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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 8 Documents
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Search results for , issue "Vol 20, No 2 (2021)" : 8 Documents clear
MAKNA HOLISTIK TARI KETHÈK OGLÈNG KARYA GUNTUR TRI KUNCORO Firdauzhi Nuzulla Mustika Prismadianto; Maryono Maryono
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4135

Abstract

This writing aims to reveal the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro by examining the problems formulated, namely the concept of the emergence of the Kethek Ogleng dance, the form of the Kethek Ogleng dance, the audience's response, and the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro. The analysis uses a holistic art criticism approach that is based on three main factors, namely genetics related to the concept of the appearance of the work, objective in the form of works and affective as a response or emotional response of the audience who are all sources of value flow. The form of writing is qualitative with data collection strategies through: observation, interviews and literature study. The results show that holistically the Kethèk Oglèng dance is meaningful as an entertainment medium, as a promotional event for cultural tourism, and is expected to be used as a means of student education and as an icon or identity of the City of Kediri.
BENTUK DAN SUSUNAN GERAK TARI BARIS Ni Nyoman Wati
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4142

Abstract

Dance is a cultural art treasure that always appears alive and growing in every region in Indonesia and even the world as a reflection of their respective cultural arts. Bali is one of the regions in Indonesia that has a variety of arts and culture, one of which is dance. It is certain that other regions and several places in the world keep their respective arts and cultures in different forms, forms, functions and meanings. Baris dance as one of the Balinese dance repertoires is used as a topic in this article which will focus on Baris which depicts the spirit of warriors. In Bali there are several types of Baris dance that are intended to complement ritual ceremonies. The Baris Dance, which will be described in this article, is a casual dance that is commonly used for entertainment in various non-ritual performances.
BENTUK DAN FUNGSI KESENIAN TIBAN DI DESA WAJAK KECAMATAN BOYOLANGU KABUPATEN TULUNGAGUNG Dera Vernanda Willya Putri; Sriyadi Sriyadi
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4136

Abstract

This research aims to address two problems related to the dance form dan the function of Tiban, including : (1) how the dance form of Tiban in Wajak Village Boyolangu District Tulungagung Regency , (2) how the function of Tiban in society people who lived in Wajak Village Boyolangu District Tulungagung Regency. These two problems are analyzed based by theory dance form from Soedarsono and theory of function from Bronislaw Malinowski , Anthony Shay, and Sumandiyo Hadi. This research is qualitative methods. Qualitative teqnique of data is triangulation data that include of observation, interviews, ad bibliographical study. The results of this research refers that dance form and the function of Tiban. The dance form include of the structure of performance and the elements of dish. The performance of Tiban have many function that influent by the society lived of people in Wajak Village Boyolangu District Tulungagung Regency. Dance as an existention of self, dance as a ritualsm, dance as reflection activity and streght of society, Dance show of aesthetic, and dance as economy system.
ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH Divany Rico Jhosua; Mamik Widyastuti
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4143

Abstract

Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.
MAKNA TARI GANDHONG DI DESA BANGUN KECAMATAN MUNJUNGAN KABUPATEN TRENGGALEK Melinia Intan Pramadani; Setya Widyawati
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4137

Abstract

The thesis entitled The Meaning of Gandhong Dance in Bangun Village, Munjungan District, Trenggalek Regency reveals the problems of meaning of the Gandhong Dance. These  three  problems  are  studied  by  performing  arts  theory  and  pragmatics theory. In its application to analyze the form of the nonverbal component using the theory of performing arts according to Maryono and the analysis of the form of the verbal component using a pragmatic approach with Kreidler's speech act theory. The research method is qualitative in nature with data collection by direct observation or through recording media, interviews, and literature studies. The results of the research findings based on the discussion and linkage of nonverbal components, verbal components, and audience responses that Gandhong Dance is a folk dance that functions as entertainment and provides meaning messages that are conveyed to the audience. The meaning of Gandhong Dance is to show the value of social life by living in harmony, mutual cooperation, maintaining health, and praying for safety and peace.
IDENTITAS LOKAL SIDOARJO DALAM KOREOGRAFI BANJAR KEMUNING KARYA AGUSTINUS HERI SUGIANTO Arum Trianingsih Hermawan; Pramutomo Pramutomo
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4138

Abstract

Sidoarjo is known to have the city icon “Shrimp and Milkfish” because it has an area located on the coast and part of the livelihood of the community is fishermen. Coastal communities have distinctive cultural traits and characteristics with the habit of processing marine products. Sedekah Laut or Petik Laut is one of the cultures owned by the coastal community of Sidoarjo which is manifested in the form of the Banjar Kemuning dance. This study seeks to uncover problems related to local identity expressed in the choreography of the Banjar Kemuning dance.  The research problems were analyzed based on the theory of culture and identity, the theory of choreographic concept analysis, the theory of art and identity and the theory of expression. This research is qualitative with data collected through literature study, interviews, and observations of Banjar Kemuning Dance. The results showed that the components of the Banjar Kemuning dance include: (1). Choreography, (2). Accompaniment music; poetry and narration, and (3). Clothing, (4).Properties that as a whole reflect the lives of coastal communities who are active, dynamic and do not forget to be grateful for the marine products they get from God Almighty in the form of a complete unity of the Banjar Kemuning dance.
BENTUK SAJIAN TARI BEDHAYA GEHING KARYA THERESIA SRI KURNIATI Sonia Pangesti Lambangsari; Sri Rochana Widyastutieningrum
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4134

Abstract

This article discusses the Bedhaya Ge-Hing dance by Theresia Sri Kurniati .Its main focus is on the aspects of process and form. Using the theory of process by Wallas in Utami Munandar book and theory of form by Y. Sumandiyo Hadi. Writing this thesis using qualitative research methods. Data collection techniques used were observation, interview, and literature study. The results showed that the Bedhaya Ge-Hing dance has the characteristics of process and form in accordance with the ideas of choreographer.
FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG Karinsa Krisna Murti; Slamet Slamet
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4141

Abstract

The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).

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