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<![CDATA[MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN ]]>
<![CDATA[Yuniar, Ni Ratih Putri]]>;
<![CDATA[Slamet, Slamet]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5423
<![CDATA[This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects. To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance. The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.]]>
<![CDATA[PROSES PENCIPTAAN KARYA TARI UNBALANCED ]]>
<![CDATA[Dewi, Septiana]]>;
<![CDATA[Supendi, Eko]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5426
<![CDATA[Unbalanced is a dance work composed by Septiana Dewi in 2022 and performed at the Great Theater Building of the Indonesian Institute of the Arts in 2023. The Unbalanced dance work was inspired by the empirical experience of a deaf and mute person named Irfan Nurdiawan, a disabled athlete. Irfan Nurdiawan has had hearing loss since birth. However, Irfan tries to show others that he can also achieve like other normal children. The Unbalanced dance work is in the form of a group with five female dancers and Septiana Dewi as a dancer and choreographer. In the process, the dancers try to feel what kind of experience a deaf and mute person feels by covering their ears in a closed room and also in a crowded environment. This study is intended to describe the form of the Unbalanced dance work performance and the process of creating the Unbalanced dance work. The description of the form of the Unbalanced dance performance uses the theory of Slamet MD in his book entitled melihat Tari in 2016, and the process of creating the Unbalanced dance work uses the theory of Alma M. Hawkins quoted by Bambang Pudjasworo et al in the book Karya Cipta Seni Pertanggungaan in 2017. The method used in this study is qualitative research which includes observation, interviews and documentation. The results obtained in this study are in the form of a description of the form of performance consisting of movement, dancers, costume make-up, floor patterns, dance music and the place where the Unbalanced dance work is performed as well as the process of creating the Unbalanced dance work.]]>
<![CDATA[BENTUK DAN FUNGSI DRAMA TARI GANDRUNG TERAKOTA DI KABUPATEN BANYUWANGI ]]>
<![CDATA[Sugiharta, Hiltania Milyadita]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5501
<![CDATA[One form of the existence of performing arts in Banyuwangi Regency is the Gandrung dance. In its development, various Gandrung dances emerged with various performances. The Gandrung Terrakota dance drama is one of the performing arts that is developing in Banyuwangi Regency. This performance combines drama and dance performances which are performed in groups using a story line with the theme of the history of the journey of a Gandrung dancer. The Gandrung Terrakota dance drama performance form in Banyuwangi Regency was created in 2018 by Mr. Slamet Dihardjo, as a teacher from SMK Negeri 1 Banyuwangi, Dance Department. He, together with the students of SMK Negeri 1 Banyuwangi, Department of Dance, created a work that depicts the journey of a Gandrung dancer to the graduation ritual process of a Gandrung dancer and is ready to perform in full. This study aims to describe the formulation of the problems related to the Gandrung Terakota Dance drama, including: (1) how is the form of the Gandrung Terakota Dance drama; and (2) how is the function of the Gandrung Terakota Dance drama. Both of these problems use qualitative research methods that examine textual and contextual performing arts. There are two stages that must be carried out in qualitative research, namely the data collection stage which consists of observation, interviews and research. The second stage is the data processing stage which is carried out by analyzing the data according to the Gandrung Terakota Dance drama. The research results show that the Gandrung Terakota Dance drama is a form of performance which has 5 scenes packaged into the Gandrung Terakota Dance drama performance. The function of this drama is classified as a function of ritual, entertainment, and spectacle.]]>
<![CDATA[BENTUK DAN FUNGSI JARANAN BUTO CAMPURSARI LANGGENG BUANA DESA TEGALARUM BANYUWANGI ]]>
<![CDATA[Hidayah, Nikmatul]]>;
<![CDATA[Suharti, Mamik]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5546
<![CDATA[Jaranan Buto Campursari is a folk dance found in the Tegalarum Village area, Sempu District, Banyuwangi Regency. Jaranan Buto Campursari has undergone several changes both in terms of name and presentation. This is due to the need for presentation so that it is not monotonous. Previously, the name Jaranan Buto did not use the name Campursari, but Setro Asnanwi added the name Campursari because the form of presentation included the presentation of other dances. As it developed, Jaran Buto Campursari changed its name to Jaranan Buto Campursari Langgeng Buana. This research aims to describe the form and function of Jaranan Buto Campursari which lives and develops in Tegalarum Village, Sempu District, Banyuwangi. Jaranan Buto Campursari is one of the folk dances in the Langgeng Buana art group which is danced in groups. The main problems in this research consist of 2 (two) first, what is the form of Jaranan Buto Campursari, the second is how Jaranan Buto Campursari functions. This research uses the theory of form and function. The theory of form comes from Y. Sumandyo Hadi and the theory of function uses theory from Soedarsono. This research is qualitative in nature through the stages of observation, interviews, documentation and literature study, as well as using data analysis. The results of this research show that the Jaranan Buto Campursari dish consists of 2 parts, namely pre-performance and performance. The author reveals the form and function of Jaranan Buto Campursari. Form includes the structure of the presentation and the elements of the performance. The Jaranan Buto Campursari performance has several functions that influence society. Among them as a means of ceremonies, as personal entertainment and as a spectacle for the local community. Apart from that, Jaranan Buto Campursari has an influence on the economy of the people of Tegalarum Village and its surroundings.]]>
<![CDATA[PERSPEKTIF HOLISTIK TARI MERADAI GARAPAN SEKOLAH MENENGAH KEJURUAN NEGERI 5 KOTA BENGKULU ]]>
<![CDATA[Lara Sati, Ane Gempita]]>;
<![CDATA[Maryono, Maryono]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5593
<![CDATA[Bengkulu is one of the provinces located on the island of Sumatra with its capital city being Bengkulu City. Bengkulu City has a very famous ceremonial tradition, namely the Tabot ritual tradition which is held every year on the 1st to the 10th of Muharram. The Tabot ritual is often used as an entertainment event in the form of creative dance or new works created by local artists in Bengkulu City. One of them is the Meradai dance which is a work of State Vocational High School 5 of Bengkulu City in 2017. This study aims to reveal the meaning contained in the Meradai dance created by State Vocational High School 5 of Bengkulu City. The meaning of the dance is revealed by revealing three problems including: the genetic concept, the form of purpose, and the audience's response to the Meradai dance created by State Vocational High School 5 of Bengkulu City. This study uses a holistic art criticism approach that places three factors, namely genetic, objective, and affective, which are a unity as a source of the flow of meaning. This study is qualitative with data collection techniques including interviews, observations, and literature studies. The results of the discussion based on genetic factors, objectives, and affective aspects of the Meradai dance created by State Vocational High School 5, Bengkulu City are used for competitions, entertainment and learning materials, and contain values of fighting spirit, mutual cooperation, and cultural history values.]]>
<![CDATA[TARI SRIMPI BLONYO MALELA: WUJUD DEKONSTRUKSI SRIMPI BLONYO ]]>
<![CDATA[Saputra, Windi]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5594
<![CDATA[This research examines the Srimpi Blonyo Malela’s dance work as a result of the deconstruction of the Srimpi Blonyo dance. The Srimpi Blonyo Malela’s dance work is the result of a deconstruction of the Srimpi Blonyo dance. The meaning of deconstruction itself is to dismantle the establishment through various texts and cultural contexts. This is research uses qualitative research and the explanation is analytical descriptive. The literature review and literature study for this research were taken from oral and written references. The results of the research on Srimpi Blonyo Malela's dance work found a form of overall renewal of the Srimpi Blonyo dance except for make-up and clothing. Deconstruction or dismantling is carried out on elements such as the content of the story line, movement arrangement, floor pattern structure, number of dancers, props used and musical accompaniment. These elements were created through the creativity, imagination and exploration of deconstructors. The Srimpi Blonyo Malela dance is based on the mythical belief of Dewi Sri and Raden Sadana, which makes people aware of the ecology of the universe which is worked out symbolically through the medium of movement, clothing and sound. Both are central figures in agricultural and fertility mythology, often associated with the balance of the universe. Apart from that, giving values regarding belief in Dewi Sri and Raden Sadana in some Javanese communities is a way of expressing gratitude to God Almighty.]]>
<![CDATA[KREATIVITAS DJOKO PRAKOSA DALAM KARYA TARI KRIDHA DWIPANGGA DI KABUPATEN SRAGEN ]]>
<![CDATA[Pertiwi, Intan Hanny]]>;
<![CDATA[Setyastuti, Budi]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5601
<![CDATA[This research problem was formulated as a form of Kridha Dwipangga Dance performance which explains Djoko Prakosa's creative process. The results of this research show that the Kridha Dwipangga dance is a choreography and creativity of Djoko Prakosa with the theme of elephant fauna. Kridha Dwipangga Dance is intended as a form of education, tourism, and is expected to become an icon of Sragen Regency. The intended form of education is that the Kridha Dwipangga dance can be taught as learning material for Elementary School (SD) – Junior High School (SMP) levels. Apart from that, there is also education to introduce the Sangiran Archaeological Site to students. The form of tourism intended is related to the Circular Letter received by Sragen Regency from the Central Java Province Tourism and Culture Office so that each region can develop its tourism potential, including artistic and cultural potential. For this reason, Djoko Prakosa was asked to create a typical dance from Sragen Regency, hereinafter called the Kridha Dwipangga Dance. It is hoped that the iconic form of the Kridha Dwipangga dance will strengthen and publicize the Sangiran Archaeological Site which reveals many facts about well-known animal fossils, including elephants which are visualized in the form of dance. The Kridha Dwipangga dance icon presented by a group of female dancers inspired by the strong, protective and nurturing character of the elephant animal is a reflection of the Regent's attitude and responsibilities in running the government of Sragen Regency.]]>
<![CDATA[KOREOGRAFI PELUK JIWA KARYA JONET SRI KUNCORO DAN MT. WASI BANTOLO BERSAMA ANAK DISABILITAS TUNA RUNGU ]]>
<![CDATA[Wardanny, Smirna]]>;
<![CDATA[Widyastutieningrum, Sri Rochana]]>
<![CDATA[ Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5983
<![CDATA[This study describes the process of creation and form of Peluk Jiwa dance. The problems in this study include process of creating Peluk Jiwa dance choreography and form of Peluk Jiwa dance. The choreography of Peluk Jiwa is based on the traditional Surakarta style dance movements that are balanced and adapted to the abilities of the dancers who are deaf children, non-disabled children and physically disabled singers. The dance work Peluk Jiwa tells about social equality between normal people and people with physical disabilities. This study uses a qualitative method that is descriptive analysis. The theory used to solve the problem of the choreography creation process uses a theory with seven stages, namely elements of dance moves, theme selection, technique, exploration, organization, unity, presentation while to dissect the form of the work of Peluk Jiwa Dance using nine main elements including (1) dance title, (2) dance themes, (3) types of dance, (4) dance room, (5) dance moves, (6) dance music, (7) presentation methods, (8) dancers, (9) makeup and clothing. The results of this study indicate that Peluk Jiwa Dance is the work of Jonet Sri Kuncoro and Wasi Bantolo with children hearing impairments who were created through a seven-stage creative process and also added that the form of Peluk Jiwa is a drama dance involving dancers for children with hearing impairments. This work contains a message of social equality between children with hearing impairments and normal children.]]>
<![CDATA[MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN ]]>
<![CDATA[Yuniar, Ni Ratih Putri]]>;
<![CDATA[Slamet, Slamet]]>
<![CDATA[ Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5423
<![CDATA[This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects. To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance. The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.]]>
<![CDATA[PROSES PENCIPTAAN KARYA TARI UNBALANCED ]]>
<![CDATA[Dewi, Septiana]]>;
<![CDATA[Supendi, Eko]]>
<![CDATA[ Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v22i2.5426
<![CDATA[Unbalanced is a dance work composed by Septiana Dewi in 2022 and performed at the Great Theater Building of the Indonesian Institute of the Arts in 2023. The Unbalanced dance work was inspired by the empirical experience of a deaf and mute person named Irfan Nurdiawan, a disabled athlete. Irfan Nurdiawan has had hearing loss since birth. However, Irfan tries to show others that he can also achieve like other normal children. The Unbalanced dance work is in the form of a group with five female dancers and Septiana Dewi as a dancer and choreographer. In the process, the dancers try to feel what kind of experience a deaf and mute person feels by covering their ears in a closed room and also in a crowded environment. This study is intended to describe the form of the Unbalanced dance work performance and the process of creating the Unbalanced dance work. The description of the form of the Unbalanced dance performance uses the theory of Slamet MD in his book entitled melihat Tari in 2016, and the process of creating the Unbalanced dance work uses the theory of Alma M. Hawkins quoted by Bambang Pudjasworo et al in the book Karya Cipta Seni Pertanggungaan in 2017. The method used in this study is qualitative research which includes observation, interviews and documentation. The results obtained in this study are in the form of a description of the form of performance consisting of movement, dancers, costume make-up, floor patterns, dance music and the place where the Unbalanced dance work is performed as well as the process of creating the Unbalanced dance work.]]>
