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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 9, No 1 (2010)" : 8 Documents clear
Penyutradaraan Wayang Orang oleh: Sardana Mlaya Wibaksa Sriyadi Sriyadi
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4013.741 KB) | DOI: 10.33153/grt.v9i1.395

Abstract

A director is a person who gives directions, instructions, and guidance to the performers or actors in aspects of their acting, dialogue, movements, and the way the dancers walk in a performance of traditional Javanese dance-drama, or wayang orang. The director is responsible for the entire process of a work’s creation, up to the time of its performance. According to Sardana, a director must have the ability to cast actors or actresses in particular roles, according to their abilities as wayang orang performers.Keywords:  Director and wayang orang.
Tari dan Pengendalian Diri Daryono Daryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3389.73 KB) | DOI: 10.33153/grt.v9i1.381

Abstract

Art is the same as knowledge, and both have a sense of clarity. One has a clarity of feeling, the other a clarity of thought. In the arts, there is a strong emphasis on the communication of feelings or emotions between the artists, the arrangement of artistic elements, and the ability to appreciate, understand, or bring to life a work of art. In the performing arts in particular, the beauty that is created is bound by time and space because of its ‘transient’ nature. The frame for creating the dynamics of such beauty is simply a deep understanding or appreciation of the art performance. In a dance performance, the dominant actor is the dancer himself. In this context, the dancer must be able to bring to life all the elements that are present at that time of the performance and to reflect upon them in such a way as is required. In this event, the understanding of beauty is contextual. For this purpose, the dancer must search to discover his own identity by travelling and exploring, bearing in mind that the elements of art such as feeling, understanding, perception, intuition, and so on are not given but must be discovered. Keywords: Dancer, self-control, intensity, and exploration.
Tari Bedhaya Ketawang: Refleksi Mitos Kanjeng Ratu Kidul dalam Dimensi Kekuasaan Raja Kasunanan Surakarta Sulistyo Haryanti
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2794.298 KB) | DOI: 10.33153/grt.v9i1.405

Abstract

This article is an interpretation of Tari Srimpi through the analysis of symbols, according to Hinduism. The interpretation focuses on a discussion of how aesthetic power is established through the symbol of four dancers in Tari Srimpi. Usually discussions about the four Tari Srimpi dancers (referred to as: batak, gulu, dhadha, buncit) are about keblat papat lima pancer (four points and a centre), and four human characteristics (amarah, aluamah, supiyah, and mutmainah). This article attempts to discuss the symbol of the four dancers from another angle, formulated through Hinduism, which describes four human potentials through the figure of Panca Pandawa. Although Pandawa consists of five brothers, it is actually a symbol of four human potentials: (1) Puntadewa as a symbol of spirituality, (2) Werkudara as a symbol of attitude, (3) Arjuna as a symbol of  science, and (4) the twins Nakula-Sadewa as a symbol of skill.Keywords: Srimpi dance, Panca Pandawa, and human potential.
Visualisasi Garap Cerita dan Struktur dalam Tari Wireng di Mangkunegaran Hadi Subagyo
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3134.891 KB) | DOI: 10.33153/grt.v9i1.389

Abstract

Broadly speaking, the Wireng dance genre from the Mangkunegaran can be divided into three groups or categories according to the source of the story presented, namely Wireng Purwa, Wireng Madya, and Wireng Panji or Gedhog. From a visual point of view, the costumes characterize each of these categories of performance. The visualization of the particular style of Wireng dance uses structures known as Maju Beksan, Beksan, and Mundur Beksan. In addition, the structure of the wireng dance is formed through the composition of the music and the arrangement of the dance patterns.Keywords: Wireng, story, and structure.
Paradigma Penelitian Sutarno Haryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4181.194 KB) | DOI: 10.33153/grt.v9i1.409

Abstract

Research is an attempt to understand facts in a rational empirical way, using a certain procedure in accordance with the method chosen by the researcher. There are two kinds of research, namely quantitative and qualitative. In the research of a particular work, program, or event, using a holistic critical approach, its quality should be viewed from the perspective of its background, its objective formal conditions, and its impact. Keywords: Research, quantitative, qualitative, holistic critical.
Eksistensi Pencak Silat dalam Penciptaan Tari Tradisi Gaya Surakarta Maryono Maryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3362.744 KB) | DOI: 10.33153/grt.v9i1.391

Abstract

The wide range of pencak silat movements used in traditional Surakarta style dance represents their importance in the formation and enrichment of the variety of dance movements in this dance style, especially in the Keprajuritan or Military dance genre. The basic pencak silat movements used for defence, dodging, and stabbing, as well as patterns of combat, have been absorbed and developed in the field of traditional dance to become movements with an expressive quality.Keywords:  Pencak silat, basic, enrichment, traditional dance, and military dance.
Karya “Lorong” Sebuah Eksperimentasi Penataan Ruang Pentas Saryuni Padminingsih
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5321.227 KB) | DOI: 10.33153/grt.v9i1.393

Abstract

In its beginning, Indonesian dance was born out of a variety of spaces, ranging from communal areas to one occupied by royalty. Communal spaces as according to Ashadi Siregar (1991) forms an integral and import part of the basic conventions of communicative art. In the context of Javanese areas itself. Unmistakenly, the highly populated Kemlayan village is made accessible through narrow roads called lorong, The narrow lorong(s) of Kemlayan then forms the basis of a new dance choreography. Placed in an open area, the work begins with the belief that spatial settings should be able to stand on its own as a piece of visual art. Due to this nature, the work seeks to manifest itself as an alternative work in the global development of dance.The concept is approached through observational means as well as through direct involvement with the environment in order to have a phenomenal experience of the society.On the same page, the spatial setting is approached through various theoretical and practical studies to the point of the actualization of the project.In tandem with such a notion, bodily movements are explored through various movement experiments and exploration that are backed by a sense of aesthetics developed through theoretical approaches and temporal experiences.The work’s development undergoes a process that involves imagination, interpretation, and creativity which can be further understood through : 1. The soul of the work is engendered through the choreographer’s experience with the complexity, grind, guts, and gumption of life as well as the problems that affects one’s inner being, 2. The form of the work takes upon the tugs of visual aesthetics that is experienced on a daily basis by viewers such as the acts of sitting, walking, jumping, climbing, shivering and many others. Along with such a notion, the music is built unto each dancer’s everyday auditory experiences such as talking and shouting as well as media derived sounds such as the radio or bamboo being struck. Staged on an open plane, the spatial setting is composed of narrow lorong(s) made of bamboo, glass, and pellucid plastic arranged in such a manner that it can be seen through from various viewpoints. The artistic lighting concept then summarizes the presence of visual aesthetics and displays a myriad of effects through 7 different performances, namely, Lorong Kemlayan, Lorong Anyaman, Lorong Kerumunan, Lorong Transparan, Lorong Lumpur, Lorong Jalan Setapak, Lorong Gelap.Keywords:  Lorong, passage, experimental, form, Kemlayan
Implementasi Manajemen Strategik dalam Pertunjukan Ramayana Prambanan Cahyani Tunggal Sari
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3504.979 KB) | DOI: 10.33153/grt.v9i1.375

Abstract

This study examines the strategic management, in the form of an environmental analysis, of the Ramayana Ballet at Prambanan. Specifically, it examines the strengths and weaknesses of the internal environment, and the opportunities and threats of the external environment of the Ramayana Ballet at Prambanan in its capacity as a business. An environmental analysis is needed in  order to anticipate the old strategies that may undergo changes in the rapid onset and high intensity of globalization. The correction of these strategies may influence the company’s vision and mission.     Keywords:  Environment analysis and strategic management

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