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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 18 Documents
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Search results for , issue "Vol. 21 No. 2 (2022)" : 18 Documents clear
PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
GAYA PENCIPTAAN HADAWIYAH ENDAH UTAMI DALAM TARI BEDHAYA SANTRI Utama, Ansilia Erna; Bantolo, Matheus Wasi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4692

Abstract

The research entitled “Hadawiyah Endah Utami’s Creation Style in Bedhaya Santri Dance” is an attempt to see the creation style of a choreographer in creating works. Bedhaya Santri Dance was created by Hadawiyah Endah Utami to fulfill Tatik Harpawati’s request who wanted an Islamic-themed dance for a wedding ceremony at Pendapa Ageng ISI Surakarta. This research aims to examine the creation style and expression in the dance. To uncover the problem, a qualitative method was used with a choreography approach supported by data collection through observation, interviews, and library studies. This study bases its analysis on Janet Adshead’s theory to understand the form and creation style in Bedhaya Santri dance, as well as the contribution of Adina Armelagos. The results of this study identify three main parts of the dance: forward movement, stopping movement, and backward movement. And there are several characteristics in this dance form that can be seen through its elements, including, all dancers are female, costumes use face curtains as a depiction of a woman's value, Islamic-themed music with verses from the book Al Barzanzi, floor patterns related to space and Javanese philosophy. This dance involves seven female dancers with music from Javanese gamelan and sholawat, providing a spiritual dimension. The costumes and makeup worn emphasize religious values, while Hadawiyah Endah Utami's creative style emphasizes calm and detailed Javanese techniques. This dance also depicts Islamic spirituality through flowing and intermittent movements, creating a distinctive style for choreographers to present innovation in Islamic dance.
ANALISIS KOREOGRAFI BEDAYA RETNA DUMILAH KARYA S. NGALIMAN TJONDROPANGRAWIT Supriyanti, Supriyanti; Meilawanti, Widya Kinanthi Rahayu
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4697

Abstract

Bedaya Retna Dumilah is a type of Surakarta-style classical dance danced by seven female dancers. The composer of this dance was S. Ngaliman Tjondropangrawit in 1978. This Bedaya dance is rarely performed. The form of presentation of the Bedaya Retna Dumilah dance is unique and exciting. The uniqueness of this dance lies in the dance moves, floor patterns, accompaniment, and themes. This study aims to analyze and describe the Choreography of the Bedaya Retna Dumilah Dance by S. Ngaliman Tjondropangrawit. The method was carried out by analyzing the visual data of the Bedaya Retna Dumilah Dance video from the text side and conducting interviews using triangulation to obtain valid data. The choreographic approach was analyzed descriptively from form, technique, and content.  S. Ngaliman composed the Bedaya dance with various innovations from movements, floor patterns, timing, themes, poetry, and dance accompaniment. The renewal of this work is necessary so that it can be taught to students in the Dance Study Program, especially for teaching Surakarta Dance classes. The results found from the Choreography of the Bedaya Retna Dumilah Dance are that the theme of the dance is an essential part of composing the Bedaya dance. The piece of romance influences all aspects of the Bedaya Retna Dumilah dance composition. The dance theme also determines the color of the new arrangement of the Bedaya Retna Dumilah dance. S. Ngaliman Tjondropangrawit as a dance master from Surakarta. Significantly skillfully incorporating elements of novelty into the Bedaya Retna Dumilah dance.
REKONSTRUKSI TARI JEPIN TALI DI KABUPATEN SINTANG Sari, Anggi Wulan; Widyastutieningrum, Sri Rochana
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4691

Abstract

This research focuses on an in-depth analysis of the reconstruction process and outcomes of the Jepin Tali dance, reimagined by Anggi Wulan Sari in Sintang Regency. Jepin Tali is a traditional dance rooted in Malay culture, originating from Sintang, West Kalimantan. It is a key aspect of local heritage, performed in groups by both male and female dancers. The dance serves not only as entertainment but also as a vehicle for community education, promoting values such as cooperation and tolerance. The study adopts the reconstruction theory from the Burra Charter alongside the form theory introduced by Slamet. It employs a qualitative research approach with descriptive and interpretative methods. Data was collected through a combination of observation, literature review, and in-depth interviews with knowledgeable sources. The findings of the study are multifaceted. Firstly, the Jepin Tali dance acts as both a source of entertainment and a means of imparting social values. Secondly, the reconstruction process was structured around stages of exploration and organization, delving into the dance's historical and cultural significance. Thirdly, the reconstruction resulted in expanding the dance from three to sixteen movement variations, enriching the musical elements, makeup, costumes, and floor patterns. Fourthly, the dance is now performed by four female dancers, following a three-part structure—opening, main performance, and closing—using eight ropes as props. Lastly, the unique feature of the Jepin Tali dance lies in its use of ropes and the incorporation of the Siti Zubaidah chant, enhancing the artistic depth of the performance.
KREATIVITAS YOLANDA PUTRI PROBOSEKAR DALAM KARYA TARI LEDHEK DI SANGGAR GUNTUR KOTA KEDIRI Pramesti, Rory Nur; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4696

Abstract

This research was conducted as a study of the creativity of creating a new work inspired by Tayub folk art. Ledhek dance is a new creative dance of the folk tradition created by Yolanda Putri Probosekar and performed in 2019 at TMII. The problems in this study are first, how is the form of Yolanda Putri Probosekar's Ledek dance and second, how is Yolanda Putri Probosekar's creativity in creating the Ledhek dance. Answering the problem of dance form, the theory of Y. Sumandiyo Hadi is used regarding the elements of group choreography. Meanwhile, to find out the creativity of Yolanda Putri Probosekar, it is explained using the theory using the 4P (Four P's Creativity) theory from Rodhes which includes person, process, product, and press. This study uses a qualitative research method. The data collection techniques used are observation, interviews, and literature studies. This study describes the object of research according to the data in the field in the form of real data. The results of the study obtained are that Yolanda Putri Probosekar's creativity in creating the Ledhek dance is influenced by factors such as experience as a dancer and choreographer. This creativity is manifested in several developments of Tayub dance movements such as lembehan, ukel penthangan, ukel lembehan, and jogetan. Then presented with gamelan music, such as kendang, bonang barong, bonang penyerangabbta, peking, slentem, kempul, kenong, rebab, and gong.
KREATIVITAS TARI CENGKAHING KATRESNAN OLEH ALERIANA MAYANG DEWATI Dewati, Aleriana Mayang; Rahmani, Dwi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4690

Abstract

Cengkahing Katresnan is a dance work created by Aleriana Mayang Dewati in 2021. This dance is presented in a group format with a theme that reflects the values of Dewi Banowati's devotion to her husband, Duryudana. In this performance, Dewi Banowati is portrayed as a dedicated woman, even as she faces various conflicts and challenges in her role as the wife of a great leader. This piece symbolizes sacrifice, love, and loyalty, which are central to her story. To create this work, Aleriana employed Alma M. Hawkins' creative process theory, which consists of three main stages: exploration, improvisation, and composition. Exploration involves searching for initial ideas, drawn from history, culture, and personal experiences. The improvisation stage is carried out by developing free movements, unrestricted by specific structures, allowing for creative freedom. The final stage, composition, is the process of arranging movements into a complete dance form. In addition, the author utilized Maryono's form theory to analyze the structure and supporting elements within this dance piece. This theory aids in understanding how each movement, pattern, and placement of dancers on stage contribute to conveying the story and its meaning. The research found that Aleriana Mayang Dewati's creativity is influenced by both internal factors, such as her life experiences and artistic vision, and external factors, such as cultural environment and social support. This study also explores the various supporting components of the work, including music, costumes, and stage design, all of which play crucial roles in shaping the aesthetic experience for the audience.
BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR Istiani, Lia Sukma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4695

Abstract

The research entitled Form and Function of Ronggeng Paser Dance in Sesulu Gunung Batu Village, Penajam Paser Utara Regency, East Kalimantan is a form of traditional dance in Sesulu Gunung Batu Village, East Kalimantan. The focus of this research is on the form and function of Ronggeng Paser dance in society. To answer the problems that arise, several theories are used, including: Form theory by Slamet, MD and also function theory by Soedarsono. The research method used is a qualitative method with a descriptive analysis form. While the data used are field data and written data, then described according to the facts in the field. The research stage carried out is the data collection stage which includes observation, interviews, and literature studies, continued with data analysis. The results of this study can be obtained a picture related to the form and function of Ronggeng Paser dance that lives in the Sesulu Gunung Batu Village community, Penajam Paser Utara Regency, East Kalimantan. The Ronggeng Paser dance form in its presentation has 3 (three) movement motifs that match the song, namely the first part Batu Sopang with the song Batu Sopang, the second part Tirik with the song Tirik, and the third part Makinang with the song Makinang. This dance is included in social dances or happy dances danced by six dancers using Malay lenggang movement motifs with dance music of three types of songs, namely Batu Sopang, Tirik, and Makinang. It cannot be separated from the elements that form it and are interrelated such as movement, rhythm, expression or feeling, costume, stage location, and dancers. The function of the Ronggeng Paser dance is divided into three, namely, as a means of ceremony, as personal entertainment, and as a spectacle.
BENTUK SAJIAN BEDHAYA SAPTONGKARA KARYA I NYOMAN CAHYA BERSAMA SULISTYO HARYANTI Renansia, Erika Meilanawati; Setyoasih, Sri
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4693

Abstract

This article explores a unique form of group dance known as Bedhaya, which conveys symbolic expression through movement. The dance utilizes the symbol of Sapta Ongkara, representing the energy within humans and the universe. The Bedhaya Saptongkara dance was created by two choreographers, I Nyoman Chaya and Sulistyo Haryanti, in 2019. To delve deeper into the form and structure of this Bedhaya dance, the study employs Y. Sumandiyo Hadi's theory, which is instrumental in detailing the dance's elements. The study successfully produces a comprehensive description of the movement composition in the Bedhaya Saptongkara dance, meticulously crafted by I Nyoman Chaya and Sulistyo Haryanti. This description encompasses various crucial aspects of Bedhaya dance, including the dance movements, themes presented, type of dance, mode of presentation, the number and gender of the dancers, the dance space and stage, accompanying music, makeup and costumes of the dancers, props used, and the lighting that enhances the entire performance. Thus, this article provides an in-depth and structured overview of the Bedhaya Saptongkara dance, illustrating how the Sapta Ongkara symbol is embodied within the richly meaningful and philosophical artistic elements of the dance.  
REFLEKSI PENCIPTAAN TARI NYI PANDANARAN PRAJURIT PEREMPUAN Anjali, Sangghita; Soemaryatmi, Soemaryatmi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.5985

Abstract

The Nyi Pandanaran Prajurit Perempuan dance is a choreography created by Sangghita Anjali in 2021. This dance will be performed at the ISI Surakarta Great Theater building on January 7, 2022. The Nyi Pandanaran Prajurit Perempuan dance has a theme of soldiering. This work is presented by a single female dancer. The title of this research is Reflection on the Creation of the Female Warrior Nyi Pandanaran Dance which will reveal two problems, namely how the creative process of the female warrior Nyi Pandanaran dance is and how the form of the dish is presented. To dissect the Creative Process problem, Mel Rodhes's theory of 4P (Four P’s Creativity) Thoughts is quoted by Utami Munandar, while the Form of Serving uses the theory of Forms according to Djelantik. This study uses an artistic practice-based research method consisting of Re-Visiting/visiting again, Re-Questioning/questioning, and Re-Interpreting/re- interpreting. The results of this study indicate that the Creative Process of compiling the Nyi Pandanaran Prajurit Perempuan dance was produced through the stages of preparation, incubation, illumination, and leveraging/evaluation. Nyi Pandanaran Dance Prajurit Perempuan is a dance that is presented in a singular form. The dance moves used are traditional movements with clothing designs inspired by the Semarang model warriors, and using gamelan musical instruments combined with modern musical instruments such as the saxophone and chimes. These elements are assembled into one in a presentation, in a plot consisting of three scenes that reveal an atmosphere of majesty, firmness, determination, persistence, and submission. The Nyi Pandanaran Prajurit Perempuan dance is a choreographic creativity that is packaged in totality.
KREATIVITAS TARI CENGKAHING KATRESNAN OLEH ALERIANA MAYANG DEWATI Dewati, Aleriana Mayang; Rahmani, Dwi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4690

Abstract

Cengkahing Katresnan is a dance work created by Aleriana Mayang Dewati in 2021. This dance is presented in a group format with a theme that reflects the values of Dewi Banowati's devotion to her husband, Duryudana. In this performance, Dewi Banowati is portrayed as a dedicated woman, even as she faces various conflicts and challenges in her role as the wife of a great leader. This piece symbolizes sacrifice, love, and loyalty, which are central to her story. To create this work, Aleriana employed Alma M. Hawkins' creative process theory, which consists of three main stages: exploration, improvisation, and composition. Exploration involves searching for initial ideas, drawn from history, culture, and personal experiences. The improvisation stage is carried out by developing free movements, unrestricted by specific structures, allowing for creative freedom. The final stage, composition, is the process of arranging movements into a complete dance form. In addition, the author utilized Maryono's form theory to analyze the structure and supporting elements within this dance piece. This theory aids in understanding how each movement, pattern, and placement of dancers on stage contribute to conveying the story and its meaning. The research found that Aleriana Mayang Dewati's creativity is influenced by both internal factors, such as her life experiences and artistic vision, and external factors, such as cultural environment and social support. This study also explores the various supporting components of the work, including music, costumes, and stage design, all of which play crucial roles in shaping the aesthetic experience for the audience.

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