaya, Pamulangan Beksa Ngayogyakarta, and Suryokencana,the classical style of masked dance was perfected by the artists of Yogyakarta.Keywords: Topeng, Dalang, Classical.
FUNGSI DAN MAKNA PERTUNJUKAN TARI SINTRÈN DI KABUPATEN PEKALONGAN JAWA TENGAH Hadi Subagyo
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (979.188 KB) | DOI: 10.33153/grt.v14i2.1703

Abstract

The Sintren dance is a form of folk dance that can be found on the north coast of CentralJava. It is performed by an unmarried female dancer who is in a trancelike state after being possessed by a spirit. It is a highly unique form of performance which has a complex meaning andfunction but its existence is currently a cause for concern since only a small number of groupscontinue to perform this art today. In Pekalongan in particular, the art of Sintren continues to bemulti-functional, and in addition to being a form of entertainment and used for social purposes,it is also closely associated with a ritual function. The meaning contained in the art of Sintrenprimarily describes the life journey of a person from the time he is still inside his mother’s wombto his birth, growth and development, and ultimately his death. The other meaning contained inthe art of Sintren is the poetry which accompanies the performance, describing the beauty of thenatural surroundings, animal and plant life, and things associated with spirits, angels, and goddesses. The poetry is largely in the form of advice or guidance which is reflected in the form offigures of speech.Keywords:Sintren Dance, function, and meaning.
PAREWA SEBAGAI PROFIL SENIMAN TRADISI MINANGKABAU S., Syahrial
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (617.812 KB) | DOI: 10.33153/grt.v14i2.1713

Abstract

This paper will discuss one of the traditional Minangkabau community groups namelyParewa class as the profile of traditional artists. The author will explain about the “artist profiletradition” and its relationship with the arts, particularly dance (Minangkabau traditional dance).To uncover these problems, the authors use qualitative methods and techniques of data collectionby observation, interview, and literature study. Furthermore, perform data analysis, verification,and conclude. The result of observation and discussion shows that Parewa is a class of people whohave a good martial arts skills and an expert in the art. This can be seen in the movements of thedance, which is dominated by movements of martial arts with agile character, sharp and definite.The conclusion is Parewa is a class of traditional community in Minangkabau that very intensively involve in the arts, it is seen on every activity in the life of society such as traditionalceremonies. This involvement is not just attending traditional ceremonies that there was onlyart, but also involved as a perpetrator of the arts.Keywords: Parewa, Profile, Pencak Silat.
“NGOMBANG”: POTRET ANTROPOLOGIS MASYARAKAT PESISIR PEKALONGAN DALAM KARYA TARI Hery Suwanto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1230.421 KB) | DOI: 10.33153/grt.v14i2.1705

Abstract

Life of fishermen in Wonokerto Kulon, Pekalongan, Central Java owned a hard life. Theylived with a cycle rotation of life: monotoni. In the circle of nature, when the wind blows fromAsia continent through Indonesia region, made condition changed: waves more higher, wind blowsstronger and the sea more difficult to be sailed. People in Wonokerto called it as angin kombang.When angin kombang blowing from West, time become very valuable to brightening and cheerup, one of through the art of kendang pencak, a traditonal Javanese art of fighting. Kendang Pencak represent the art of self-defence but also can called as a self-defence dance, combining silatand dance accompanied by gamelan orchestra. the beat of kendang become a kind of beat representing a vital energy of fishermen life. Monotoni of fishermen life will lost because emerging eruption of new dynamics in their life. The creator’s empirical experience owned body dance and alsohave learned pencak silat and karate exploited to explore dance movement of kendang pencakbecome kind of a new dance. “Ngombang” explore fisherman body: continuing monotoni motionsexpressing strength, mobility, and slow-softly movements. Exploration of the body combined bymotions of traditional martial art of kendang pencak supported by karate, yoga and tai-chi.These elements represent in body dance of dancers.Keyword: fishermen, kendang pencak, monotoni.
PERJALANAN RONGGENG TAYUB DI PRIANGAN Toto Sudarto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1428.837 KB) | DOI: 10.33153/grt.v14i2.1715

Abstract

A study of ronggeng viewed from the historical perspective interested. In fact it has beeninfluenced by a pre-historical period where human believe in super natural. Peopole in the prehistoric period connected the rituals with dance atraction for their own significance. The ronggengincluded as a dance figure connected to the rituals because of its originally from the saman danceand it similiar to the dance of woman priest. It remains us to the function of ‘catalyst’to theancestors. Ronggeng was symbols of recovery rites in the human believe. Ronggeng was alsosymbol of a fertility rites in the human believe in addition to the relationship of its function hasbeen influenced by the Dongson’s culture for the mostly Southeast Asia societies where theybelieve on the Goddess of Rice. Therefore the information of ronggeng has been wrote in Indian’sliterature and sculpture or relief panels of the temple. Eventually the ronggeng is identicallywith fertility rites because of its relation to the Sri Devi and in other side is its atraction has alsoviewed as laisure among the aristocrats. In the Islam’s period where performing arts used to be away of dakwah, so that the ronggeng status in herent with the sufi a manifestation of ma’rifat’sways, where the human assumted to their God. In feudalism feriod of Priangan the ronggeng as apersonal symbol. During this period ibing keurseus appeared as a new version of tayuban bystressing on aesthetic movement appearance. At last the ronggeng unappeared because of its ignorance to the etic norm of religion.Keywords: the ronggeng, continuities, the changing function.

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