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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 7 Documents
 1 
Search results for , issue "Vol 19, No 1 (2020)" : 7 Documents clear
FRAGMEN TARI SUGRIWA SUBALI KARYA DIDIK BAMBANG WAHYUDI (TINJAUAN ESTETIK) Annisa Ayu Cahyani; Maryono Maryono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3181

Abstract

Research entitled Sugriwa Subali Dance Fragment by Didik Bambang Wahyudi (Aesthetic Review) is aim to uncover the meaning beauty of Sugriwa Subali Dance Fragment by describes and explains abaout: (1) the shape or sensation of Sugriwa Subali Dance Fragment which cover: theme, motion, expression, floor patterns, make-up, clothing, property and dance music/musical instruments, (2) to explain the concepts or ideas in the Sugriwa Subali Dance Fragment, (3) to explain the aestetic symbols in the Sugriwa Subali Dance Fragment, and (4)audience responses include: the responses of experts, dancers, and spectator. The four problems are examined with aestetic theory De Witt H Parker. In its application to analyze shapes as sensation expressed in the work using performance art theory according to Maryono. Analysis of consepts or idea in the work uses a pragmatic approach with Kreidler’s speech act theory. The research is qualitatively by collecting data or information through the stage of presentingdance work (re-production), literature study, interviews with selected speakers, and observation of the Sugriwa Subali Dance Fragment. The result was: the dance work is based on sensations, concepts or ideas, symbols, and the responses of experts, dancers, and spectator aestetically. Sugriwa Subali Dance Fragement is the masterpiece of the battle between Sugriwa and Subali fight over to Dewi Tara and the funcions as an aesthetic entertainment and as a symbol of strunggle in obtaining a happiness.Keywords: Fragment of Sugriwa Subali Dance, aesthetic.
TRANSFORMASI RELIEF CANDI PRAMBANAN DALAM KARYA TUBUH RITUS TUBUH OLEH ANGGONO KUSUMO WIBOWO Siska Dwi Purwanti; Daryono Daryono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3186

Abstract

Transformation is a process of changing form, nature, and so on into new forms without leaving the values that existed in the previous culture. The process of transformation always produces elements of novelty, both in terms of style, taste, and meaning even at different levels of change. Transformation in art does not only occur in similar arts. Ancient relics, for example, as one form of art can be a starting point to be interpreted into visual expression in contemporary art, including dance. Tubuh Ritus Tubuh is one of the dance works which is a form of transformation of the Prambanan Temple relief. This study tries to uncover the allegations of the  transformation of the Prambanan temple reliefs that can be observed on Tubuh Ritus Tubuh dance presentation. The problem of transformation is examined using the theory of change expressed by Lorens Bagus. The participatory research method carried out by the author is able to uncover the form of transformation found in certain parts of the dance presentation. Keywords: transformation, relief, Prambanan Temple, Tubuh Ritus Tubuh.
KREATIVITAS DIDIK BAMBANG WAHYUDI DALAM KARYA TARI ANOMAN CAKIL Denny Rostyana Putri; Karyono Karyono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3182

Abstract

This thesis is titled by the Creativity of Didik Bambang Wahyudi in Anoman Cakil dance to uncover the creativity of Didik Bambang Wahyudi by describing and explaining: (1) The form of Anoman Cakil dance and (2) Didik Bambang Wahyudi’s creativity in the works of Anoman Cakil dance. Both issues were examined using the concept of the show form by Maryono which reveals verbal and non-verbal components. To uncover the creativity of Didik Bambang Wahyudi in the work of Anoman Cakil dance is using the theory of Rhodes cited by Utami Munandar that creativity there are four elements in it, namely person, press, proscess and product. Anoman Cakil dance composed by Didik Bambang Wahyudi told about the battle between two characters that have different character of Anoman and Cakil. Anoman Cakil dance is a dance work born from the interpretation of Didik Bambang Wahyudi. Harmony between the person and the creative process, as well as the ability to implement a story where Anoman essentially never met Cakil, but it is not impossible for Anoman to meet Cakil on a journey.Keywords: creativity, form, Anoman Cakil dance.
TARI JARAN KEPANG BOYOLALI PADA PAGUYUBAN KETHOLENG DI KABUPATEN BOYOLALI (TINJAUAN BENTUK SAJIAN DAN GARAP TARI) Widyawati Kedasih Putri; Silvester Pamardi
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3190

Abstract

This study discusses the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance was composed by Eko Wahyu Prihantoro. The problem taken in this research is, how the form of presentation and how to work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. This research was conducted with a qualitative method using descriptive analysis and data collection techniques of observation, interviews, and literature study. Discusses these two problems, using concepts or thoughts from Slamet MD regarding the elements of dance formation which contain motion, rhythm, expression or taste, costumes, venues and dancers. Discussing the problem of working on using the concept of Rahayu Supanggah which contains material about the work on the event or the work on, working on, working on facilities, furniture or work on the device, determinants of work on and consideration of work on. The results of this study are describing the form of presentation and work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance in its form of sajin is divided into 3 parts according to the dynamics of its movements. The makeup and clothing in this dance have a simple form and are easy to wear by dancers. The Boyolali Jaran Kepang dance accompaniment used a slendrobarreled accompaniment. In the preparation of the Boyolali Jaran Kepang dance, it is motivated by phenomena found in the Boyolali area. Boyolali Jaran Kepang dance has several elements in the dance work, namely choreographers, composers, dancers, musicians, costumes, movements, and the role of Boyolali Regency government.Keywords: Boyolali Jaran Kepang Dance, Ketholeng, form of presentation, working on dance.
BENTUK DAN FUNGSI TARI SILAMPARI KAYANGAN TINGGI DI LUBUKLINGGAU SUMATRA SELATAN Hilaria Widia Ayuningtyas; Syahrial Syahrial
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3183

Abstract

This study examines Silampari Kayangan Tinggi dance in Lubuklinggau. Its main focus is on the aspects of form and function in its prsentation. Using the theory of form by Suzanne K. Langer which is described using concept of Y. Sumandiyo Hadi and theory of function by M. Jazuli. This research is a type of qualitative research with an intersubjective approach that emphasize observation in the field by capturing information and illustrated in fact. This dance form is also a development of the Silampari dance which is the root of the welcoming dance in Lubuklinggau city and Musi Rawas district. This dance ia a guest welcoming dance perfomed by woman totaling four to ten dancers and two tepak bearers namely Bujang Dere (son and daughter of the city of Lubuklinggau). The result of this study indicate that the Silampari Kayangan Tinggi dance as form of respect to the guest of honor who visited Lubuklinggau.Keywords: Form, Function, Silampari Kayangan Tinggi Dance.
KEPENARIAN BUNCIT DALAM TARI SRIMPI GANDAKUSUMA Regita Rian Utami; Sri Setyoasih
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3184

Abstract

Essay of this artwork present an analysis dizziness of Buncit’s in a Srimpi Gandakusuma dance Surakarta sytle covers intepretation garap fillings and shapes, the dizziness of Buncit’s in the Srimpi Gandakusuma dance. The garap fillings and shapes which is studied with concept of the Javanese Hasta Sawanda. Concept shapes Susan Langer used to analyze elements in dance.The method used is  bservation, library studies, and interview. Research has shown that the dizziness Buncit’s in a Srimpi Gandakusuma dance is a required a process which is continue and intensive. Dancing a group dance must be supported by personal and group. The dizziness of the Buncit’s on this Srimpi Gandakusuma was taste of mrabu, meneb, and sigrak supported with makeup and karawitan to keep up the impression of grace.  Keywords: dizziness, garap, Srimpi Gandakusuma.
KELANGSUNGAN DAN PERUBAHAN TARI SEDULANG SETUDUNG KABUPATEN BANYUASIN Rian Ardiansyah; Dwiyasmono Dwiyasmono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3185

Abstract

Since this dance was created in 2002 it already go through some developments and still on going until now. The purpose of this research is to uncover about the causative factors of Setulang Setudung dance continuity and changes in Banyuasin District. This research is using a qualitative kind of research. The process of the data collection has involve observations, interviews and documentations. The results of this research showing the present form of Setulan Setudung dance which is including moves, musics, costume and make up, also properties. Beside that, the results of this research is that Setulan Setudung dance still on goin until now and already going through cange because of the art response against the existing challenges such as the impact of oustiders culture, government, economy and education. Keywords: Sedulang Setudung dance, continuity, and Dance Change.

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