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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 16 Documents
 1   2 
Search results for , issue "Vol. 20 No. 1 (2021)" : 16 Documents clear
RAMPAK BARONG PADA PERTUNJUKAN JARANAN PAGUYUBAN TURONGGO SETYO JATI DI KABUPATEN BLITAR Juwita Dwi Setyawati; Sumargono Sumargono
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4031

Abstract

Rampak Barong dance, which is in a jaranan performance of Paguyuban Turonggo Setyo Jati in Blitar is a dance that belongs to a folk dance, which is a dance that lives and develops in the local communities with the simplicity of movement, floor patterns, make-up and even costume, because all of that are the characteristics of folk dance. This study aims to reveal the form of the performance and the function of that dance. Rampak Barong dance is very popular among the local community because there are many attractive movements including forward somersaults, interesting foot movements including srimpetan and junjungan. It become more interesting not only because of all kind of movements, but also there is one of main movement called nyaplok. The theoretical basis used to answer the problem of form is Soedarsono's theory in his book entitled “Introduction to Dance Elements and Dance Problems”, and supported by Soedarsono's opinion in his book entitled “Indonesian Performing Arts in Globalization” to describe the functions. The methodology used for this research are nterview, observation, and literature study. This research used descriptive analysis method used to describe the Rampak Barong dance. The results of this researh showed that the form of the dance performance Rampak Barong Paguyuban Turonggo Setyo Jati consists of several dance offerings with several elements of the dance offerings, such as dancers, movement, make-up, music, and performance venues. The function of the Rampak Barong dance as a means of ritual, as personal entertainment and as an aesthetic presentation, namely through ticketing performances or fundraisingKeywords: Form, Function, Rampak Barong, Turonggo Setyo Jati
TARI SEBIMBING SEKUNDANG SEBAGAI TARI PENYAMBUTAN TAMU DI KABUPATEN OGAN KOMERING ULU SUMATERA SELATAN Ani Mandam Dari; RM Pramutomo
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4036

Abstract

This article examines the form of Seguid Sekundang dance presentation in Ogan Komering Ulu Regency, South Sumatra. Problems regarding form are discussed using the theory of R.M Soedarsono in the book Diktat Pengantar Pengetahuan dan Komposisi Tari. This article uses a qualitative research method with descriptive analysis. The collection of data and information is done by observing or observing the object of research, interviews, and literature studies. Sebimbing Sekundang dance was made at the request of Regent Ogan Komering Ulu as as guest welcome dance in 1971. This dance is the result of observations in several sub-districts in Ogan Komering Ulu Regency by combining various cultural forms, especially traditional dance from five tribes (Daye, Komering, Ogan, Ranau, and Semende) in Ogan Komering Ulu Regency.This dance uses properties of a fan, tepak sirih, umbrella, and spear. However, it is the use of distinguishes this dance from the welcoming dance in South Sumatera. The music accompanying the Sebimbing Sekundang dance is another song entitled Ribu-Ribu originating from the Ogan area. Then the arrangement itself by Z. Khusni Karana became the music to accompany the Sebimbing Sekundang dance. This dance reflects the majesty of universe which uses many forms and motifs of plants.Keywords :Form, Analysis of The Movement of The Sebimbing Sekundang Dance.
BENTUK PERTUNJUKAN WAYANG BOCAH SRIKANDHI KRIDHA KARYA JONET SRI KUNCORO Chrisnar Bagas Pamungkas; Daryono Daryono
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4032

Abstract

The Wayang Bocah Srikandhi Kridha show was a dramatical production directed by Jonet Sri Kuncoro that displayed in 36th anniversary celebration of Soerya Soemirat dance studio. The problem with study is how the processing and appearance of the Srikandhi Kridha by Jonet Sri Kuncoro. Based on objects studied, this study uses a qualitative method with a process and shape approach. To find out about the garging process use the thinking of Rahayu Supanggah that include of materi garap, penggarap, sarana garap, perabot garap, penentu garap, pertimbangan garap. Discuss problem forms using concept forms by Rustopo in Sri Rochana Widyastutieningrum about elements that include of structure of a presentation, variety of motion, dance music, makeup and clothing, division of a single dancer and group, dance floor, property, and stage pattern. Studies have shown that a Srikandhi Kridha feature in a dramatic dialogue with the genre of Wayang Orang (bocah), one that concerns materi garap, penggarap, sarana garap, perabot garap, penentu garap, pertimbangan garap. The Wayang Bocah Srikandhi Kridha show set out from director’s concern for the child's world understanding of the puppet story. From reflection of his thought, Jonet took the play of the story with Srikandhi Kridha. Played by students of Soerya Soemirat dance studio. The shape of a Wayang Bocah Srikandhi Kridha show can be seen from all the performance being made into a solid outfit.Keywords: Wayang Bocah, garap, and form.
GARAP TARI KETHEK OGLENG DI DESA NGAMBARSARI, KARANGTENGAH KABUPATEN WONOGIRI Eka Nurpilang; Hadi Subagya
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4037

Abstract

This article is the result of research from ideas to reveal the creativity of the Kethek Ogleng Dance in Ngambarsari village, Karangtengah sub-district, Wonogiri district, namely the Bawang Sari Cultural Community (BBS) with reference to the artistry of community leaders. The problem that was revealed was working on the Kethek ogleng dance in N Gambarsari village, Karangtengah sub-district, Wonogiri district. This research is qualitative in nature with data collection strategies through observation, interviews, and literature studies. The form theory uses Suzane K Langer's statement which is supported by Soemandyo Hadi's concept of form and the main concept of "Garap" uses Rahayu Supanggah's theory. The concept of this form is used to see the form of the Kethek Ogleng dance and the concept of Garap is used to see the work on the Kethek Ogleng dance obtained from the village of Ngambarsari, especially in the Bawang Sari Cultural community. The results of this study state that the Kethek Ogleng dance is the result of a planned work by thinking about the original dance of Kethek Ogleng and then combining it with the Surakarta style. This Bawang Sari culture works on the structure of the movement that appears, so that it becomes a kethek ogleng dance according to its own characteristics.Keywords: shape, Kethek Ogleng, Wonogiri.
PENCIPTAAN TARI INS SPESIAL BERSAMA ANAK TUNAGRAHITA DI SLB A YKAB SURAKARTA Dwi Mahendra; Jonet Sri Kuncoro
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4033

Abstract

The journal Penciptaan Tari Ins Spesial Bersama Anak Penyandang Tunagrahita di SLB A YKAB Surakarta '' discusses one form of storytelling group dance with the theme of children with intellectual disabilities who want to show that they have dreams or hopes in the future. will be packaged in a non-story group choreography, compiled by Dwi Mahendra in 2019. This research is intended to describe the form of performance of the Special Ins dance and the creation of the Special Ins dance. The research method used is a qualitative research method using descriptive analytic. In this study using the reactive participation approach from Jonet Sri Kuncoro. Describing the creation of Special Ins Dance using Rhodes's creativity theory quoted by Utami Munandar in compiling Special Ins Dance, in describing the form of Special Ins Dance performances using the theory of Sumandiyo Hadi to elaborate on its elements. The results obtained in this study in the form of a description of the creation of Special Ins Dance prepared by Dwi Mahendra as well as a form of performance consisting of dance moves, dance halls, dance accompaniment or music, dance titles, dance themes, dance types, presentation modes, number of dancers and types dance genitals, makeup and costumes, lighting, and dance properties.Keywords: Ins Special Dance, form, process.
PERTUNJUKAN OPERA AGNUS PERDITUS KARYA MATHEUS WASI BANTOLO Estherlita Priskanike Yudiaernanda; Supriyanto Supriyanto
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4034

Abstract

Agnus Perditus is a dance genre opera, Agnus Perditus is taken from Latin means lost sheep. The work of Agnus Perditus was directed by Matheus Wasi Bantolo for a joint Christmas event between the Indonesian Institute of the Arts Surakarta and Sebelas Maret University which was held at Teater Besar of the Indonesian Art Institute, Surakarta. In 2016 the combined Christmas was directed by Matheus Wasi Bantolo. The theoretical basis in this study uses the concept of working on Rahayu Supanggah which examines the process of working on an art, as well as the theory of form approach from Suzanne K. Langer in her book entitled "Problematic Art" which is translated by F.X Widaryanto. This research is a qualitative research with analytical descriptive method, which describes the results of the observations clearly based on the actual situation. The data collection stage was carried out through observation, interviews, and literature study. The purpose of this research is to reveal the form of the work of Matheus Wasi Bantolo's Agnus Perditus. Opera Agnus Perditus was presented in a joint Christmas celebration event between the Indonesian Institute of the Arts Surakarta and the Sebelas Maret University Surakarta. The work is inspired by the New Testament Bible story in the Gospel of Luke 15: 11-32, which tells of a lost sheep and the film "Prodigal Son" which tells of a lost sheep or a lost child has been found, so it is used as an idea to work on creation the work of Agnus Perditus.Keywords: Dance form, working process, opera, Matheus Wasi Bantolo.
KONEKSITAS TARI DAN MUSIK PADA TARI KELANA GAYA SURAKARTA Maryono Maryono
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4030

Abstract

Klana Dance Surakarta style there are at least three main versions that can be traced, namely Kelana dance version S. Ngaliman, version of S.Maridi, and Version Sunarno Purwo Lelono. The three versions of Kelana dance in the groove do not have a prominent difference, but there are quite strong differences and very principles, especially in pacak and wiled sustainability that I observed from 1979 to the 2010s. The connection of dance and music in Surakarta Style Kelana dance shows the existence of a blend and harmony formed from the role of music to dance that serves as a pointer of content, illustration/nglambari, membungkus/mungkus, and nyawiji so as to form a Kelana dance Surakarta Style that is dashing, sigrak, spirit, firm and authoritative. The basic principle that each element in Kelana dance is a visual form that is artistic has shown coherence between elements and total connection so that it can function as a means of expression of the artist steadily.Keywords: music and Kelana dance
EKOKRITIKISME KOREOGRAFI SATU MILIAR TOKEK KARYA AYU TITIS RUKMANA SARI Dewi Wulansari; Tubagus Mulyadi
Greget Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4035

Abstract

Satu Miliar Tokek by Ayu Titis Rukmana Sari, was inspired by the phenomenon of the Kedung Monggo community towards the price of a billion geckos. This phenomenon has an impact on the burning of the banyan tree where the gecko resides. This research has the problem of how to choreograph one billion geckos and how to ecocriticism in the work of one billion geckos. To answer the problem of choreography, Slamet Md's concept of dance formation consists of motion, rhythm, expression, or feeling, costumes, stage, and dancers. To explore ecocriticism, the opinion of F.X. Widaryanto. The manifestation of eco-criticism in performing arts products of past creative traditions is heavily influenced by natural phenomena. This shows that the works of art in the past gave direction to the audience to protect the environment. The method used in this research is a qualitative research method with a choreographic approach. The results of this study indicate that the work of one billion geckos is a work of art as a form of social criticism, especially in the Kedung Monggo community, which is manifested in the flow of dance choreography.Keywords: Satu Miliar Tokek, Choreography, and Ecocriticism
KONEKSITAS TARI DAN MUSIK PADA TARI KELANA GAYA SURAKARTA Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4030

Abstract

Klana Dance Surakarta style there are at least three main versions that can be traced, namely Kelana dance version S. Ngaliman, version of S.Maridi, and Version Sunarno Purwo Lelono. The three versions of Kelana dance in the groove do not have a prominent difference, but there are quite strong differences and very principles, especially in pacak and wiled sustainability that I observed from 1979 to the 2010s. The connection of dance and music in Surakarta Style Kelana dance shows the existence of a blend and harmony formed from the role of music to dance that serves as a pointer of content, illustration/nglambari, membungkus/mungkus, and nyawiji so as to form a Kelana dance Surakarta Style that is dashing, sigrak, spirit, firm and authoritative. The basic principle that each element in Kelana dance is a visual form that is artistic has shown coherence between elements and total connection so that it can function as a means of expression of the artist steadily.Keywords: music and Kelana dance
RAMPAK BARONG PADA PERTUNJUKAN JARANAN PAGUYUBAN TURONGGO SETYO JATI DI KABUPATEN BLITAR Setyawati, Juwita Dwi; Sumargono, Sumargono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4031

Abstract

Rampak Barong dance, which is in a jaranan performance of Paguyuban Turonggo Setyo Jati in Blitar is a dance that belongs to a folk dance, which is a dance that lives and develops in the local communities with the simplicity of movement, floor patterns, make-up and even costume, because all of that are the characteristics of folk dance. This study aims to reveal the form of the performance and the function of that dance. Rampak Barong dance is very popular among the local community because there are many attractive movements including forward somersaults, interesting foot movements including srimpetan and junjungan. It become more interesting not only because of all kind of movements, but also there is one of main movement called nyaplok. The theoretical basis used to answer the problem of form is Soedarsono's theory in his book entitled “Introduction to Dance Elements and Dance Problems”, and supported by Soedarsono's opinion in his book entitled “Indonesian Performing Arts in Globalization” to describe the functions. The methodology used for this research are nterview, observation, and literature study. This research used descriptive analysis method used to describe the Rampak Barong dance. The results of this researh showed that the form of the dance performance Rampak Barong Paguyuban Turonggo Setyo Jati consists of several dance offerings with several elements of the dance offerings, such as dancers, movement, make-up, music, and performance venues. The function of the Rampak Barong dance as a means of ritual, as personal entertainment and as an aesthetic presentation, namely through ticketing performances or fundraisingKeywords: Form, Function, Rampak Barong, Turonggo Setyo Jati

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