cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
sutarno.haryono151@gmail.com
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
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 18 Documents
 1   2 
Search results for , issue "Vol. 22 No. 1 (2023)" : 18 Documents clear
KREATIVITAS SARI APRILIANTI DALAM KARYA TARI CAHAYA PIRDI DI SANGGAR SENI NUSA KIRANA KOTA PALEMBANG Wardani, Suci Kesuma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4224

Abstract

The research entitled Sari Aprilianti's Creativity in the Cahaya Pirdi Dance Work at the Nusa Kirana Art Studio in Palembang City contains the Cahaya Pirdi dance which is a composition of the Pirdi dance by Sari Aprilianti in 2016. The Cahaya Pirdi dance is a new creative dance work that illustrates that humans must strive to achieve something for the sake of survival on earth. At the beginning of the composition, this dance was specifically for children, but in 2020 the Cahaya Pirdi dance was danced for the first time by teenagers to take part in a competition. The problems formulated in this study are the first, what is the form of the Cahaya Pirdi dance, and the second is how is Sari Apriliani's creativity in creating the Cahaya Pirdi dance. Answering the problem about the form of the Cahaya Pirdi dance, Soedarsono's theory of form is used that the form of dance includes interrelated elements including dance movements, floor patterns, dance music, make-up and costumes, properties, time and place of performance. Meanwhile, to answer the problem about Sari Apriliani's creativity, the theory from Rodhes' theory known as 4P (Four P's Creativity) developed by Utami Munandar states that creativity usually has four dimensions, namely personal, process, product, and driver. Based on the object to be studied, the study uses a descriptive analysis method. The results of the study show that Sari Apriliani's creativity is influenced by internal factors, such as her life experiences and artistic vision, and external factors, such as the cultural environment and social support. In addition, this study discusses various supporting elements of the work, such as music, costumes, and stage design. All of these components play an important role in creating an aesthetic experience for the audience
BENTUK PERTUNJUKAN TARI SORENG DAN PERANNYA BAGI MASYARAKAT DESA LEMAH IRENG KECAMATAN BAWEN KABUPATEN SEMARANG Sari, Dewi Purnama
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4288

Abstract

Soreng Dance is a traditional art form originating from Lemah Ireng Village, Bawen, Semarang Regency. This dance is an evolution of the previously established Keprajuritan Dance. Soreng Dance draws inspiration from the history of the Demak Bintara Sultanate, making it unique and special for the dancers involved. They not only perform the dance but also portray significant figures from the Demak Sultanate, creating a strong emotional connection between the dancers and the story being told. One of the distinctive features of Soreng Dance is the large number of dancers involved in the performance, reflecting the communal nature of this art form. The war theme depicted in this dance also infuses the accompaniment with energy and enthusiasm, which is highly appreciated by the audience. This makes Soreng Dance performances one of the most eagerly awaited entertainments for the community. For the people of Lemah Ireng Village, Soreng Dance is not just entertainment, but also a source of pride and a strong cultural identity. The enthusiasm shown by the villagers when watching Soreng Dance performances is proof that this art form holds deep meaning for them. The presence of Soreng Dance in the village also underscores the importance of preserving traditional arts and culture, which serves as a symbol of local pride while strengthening social bonds among the community members.
PENCIPTAAN TARI CALENGSAI KARYA RIANTO Saputri, Willia Dwi; Kuncoro, Jonet Sri
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4779

Abstract

The Calengsai Dance is a creative work born from the acronym of three cultural elements: Calung, Lengger, and Barongsai. This dance portrays the unique cultural journey between China and Banyumas, where the elements of Calung, Lengger, and Barongsai are crafted, developed, and acculturated into a harmonious unity. The result is the creation of a new dance work titled Calengsai Dance, which is performed in the Metamorphosis Lengger show. This dance is a form of development from the original work created by Sri Rahayu, which was further developed by Rianto. In its development process, Rianto added new elements such as Chinese singers, Barongan Banyumas, and dancers with buffalo heads known as pembarong. Through this innovation, the Calengsai Dance becomes not just a new creative dance but also a symbol of the acculturation of two great cultures, namely Javanese and Chinese. The presence of Calung Lengger, Barongsai, and Barongan Banyumas in this dance reflects a fusion of Banyumasan traditional movements, meticulously crafted by Rianto through processes of observation, exploration, experimentation, formation, and intensive training for the dancers. The final result of this process is a work of art that not only captivates aesthetically but is also rich in cultural values, embodying a dialogue between tradition and innovation in the contemporary dance scene of Indonesia.
KARYA TARI TANDE’ SEBAGAI REPRESENTASI FENOMENA SAWER PADA KESENIAN TAYUB MADURA DI SUMENEP Handayani, Sri Cicik; Alkaf, Mukhlas
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4935

Abstract

This article discusses the Tande' dance piece created by Sri Cicik Handayani as a representation of the sawer phenomenon observed during research in Tanah Merah Village, Sumenep Regency. The sawer phenomenon, which was once a sacred part of the Tayub Madura art form, has now undergone a shift in meaning. Tayub, which was once believed to bring good fortune and ward off misfortune or danger, is now more commonly seen as mere entertainment. This reflects a change in the function and meaning of the tradition. In the Tande' piece, the researcher addresses this issue through a new choreographic approach that emphasizes the spirit of the Tandha’ woman, a female figure in the tradition, as well as the various problems arising from the sawer phenomenon in Tayub Madura. Additionally, this work is intriguing because it incorporates various elements beyond movement, such as symbols and values embedded in the local community, all of which are presented in the form of a performance art. This research not only focuses on describing the Tande' dance itself but also delves into the creative process undertaken by the researcher, who also acts as the creator and dancer in the work. Therefore, this research falls into the category of artistic research, where the process of creating the work is an integral part of the scientific study. To collect data, the researcher employed several methods, including observation, interviews, and documentation, all of which played a crucial role in understanding and formulating this work.
TARI TOPENG SEKARTAJI ONĔNG HASIL REINTERPRETASI TARI TOPENG SEKARTAJI TUNGGAL KARYA SULISTYO HARYANTI Puspitaningrum, Windri Estri; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4966

Abstract

The Sekartaji Tunggal Mask dance by Sulistyo Haryanti is an interpretation of the SekartajiMask fragment which was reinterpreted to become the Sekartaji Onĕng Mask dance. This studyanswers the problems of (1) the form of the Sekartaji Tunggal Mask dance, (2) the process and resultsof the reinterpretation of the Sekartaji Tunggal Mask dance by Sulistyo Haryanti to become theSekartaji Onĕng Mask dance. The method used in this qualitative research is descriptive analytics.In discussing the problem of form, the concept of form is used by Katarina Indah Sulastuti that formis related to dance or choreographic compositions which include interrelated elements, includingmotion, make-up, dance music, floor patterns, dramatic designs, properties, place and time ofperformance. Dharsono Sony Kartika discussed the reinterpretation of art that conceptually tries toreinterpret traditional art forms. By following with modern techniques and the artist's style ofexpression individually in expressing ideas, the creation of works of art can reinterpret traditionalart idioms, as a model of conservation, and development, or also known as cultural personalexpression. The results showed that the form of the Topeng Sekartaji Tunggal dance by SulistyoHaryanti uses the movements of the developed bedhaya and srimpi dances. The music for the dancerefers to Fragmen, the clothing used refers to the character Sekartaji, the floor pattern uses straightand curved lines. The process and results of the reinterpretation produce the Topeng Sekartaji Onĕngdance through the stages of preparation, exploration, improvisation, the training process, thestabilization/rehearsal stage and the reinterpretation results are carried out in the motion of the mask,the dance music adds songs and monologues. Corrective makeup uses a paes style mask with a dodotklembrehan dress. The dramatic design is reinterpreted with 5 peak points towards the climax and 4descending points, the floor pattern emphasizes the curved line pattern.
REFLEKSI PENCIPTAAN TEATRIKAL TARI GOOD ANRONG Sholihin, Muhammad Ibnu; Bantolo, Matheus Wasi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4974

Abstract

The research entitled Reflections on the Theatrical Creation of Good Anrong Dance is a research that focuses on tracing the process of creating Good Anrong Dance Theatrical works. This study reveals three problems, namely the reflection of mother's acceptance, the transformation of ideas into the creation process, and the form of presentation of the work. This study uses the Practice Based Research method. To dissect each problem, this study uses Kubler Ross theory to reveal the reflection of maternal acceptance, Wahyu Santoso prabowo's theory of net concepts, krenteg, karep, Lois Ellfeldt, Suzanne K Walther to analyze the transformation of ideas into the creation process, and the theory of Janet Adshead and Slamet MD to describe the form of presentation of the work. The data were collected through observation, literature study, and interviews. The results of the study show: first, the idea of the Theatrical work of Good Anrong Dance on the theme of Acceptance emerged as a form of criticism of social phenomena that underlies the formation of the idea of creating a reflection of mother's acceptance. Second, efforts to develop and express the idea of reflection of mother's acceptance into the form of work, continue with creative activities in the form of the stages of idea transformation carried out during the creation process. The stages of transforming ideas into the creation process include exploration, improvisation, evaluation, formation, training process, and presentation process. The theatrical work of Good Anrong Dance is a form of creativity and expression of freedom to the readers of the theme, taking into account the context of the form of creation. Theatrical work of Good Anrong Dance builds dramatic elements through dancers, movements, visual arrangements, and elements of sound, expression or feeling related to the theme and idea of the work.
BENTUK PERTUNJUKAN KESENIAN TIBAN DI DESA SURAT KECAMATAN MOJO KABUPATEN KEDIRI Hayya, Fina Lu'lual; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5434

Abstract

Tiban Performing art at Desa Surat Kecamatan Mojo Kabupaten Kediri is a research that discusses the form and activity of art in the community.This research aims to explore the form of performance found in the Tiban arts in Surat Village, Mojo District, Kediri Regency. The problems to be discussed are: (1) How is Arriving in Surat Village, Mojo District, Kediri Regency? (2) How is the form of the Tiban show in Surat Village, Mojo District, Kediri Regency? Problems regarding the Tiban were analyzed using Richard Schechner's theory. This study used a qualitative research method, with an ethnoarchaeological approach. Ethnochoreology is one of the branches of science that discusses ethnicity and its various problems. Answering about Tiban in Sur at Village uses Talcott Parsons' theory which explains constitutive, cognitive, moral values, and also expressions, while regarding the form of Tiban uses Richard Schechner's theory which focuses on performance studies. The collection of data and information is carried out by means of observation or observation of research objects, interviews, and library research. The results of this study indicate that the art of Tiban cannot be separated from public trust, knowledge, moral values, and expressions that are embodied in Tiban in Surat Village, Mojo District, Kediri Regency. The form of performance is human activity in the form of Tiban performances which are manifested into games, rituals, and business, as well as the audience that exists as a series of human activities in the form of Tiban art performances.
BENTUK KOMPONEN NONVERBAL KARYA TARI ELEGI Purwanta, Eunike Meta; Maryono, Maryono
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5607

Abstract

The research on “Bentuk Komponen Nonverbal Karya Tari Elegi” explores the elements contained in dance. This dance is a depiction of a romantic relationship that leads to things that are considered toxic. This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. For problem solving, use verbal and nonverbal concepts from Maryono in the Book Analisa Tari. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.
KARAKTER SUTAWIJAYA DALAM TARI PENANGSANG SUTAWIJAYA Hendrawan, Mochamad; Hartanto, Hartanto
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5984

Abstract

The research entitled "Karakter Sutawijaya dalam Tari Penangsang Sutawijaya" focuseson the discussion of the character of the Sutawijaya figure. Sutowijoyo’s character is interpreted as a smooth, dexterous, skillful and sigrak. The work carried out find this character with an emphasis on the elements of movement and the application of Javanese dance musical concepts. This research is intended to describe the character, the creative process of dancing, and the form of dance presentation.The research used is qualitative research by looking at object empirically. Data collectin through observation, interview, and literature studies. Observation emphasizes on the quality of Surakarta style dance performance, interviews and literature studies as a complement to observation and to support knowledge about characterization. Description of Sutawijaya's character through book references, interpretations of dance creators, and interpretations of dancers. The creative process of dancing, using Srihadi's theory. The discussion of the form of dance presentation uses Maryono's theory. The results of this study are in the form of a dance presentation that reveals about Sutawijaya by having an authoritative character, andap asor, firm, and doubtful. The creative process is manifested in the development of scene patterns, motion, clothing, and music. The form of offering the Penangsang Sutawijaya dance is a paired dance with the theme of war. This dance is presented by two male dancers, the dashing son and the alus madya son.
KREATIVITAS SARI APRILIANTI DALAM KARYA TARI CAHAYA PIRDI DI SANGGAR SENI NUSA KIRANA KOTA PALEMBANG Wardani, Suci Kesuma; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4224

Abstract

The research entitled Sari Aprilianti's Creativity in the Cahaya Pirdi Dance Work at the Nusa Kirana Art Studio in Palembang City contains the Cahaya Pirdi dance which is a composition of the Pirdi dance by Sari Aprilianti in 2016. The Cahaya Pirdi dance is a new creative dance work that illustrates that humans must strive to achieve something for the sake of survival on earth. At the beginning of the composition, this dance was specifically for children, but in 2020 the Cahaya Pirdi dance was danced for the first time by teenagers to take part in a competition. The problems formulated in this study are the first, what is the form of the Cahaya Pirdi dance, and the second is how is Sari Apriliani's creativity in creating the Cahaya Pirdi dance. Answering the problem about the form of the Cahaya Pirdi dance, Soedarsono's theory of form is used that the form of dance includes interrelated elements including dance movements, floor patterns, dance music, make-up and costumes, properties, time and place of performance. Meanwhile, to answer the problem about Sari Apriliani's creativity, the theory from Rodhes' theory known as 4P (Four P's Creativity) developed by Utami Munandar states that creativity usually has four dimensions, namely personal, process, product, and driver. Based on the object to be studied, the study uses a descriptive analysis method. The results of the study show that Sari Apriliani's creativity is influenced by internal factors, such as her life experiences and artistic vision, and external factors, such as the cultural environment and social support. In addition, this study discusses various supporting elements of the work, such as music, costumes, and stage design. All of these components play an important role in creating an aesthetic experience for the audience

Page 1 of 2 | Total Record : 18

 1   2 

Filter by Year

2023 2023


Reset
Filter By Issues
All Issue Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI Vol. 23 No. 2 (2024) Vol. 23 No. 1 (2024) Vol. 22 No. 2 (2023) Vol. 22 No. 1 (2023) Vol. 21 No. 2 (2022) Vol. 21 No. 1 (2022) Vol 20, No 2 (2021) Vol. 20 No. 1 (2021) Vol 19, No 2 (2020) Vol 19, No 1 (2020) Vol 18, No 2 (2019) Vol 18, No 1 (2019) Vol 17, No 2 (2018) Vol 17, No 1 (2018) Vol 16, No 2 (2017) Vol 16, No 1 (2017) Vol 15, No 2 (2016) Vol 15, No 1 (2016) Vol 14, No 2 (2015) Vol 14, No 1 (2015) Vol. 13 No. 1 (2014) Vol 13, No 1 (2014) Vol. 12 No. 2 (2013) Vol 12, No 2 (2013) Vol 12, No 2 (2013) Vol 12, No 1 (2013) Vol 11, No 2 (2012) Vol 11, No 1 (2012) Vol 9, No 2 (2010) Vol 9, No 1 (2010) Vol 8, No 1 (2009) Vol 5, No 2 (2009) Vol 1, No 2 (2002) Vol 2, No 2 (2000) More Issue