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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 7 Documents
 1 
Search results for , issue "Vol 9, No 2 (2010)" : 7 Documents clear
Kelembagaan Penari Keraton Yogyakarta Masa Sultan Hamengku Buwana V Supriyanto Supriyanto
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3728.751 KB) | DOI: 10.33153/grt.v9i2.441

Abstract

In the Yogyakarta palace, during the reign of Sultan Hamengku Buwana V (1823-1855), there was an interesting phenomenon surrounding the classification of Wayang Wong (a form of traditional Javanese dance drama) dancers as human actors who replaced the role of puppets. The naming of such groups, who were referred to as classes of dancers, was like the certification of different social levels, according to their race, within the administrative laws governing foreigners in the Sultanate. The first class was known as Ringgit Gupermen, the group to which the best dancers belonged. The second class was given the name Ringgit Encik and consisted of the middle level dancers. The final class was Ringgit Cina which was for the beginners. The existence of such characteristics meant that the awareness of the different classes of Wayang Wong dancers during the reign of Hamengku Buwana V had multiple tendencies. On the one hand, the existence of such classes was a bureaucratic framework with political tendencies; while on the other hand, class was an artistic framework with cultural tendencies. In the pursuit of political tendencies, classes of dancers formed a structural balance, which in turn created a balance in civilization. Keywords : Ringgit Gupermen 
Fungsi Tembang dalam Seni Pertunjukan Tari Maryono Maryono
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2409.834 KB) | DOI: 10.33153/grt.v9i2.427

Abstract

The existence of song in a dance performance does not function simply a musical instrument but rather more comprehensively is a medium which has a great potential for expressing the content or meaning of the dance, which in turn contains a message that is intended to be communicated. It would appear that the existence of song in a dance performance is also an aesthetical medium of expression. The position of song in the performing arts has a number of highly strategic functions, namely: 1) as a medium of expression for the dancers, 2) as a musical element, and 3) as a pointer to content or meaning. The understanding of these three functions of song is based more on the strength, contribution, and support of the potential which is able to bring a dance performance to life. It should be realized that song in a dance performance is a highly significant expression of competence, and for this reason, the way in which it is treated and presented needs to be examined in greater depth in order to discover its true meaning.Keywords : song, function, and dance
Fungsi Ritual Tari Ngrengkau pada Masyarakat Dayak Benuak di Kalimantan Timur Muhammad Muttaqin
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3717.509 KB) | DOI: 10.33153/grt.v9i2.429

Abstract

The performance of the Ngerangkau dance in the Kwangkai ritual is a re-actualization of the mystic relationship between the Dayak Benuaq community and the spirits of their deceased ancestors. This community becomes afraid if this ritual is not performed, since they believe that by performing the Ngrengkau dance ritual, they will be protected and kept away from any danger. For this reason, the ritual has been preserved, due to its close connection with various concerns of the Dayak Benuaq community, such as its function in escorting the souls of the dead to heaven, entertaining the spirits, keeping away evil spirits, ensuring fertility, and honouring the ancestors of the local community, in addition to other functions in the life of the community. Keywords : Ngrengkau dance, function, and ritual.
Pemadatan Tari Lagu Dhempel di STSI Surakarta Nur Rokhim
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2419.214 KB) | DOI: 10.33153/grt.v9i2.435

Abstract

The Srimpi Lagu Dhempel dance is a traditional dance which grew and developed inside the palace walls. Originally this dance was not allowed to be performed outside the palace walls because of its exclusive nature and the strong sense of ownership within the palace. However, after the establishment of a number of art colleges in the 1970s, this dance began to be performed outside the palace, including at STSI Surakarta, which uses the dance as lecture material. STSI Surakarta is an institution of higher education for the arts in Indonesia whose mission is to develop the life of Indonesian art and culture which is oriented to the future. As such, the tendency towards change must take place within a framework of creativity and possess a dynamic quality. In this case, one example of change is the endeavour to create an abridged version of the Srimpi Lagu Dhempel dance. The creation of shorter versions of existing dances at STSI Surakarta was pioneered by the late Gendhon Humardani, and subsequently continued by many of his students. The abridgment of the Srimpi Lagu Dhempel dance was based on the concept of “container” and “contents”. The orientation of the abridgment is not time and the fact that the time becomes shorter is a result rather than the goal of the abridged version.Keywords : Abridgement, Srimpi Lagu Dhempel dance.
Visualisasi Garap Gerak dan Karakter dalam Tari Wireng di Mangkunegaran Hadi Subagyo
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2678.147 KB) | DOI: 10.33153/grt.v9i2.419

Abstract

The performance of the wireng dance genre is the manifestation of the entirety of a system which is a complexity of treatment of various visual components. The visual treatment of movement and character is the main component of the wireng genre. The treatment of movement and character, which includes the qualities of the movement and character of the strong male dance, refined male dance, and female dance styles in the wireng dance, displays a wealth of vocabulary, technique, and form. In addition, the aesthetical values contained in the dance create an impression which enriches the spiritual experience of the audience. The visual treatment of movement and character also contains an important and serious message for the life and developmentof the wireng dance in the Mangkunegaran Palace. Keywords : Wireng dance, treatment, movement and character.
Analisis Struktur dan Bentuk Tari Pasihan Bondhan Sayuk: Sebuah Kajian Makna Teks Slamet Slamet
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1945.88 KB) | DOI: 10.33153/grt.v9i2.439

Abstract

This study on the meaning of the text in the pasihan dance Bondhan Sayuk aims to discover and understand the text of the Bondhan Sayuk dance as a whole by studying the meaning of the song used in the musical accompaniment which is the text for the dance music. The research uses a descriptive qualitative method with a multi-disciplinary approach. The techniques used for collecting data include a bibliographical study, observation, and interviews. The creation of the Bondhan Sayuk dance was inspired by the existing Enggar-enggar dance. Sunarno, the choreographer of the Bondhan Sayuk dance, was aware that this dance was originally accompanied by a gamelan composition written by Marto Pangrawit, which was motivated by his desire to have a son. By studying Bondhan Sayuk, it can be seen whether there are any different variations of movement among the dancers. This may occur if there is a different interpretation of the musical text, in particular in the tembang tengahan section. This research focuses more on how the dancers and the audience understand the song text used in the musical accompaniment in relation to the expression of the dance movements. The text used in a performance of Bondhan Sayuk, which exists within a musical context that is filled with meaning, is subsequently manifested in the form of a dance performance and provides a framework of thought for the dancers which they express in the form of dance, while the audience gains an understanding of the meaning of a performance of Bondhan Sayuk, through its song text and through the dance which create a complete performance, at the time the performance takes place. Keywords : Pasihan, Bondhan Sayuk, and Meaning of the text
Penumbuhan Bakat Melalui Pembelajaran Tari Bagi Anak-anak di Sonorejo Kabupaten Sukoharjo Mamik Suharti
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2714.614 KB) | DOI: 10.33153/grt.v9i2.423

Abstract

The dance lessons that take place outside school hours for children in the Sonorejo area are a special kind of activity or service which aims to develop the children’s talent in the field of dance from an early age. Children from kindergarten up to high school age take part in the dance lessons. So far, the process has had encouraging results both in terms of quantity and quality, and the children have acquired a broad range of dance skills. Since the children come from a variety of different backgrounds and are of varying ages and from several different villages, the lessons implement a teaching model known as Magnet School and Investigation, while the method used is that of drills, lectures, and play. With this approach, the dance lessons seem to run well. As a result of the dance lessons, every child is able to participate in a concert by memorizing and enjoying the dances they have learned. Hence, in addition to developing children’s dance skills from a young age, they are also able to show their appreciation which in the future will be beneficial to their studies as well as contributing to the preservation and development of the art of dance in the future.Keywords : lessons, dance, and students

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