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 13 Documents
 1   2 
Search results for , issue "Vol. 23 No. 1 (2024)" : 13 Documents clear
TARI REMO JOMBANGAN SEBAGAI TARI PENYAMBUTAN KEBUDAYAAN KHAS JOMBANG Wardana, Veronica Michelle Aprilia
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.2740

Abstract

Remo Dance is one of the cultural heritages that has been introduced since ancient times. This type of dance is often displayed during a welcome ceRemony in Jombang, East Java. Remo dance will often be found in several events, especially on Ludruk or the National Grand Day. To discuss this object, the authors use qualitative research methods by analyzing several books and by the method of Internet research. The author's analysis shows that historically Remo dance comes from the city of Jombang, but is often also used by surrounding communities such as Surabaya, Mojokerto, Malang, Nganjuk, etc. Based on historical records, Remo Dance was originally created in the village of Ceweng, Diwek District, Jombang. In the beginning, the dance was made by street artists in the past by giving the theme of a prince who is known to be valiant and brave. The first time this dance was introduced was by way of traveling the streets and busking. Furthermore, this dance was enabled in certain occasions, especially the Ludruk show. Along with the development of the dance concept, this type of dance is widely known by the wider community, especially neighboring areas. Furthermore, this dance is adapted to the traditions in the local area.
MAKNA SIMBOLIS TARI JARO ROJAB DI KECAMATAN WANGON KABUPATEN BANYUMAS Pravitasari , Galuh Lutfa; Widyawati, Setya
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3575

Abstract

This journal examines the dance creations of Banyumasan style, namely Jaro Rojab Dance by Ida Restina. This dance was created to participate in Festival dan Lomba Seni Siswa Nasional (FLS2N) for high school in Banyumas Regency. Although dance creations but there are stories and plots there must be meanings and values expressed through symbols. This is interesting to research, so the problem is formulated as follows: 1. What is the form of Jaro Rojab Dance? 2. What is the symbolic meaning of Jaro Rojab Dance? To explain the problem use the form theory of Sri Rochana Widyastutieningrum, the theory of symbols from Wiryamartana and the theory of Allegra Snyder. The presentation of this research data is a description of the analysis. The results of observations on the form of Jaro Rojab Dance to analyze the symbol which is externally the constituent of Jaro Rojab Dance inspired by the traditional ceremony procession of jaro change in Cikakak Village and the movement of Lengger banyumas art. While internally is the treasury of motion that undergoes stages of stimulation, transformation, unity. Overall, Jaro Rojab Dance is a picture and symbol of the nature of the local community where the dance created. In other side, Jaro Rojab dance also performed the potential of cultural tourism owned by Cikakak Village and Banyumas Regency.   
MAKNA KARYA UMBUL DONGA DALAM PELEPASAN WISUDAWAN FAKULTAS SENI PERTUNJUKAN ISI SURAKARTA PERIODE II 15 OKTOBER 2019 Wardhani, Chrysnanda Kusuma
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3846

Abstract

This research is aimed to describe the form and content of Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019. This research was done by employing qualitative methods with descriptive narrative analysis and holistic criticism of dance performance by Sutopo. There were several research steps done to accurately collect the data. Data was collected through various sources of references, interviews, and audio-visual records. Sources of references are employed to understand the concept, notion, and background that are correlated with the essence of this research. Furthermore, those are complemented by employing interviews with people who were involved in the Graduation Ceremony of The Performing Arts Faculty at The Indonesian Institute of Arts that was held on October, 15th 2019. The form analysis was done by using Speech Act Theory by Kreidler. Umbul Donga is constructed of two elements (verbal and nonverbal elements). Those are supported by the Performing Arts Theory by Maryono. The Performing Arts Theory was employed to explain non-verbal components which consist of themes, movements, dancers, expressions, floor patterns, makeups, and music.  It was found that based on the verbal and nonverbal analysis, work conception, and audience feedback, Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019 can be interpreted as a medium of pray forgiveness, gratitude, and guidance.  
KREATIVITAS SRI MUMPUNI DALAM TARI MULIE BEKIPAS DI SANGGAR KUSUMA LALITA METRO LAMPUNG Fitri Ciptaningsih; Syahrial
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.5748

Abstract

This research aims to describe and show Sri Mumpuni's creativity in the Mulie Bekipas Dance at Sanggar Kusuma Lalita Metro Lampung. The problems in this research include: (1) what is the form of the Mulie Bekipas Dance at the Kusuma Lailta Studio? and (2) how is Sri Mumpuni's creativity in the Mulie Bekipas Dance at the Kusuma Lalita Studio? Thus, to answer this problem, Y. Sumandiyo Hadi's theory is used to discuss the dance form which contains elements of group choreography and to discuss Sri Mumpuni's creativity in this dance work the author uses Rodhes' theory quoted by Utami Munandar, namely person, process (process), press (pusher) and product (product). This research uses a qualitative research method with a choreographic approach. The research stage carried out was data collection by means of observation, interviews and literature study. Then all the data is collected and finally analyzed. The results of the research show that the Mulie Bekipas Dance form is a group dance, which consists of 11 elements which include dance movements, dance space, dance accompaniment/dance music, dance theme, type/kind/nature of dance, mode or method of presentation, number of dancers/type gender and body posture, make-up, lighting/stage lighting, dance props/other equipment. And this creativity is shown in the choreographer, the factors that influenced it, the creation process up to the formation of the Mulie Bekipas Dance.
TINJAUAN HOLISTIK TARI TOPENG CEPAK KARYA CAHWATI SUGIARTO DI KABUPATEN TEGAL Utami, Anne Amalia; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.5867

Abstract

The “Topeng Cepak” dance creation by Cahwati Sugiarto inspired of the Puppet “Golek Cepak” and “Topeng Endel” dance. Tradition art with little interest. However, Cahwati Sugiarto created the Topeng Cepak dance to people’s interest traditional art in Tegal Distrik. Research problem is (1) What is Cahwati Sugiarto role as an artist in Tegal District? (2) What is the form of the dance “Topeng Cepak” by Cahwati Sugiarto? (3) How does the public responds to the dance “Topeng Cepak” by Cahwati. Researchers use a holistic approach from H.B. Sutopo with three interrelated components such as Genetic Analysis, Objective Analysis, and Afective Analysis. The Researcher used the theory of dance form by Widyastutieningrum is physical form and expressions form. The Research used the theory of audience responses by Sulastuti is audience comprehender, audience trained, and audience general. This type of research is qualitative research with descriptive analysis method. Data Collection techniques using observation, interview, and literature review. The research results show that Cahwati Sugiarto is a talented and creative artist in creating works of art. The “Topeng Cepak” dance has a feminine and masuculine characteristics in perform. The “Topeng Cepak” dance is a single dance that has a movement style inspired by puppet “Golek Cepak”, “Topeng Tegalan” dance, Cirebon Style, Surakarta Style and Banyumasan Style. The “Topeng Cepak” dance get a good response from public, because it was unique, energetic, and music style from Cirebon and Banyumas.
BENTUK TARI KEMBANG KEMANGI KARYA JAJULAIDIK DAN YUDA GADIS OCTIANI SANGGAR TARI SAYUWIWIT Anggraini, Maya Lestari; Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.5891

Abstract

This research describes the form and choreography of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio. Kembang Kemangi dance is the new choreography inspired by the local tradition of Banyuwangi. The research questions include: (1) What is the form of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio, (2) How is the choreography of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio. In dissecting the formulation of the problem in this research, the theory of form and choreography by Slamet, in his book entitled "Melihat Tari," was used. This research uses a qualitative research method with a choreographic approach. The research steps are data collection through observation, interviews, literature review, and data analysis. The results of the research show that the form of the Kembang Kemangi dance consists of dance elements. These are movement, music, makeup and costume, dancers, flour pattern, and stage. Kembang Kemangi is a group choreography that contains 7 dancers.  The choreography of the dance movements is related to "solah-ebrah." Solah is an effort to manifest the form of human body movements that are developed to form an ebrah which includes a variety of movements that have the essence of the smallest unitary meaningful motion form.   
FUNGSI TARI LADING DI DESA TEMPIRAI KECAMATAN PENUKAL UTARA KABUPATEN PENUKAL ABAB LEMATANG ILIR PROVINSI SUMATERA SELATAN Rahmadini, Zakiyah; Syahrial
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.5942

Abstract

The research entitled "The Function of the Lading Dance in Tempirai Village, North Penukal District, Penukal Abab Lematang Ilir Regency, South Sumatra Province", aims to describe the Form and Function of the Lading Dance. The problems in this research include: (1) what is the form of the Lading Dance? and (2) how does the Lading Dance function? Answering problems regarding dance form using Y. Sumandiyo Hadi's theory and discussing function using M. Jazuli's theory. This research uses descriptive qualitative research methods. Data obtained through observations, interviews and literature study.  The results of the research show that the form of Lading Dance is a group dance, which consists of 11 elements which include dance movements, dance space, dance accompaniment/dance music, dance theme, type/type/nature of dance, mode or method of presentation, number of dancers, gender, and body posture, make-up, lighting/stage lighting, dance props/other equipment. The functions of the Lading dance include: Lading dance for ceremonial purposes, namely the traditional wedding ceremony of Tempirai Village and the ceremony for welcoming important guests. The function of the Lading dance is for entertainment/spectacle which is intended to enliven and celebrate a meeting or reception. The function of the Lading dance for performance aims to provide an aesthetic experience to the audience. The function of Lading dance for educational media means that dance becomes a tool for education or learning the values needed to achieve goals.  
TARI REMO JOMBANGAN SEBAGAI TARI PENYAMBUTAN KEBUDAYAAN KHAS JOMBANG Wardana, Veronica Michelle Aprilia
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.2740

Abstract

Remo Dance is one of the cultural heritages that has been introduced since ancient times. This type of dance is often displayed during a welcome ceRemony in Jombang, East Java. Remo dance will often be found in several events, especially on Ludruk or the National Grand Day. To discuss this object, the authors use qualitative research methods by analyzing several books and by the method of Internet research. The author's analysis shows that historically Remo dance comes from the city of Jombang, but is often also used by surrounding communities such as Surabaya, Mojokerto, Malang, Nganjuk, etc. Based on historical records, Remo Dance was originally created in the village of Ceweng, Diwek District, Jombang. In the beginning, the dance was made by street artists in the past by giving the theme of a prince who is known to be valiant and brave. The first time this dance was introduced was by way of traveling the streets and busking. Furthermore, this dance was enabled in certain occasions, especially the Ludruk show. Along with the development of the dance concept, this type of dance is widely known by the wider community, especially neighboring areas. Furthermore, this dance is adapted to the traditions in the local area.
MAKNA SIMBOLIS TARI JARO ROJAB DI KECAMATAN WANGON KABUPATEN BANYUMAS Pravitasari , Galuh Lutfa; Widyawati, Setya
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3575

Abstract

This journal examines the dance creations of Banyumasan style, namely Jaro Rojab Dance by Ida Restina. This dance was created to participate in Festival dan Lomba Seni Siswa Nasional (FLS2N) for high school in Banyumas Regency. Although dance creations but there are stories and plots there must be meanings and values expressed through symbols. This is interesting to research, so the problem is formulated as follows: 1. What is the form of Jaro Rojab Dance? 2. What is the symbolic meaning of Jaro Rojab Dance? To explain the problem use the form theory of Sri Rochana Widyastutieningrum, the theory of symbols from Wiryamartana and the theory of Allegra Snyder. The presentation of this research data is a description of the analysis. The results of observations on the form of Jaro Rojab Dance to analyze the symbol which is externally the constituent of Jaro Rojab Dance inspired by the traditional ceremony procession of jaro change in Cikakak Village and the movement of Lengger banyumas art. While internally is the treasury of motion that undergoes stages of stimulation, transformation, unity. Overall, Jaro Rojab Dance is a picture and symbol of the nature of the local community where the dance created. In other side, Jaro Rojab dance also performed the potential of cultural tourism owned by Cikakak Village and Banyumas Regency.   
MAKNA KARYA UMBUL DONGA DALAM PELEPASAN WISUDAWAN FAKULTAS SENI PERTUNJUKAN ISI SURAKARTA PERIODE II 15 OKTOBER 2019 Wardhani, Chrysnanda Kusuma
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3846

Abstract

This research is aimed to describe the form and content of Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019. This research was done by employing qualitative methods with descriptive narrative analysis and holistic criticism of dance performance by Sutopo. There were several research steps done to accurately collect the data. Data was collected through various sources of references, interviews, and audio-visual records. Sources of references are employed to understand the concept, notion, and background that are correlated with the essence of this research. Furthermore, those are complemented by employing interviews with people who were involved in the Graduation Ceremony of The Performing Arts Faculty at The Indonesian Institute of Arts that was held on October, 15th 2019. The form analysis was done by using Speech Act Theory by Kreidler. Umbul Donga is constructed of two elements (verbal and nonverbal elements). Those are supported by the Performing Arts Theory by Maryono. The Performing Arts Theory was employed to explain non-verbal components which consist of themes, movements, dancers, expressions, floor patterns, makeups, and music.  It was found that based on the verbal and nonverbal analysis, work conception, and audience feedback, Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019 can be interpreted as a medium of pray forgiveness, gratitude, and guidance.  

Page 1 of 2 | Total Record : 13

 1   2 

Filter by Year

2024 2024


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