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<![CDATA[REFLEKSI KEHIDUPAN ABDI DALEM BEDHAYA KERATON KASUNANAN SURAKARTA ]]>
<![CDATA[Teguh Sutrisno]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.349
<![CDATA[Tulisan ini mengupas dikotomi kehidupan abdi dalem Keraton Kasunanan Surakarta pada level abdi dalem bedhaya yang merupakan laporan otobiografi yang direaktualisasi dalam bentuk seni pertunjukan berupa kompilasi antara tari dan teater. Satu sisi abdi dalem tersebut harus patuh dan taat pada pranatan dan penguasaan yang absolut ke “agungan binatharaan†raja yang tak terbatas, pantang berkata “tidak†yang ada hanyalah “sendika dawuh†dan ya, iya dan ya dengan “sumarahnya†tanpa bisa berbuat banyak meskipun hati kecilnya bergejolak. Sisi lain kemerdekaan diri terenggut ketika setiap saat harus di keraton dengan sepenuh hati, tanpa harus mempertimbangkan hak azasi manusia sebagai manusia yang berbudi “kamanungsan†terjajah oleh absolutisme kekuasaan tanpa batas sebagai bentuk penindasan yang terselubung. Bisa dikatakan tulisan ini semacam laporan eksklusif dalam menguak abdi dalem bedhaya dalam perjalanan kehidupan dengan segala bentuk aktifitas yang melingkupinya. Keyword : Abdi dalem, Uwa Sri]]>
<![CDATA[TELAAH TENTANG TARI BENTEN (The Study of Benten Dance) ]]>
<![CDATA[Efrida Efrida]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.331
<![CDATA[The widespread nature is a teacher. That term becomes the philosophy of life of the Minangkabau society which finally inspires them in expressing their art life. One of the works of art of Minangkabau artists which is inspired by the natural phenomenon and expressed in the form of dance is Benten Dance. Inspired by a flying eagle rotating motion – turn in the blue sky while stalking its prey, Benten dance symbolize the meaning of love of a mother in taking care of her child. This is in accordance with matrilineal custom Minangkabau society that puts women at the main place in society. In addition, Benten dance moves is also based on silat moves (Indonesian martial art), which if it is described consist of motifs of moves, movement phrases, sentence or kinds of moves and parts of moves. Keyword : Benten Dance]]>
<![CDATA[TOPENG BABAKAN ]]>
<![CDATA[Toto Sudarto]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.357
<![CDATA[Throughout the course of its journey, topeng babakan Cirebon has become a milestone, which has coloured the course of the history of dance in West Java. This research discovers the changes and developments in topeng babakan from 1900 to 1990. The study of the subject of this tesis uses a historical approach, with the aid of social and cultural studies. Topeng Babakan is a performing folk art, the performance of which is still related to traditional ceremony such as ngunjung, mapag sri, ngarot, and so on. It spread through West Java, begining as a a traveling show or bebarang (troupe of performing beggars) at the start of the 20th century. This drew the attention of the aristocrats or menak, to learn the art of Cirebon masked theater. In it subsequent development, this dance greatly infuenced other dance forms in the Priangan region and in West Java in general. The rise and fall of topeng babakan performance activities was largely infuenced by developments in siciety, ehich constantly changed with the developments of the age, and developments in information technology and communication.Keyword : topeng babakan, bebarang, changes, and developments]]>
<![CDATA[Karya Tari “Sebuah Catatan Harianâ€: Seni sebagai Media Pembelajaran bagi Anak-anak Tuna Rungu ]]>
<![CDATA[Jonet Sri Kuncoro]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.335
<![CDATA[This work try to become a reflection, that we are not alone in this world. In this globalization era where communications expand at full speed, there’s still the human being which "live alone" in their own world. Of course it’s not things which they wish for, however, that circumstance was a disability they suffered. Everyone has their own world. But children’s world of deaf people is a world require to get sympathy, empathy, attention as well as heartfelt intention to assist them. At meanwhile art "telling a story" to us through channel of verbal and nonverbal. Because of its sensitivity and because its way give form to experience, art can jar wire in our soul and reach and also activate the parts of from our own experience which cannot be reached and activated by ordinary information. Art was a representative actualization media, grow self confidence up. Art also the therapy applicable for child suffering concentration trouble, co-ordinate body function, even bounce. Others also as medium of forming of ethic kindness, from values which consisted in art itself, and also in its learning process. For the reason, this work try to a little bit flicking away human side of ourself: is there any of us will share and have the empathy with them, disability children or deaf people which live in their own world? This work try to be a reflection for us about that thingKeyword : dance, therapy, education.]]>
<![CDATA[Karya Seni “Wayang Orang Rahwana Wirodhaâ€: Kualitas Kepenarian pada Sosok Rahwana ]]>
<![CDATA[Samsuri Samsuri]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.363
<![CDATA[As we know, dance have a strong energy just for who capable to deepen and exploit the strength inside with the media moving and body. Existing ability in every motion, able to build up a strong individual appearance. Javanese dance has own typical movement. This matter relied on body possibilities formed by tradition, in interaction and dialoguing with the situation outside. With the properties of manner of expression and its essence value, tradition appropriately able to give the possibilities to be entered, to be explored, to create of new tradition among growth various artistic form of dance performance. Many styles and approaches, in the end become the way of how to mean dance from different side where exploration use body can attend to fluctuate according to its context. This work try to elaborated spirit of exploration to get knowing deeper about the character or Rahwana, subject presentation of gagahan in Javanese dance. Keyword : Rahwana, gagahan, character]]>
<![CDATA[TARI BEGALAN DI TENGAH PERUBAHAN SOSIAL MASYARAKAT BANYUMAS. ]]>
<![CDATA[Karyono Karyono]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.341
<![CDATA[The Begalan tradition perfotming art Banyumas is sprit of life cultural Banyumas peole. Begalan is communal performing art in Banumas cultural not haven use people life in Gotong Royong. Begalan in people spirit to be change social process, because this Begalan develop changing is fungtional social cultural Keyword : Begalan, social change]]>
<![CDATA[SISINGAAN SENI KEMASAN WISATA DI KABUPATEN SUBANG ]]>
<![CDATA[Tubagus Mulyadi]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.367
<![CDATA[Artistry [of] Sisingaan represent Earing people resistance representasi symbol first to colonial practice a period of/to power [of] Dutch. Symbol Power grinding this implied in the form of appearance [of] lion idol which [is] stretcher. While resistance form depicted in moppet figure riding lion, please implies that grind will fail by the rising generation. Artistic [of] this tidiness [of] lebeih focussed [by] [at] show estetik facet, without eliminating meaning which consist in itKeyword : Sisingaan, artistic [of] tidiness]]>
<![CDATA[Penggunaan Metode Penelitian dalam Skripsi Mahasiswa STSI Surakarta Tahun 2000-2005 ]]>
<![CDATA[Anhar Widodo]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.327
<![CDATA[Anhar Widodo, 132311657 METODE PENELITIAN SKRIPSI MAHASISWA STSI SURAKARTA (Analisis Deskriptif Penggunaan Metode Penelitian dalam Skripsi Mahasiswa STSI Surakarta Tahun 2000-2005). Penelitian ini mencoba memetakan secara kualitatif, relasi antara judul, rumusan masalah, pemilihan metode penelitian dan susunan penulisan laporan hasil penelitian yang tertuang dalam laporan skripsi mahasiswa STSI –sekarang ISI—Surakarta tahun 2000-2005. Kesimpulan dari penelitian ini mengungkapkan bahwa penguasaan metode penelitian mahasiswa STSI masih rendah –jauh dari kompetensi utama sebagai seorang peneliti. Hal tersebut menjadikan kualitas skripsi, sebagai salah satu parameter kualitas akademik seorang mahasiswa masih perlu dipertanyakan. Kenyataannya, skripsi hanya dijadikan sebuah prasyarat, bukan sebuah karya yang pantas dijadikan monumen kebanggaan penulisnya. Rendahnya kualitas metode dalam skripsi mahasiswa STSI 2000-2005, berbanding lurus dengan rendahnya minat baca mahasiswa STSI. Saran, perlu adanya evaluasi kurikulum –khususnya untuk matakuliah-matakuliah sosial, teoritik dan metode. Kemudian perlu diperbanyak forum-forum diskusi, kajian yang membahas fenomena sosial di sekitar mahasiswa. Perlu adanya latihan melakukan analisis sosial sebagai pendukung kompetensi utama seorang peneliti seni –sebagai bagian dari rumpun ilmu humaniora. Perlu adanya pembudayaan membaca secara rutin di kalangan mahasiswa.Keyword : Metode, kualitatif, mahasiswa STSI Surakarta ]]>
<![CDATA[PENCAK SILAT DALAM TARI WIRENG DI SURAKARTA ]]>
<![CDATA[Mathias Supriyanto]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.345
<![CDATA[The Art tradition life residing in kraton environment, is in general influened by king power, because result of tradition in this dance tradition diffused many by top kick king his day. One example Bedhaya Anglir dance, this dance have heroic theme to depicting Raden Said (Mangkunegara I) fight against Pangeran Mangkubumi I. Besides Overcast Bedhaya Anglir still many other soldier dances, that is type dance Wireng. Type dance its Wireng composition using many taken away from pencak silat. In composition dance Wireng there is two form move pencak silat, first pencak silat motion which have distilisasi; both pencak silat motion which still purification (wadag), like Bogis danceKeyword : Wireng, Heroic, pencak silat.]]>
<![CDATA[Budi Tani Sebagai Ekspresi Ritual Dan Pertunjukan Di Desa Lencoh Kecamatan Sela Kabupaten Boyolali ]]>
<![CDATA[Dwi Rahmani]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v8i1.329
<![CDATA[Budi Tani Dance performance was grown and developed at Lencoh Village Society as part of syawalan traditional ceremony that conducted on village cleaning day (bersih dusun ). This ceremony was related its advocates’sociocultural. For Lencoh Village Society, its existence is syncretism that seen through ceremonial activities. By provided offerings and followed Budi Tani Dance performance full of symbols, Lencoh society was attempted to communicate with powerful beings for made dual relationship such as vertically and horizontally. Lencoh society was communicated with its God, ancestors and holy soul to get safety, benediction in its life through vertically relationship. Then, togetherness and devotion sense based on cooperation and assistance each others would built through horizontally relationship. Traditional ceremony of syawalan that conducted on cleaning day (bersih dusun) and followed by Budi Tani Dance performance with magical religious attitude related to norm and social attitude to preserve Lencoh society life as the prop was executed based on belief.Keyword : Folk Dance, Budi Tani Dance]]>
