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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 16 Documents
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Search results for , issue "Vol. 23 No. 2 (2024)" : 16 Documents clear
PENGARUH VISUALISASI TARI BEDANA TERHADAP PENGUATAN NILAI-NILAI KEARIFAN LOKAL DAN EDUKASI BUDAYA DI PROVINSI LAMPUNG Saputra, M Naruli; Janah, Laelatul; Ziddan, Amri Sukroeni; Sumargono, Sumargono
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Traditional arts, or regional arts, are inherited and passed down from generation to generation in the archipelago, and will experience development from generation to generation. In reality, it is not easy for traditional arts to maintain their existence and are faced with the current of globalization which is currently getting bigger. Bedana dance as a type of traditional Lampung dance is a symbolic embodiment of customs and religion and has become integrated with Lampung society. Bedana dance has lived and developed in the Lampung area along with the arrival of Islam, so it is not surprising that in other regions in Indonesia it has similarities in both variety and movement, which also has the same function, namely Social Dance which has an Islamic spirit. This research aims to see the effect of providing visualization treatment on strengthening local wisdom values ​​and cultural education in the Lampung Province region. This research uses an experimental method with a one group pretest-posttest design. The results of research carried out in the Lampung region show that after being given treatment to the community using Bedana dance visualization, there is a difference in pretest and posttest scores on the value of local wisdom and cultural education in Lampung province with a sig (2-tailed) value of 0.000, which is smaller. compared to the α value, which is 0.05, therefore Ho is rejected, meaning there is an average difference between the pretest score and the posttest score.
BELIATN BAWO SAJIAN KEMASAN WISATA SANGGAR SENI SWALAS GUNAQ Awensius, Awensius; Daryono, Daryono
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The treatment rituals in the Dayak Tonyoii and Benuaq communities are called Beliatn Bawo, a form of healing ceremony for non-medical diseases or illnesses (tenengkoah). The community's belief in the Beliatn Bawo ritual ceremony is a legacy of hereditary ancestral traditions whose implementation is led by an entrusted or elder, namely the pemeliatn. Apart from being a leader in healing rituals, as a medium of communication to ancestral spirits to gain magical-spiritual powers, and as a Beliatn Bawo dancer. This study uses a qualitative method, the report form uses analytical description by explaining the results of observations based on the actual situation. To strengthen this writing, several concepts or theories are used, namely the idea of form by Sumandiyo Hadi and Soedarsono, and a theory of tourism performances, the concept of tourism used by J. Maguet. Used an ethnochoreological approach to view dance as a tourist art product. Various stages have been carried out, namely data collection, observation, interviews, and literature study. The Beliatn Bawo dance was created by the Swalas Gunaq Art Studio. This dance is taken from the healing ritual tradition and then gets a creative artistic to become an art performance. In this way, the Swalas Gunaq Art Studio consciously develops its function as a tourism package to enrich the variety of arts, especially dance in West Kutai Regency, East Kalimantan. The tourist package Beliatn Bawo Dance includes elements of dance movements, music, offerings, props, make-up and clothing, mantras, and the pemeliatn Beliatn Bawo ritual dance.
TARI GANTAR EMPULUUQ TEMPUUQ DI DESA SEKOLAQ DARAT KABUPATEN KUTAI BARAT KALIMANTAN TIMUR Susilawati, Susilawati
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The Gantar Empuluuq Tempuuq Dance is one of the Gantar Dances in the Swalas Gunaq Art Studio in Sekolaq Darat Village. The formulation of the problems in this study are (1) how is the form of the Gantar Empuluuq Tempuuq. (2) how is the function of the Gantar Empuluuq Tempuuq Dance performance. The theoretical basis used to dissect the problem of form is to use the theory of Suzzane K. Langer trans. FX Widaryanto who stated that “form in the most abstract sense means the structure, articulation, the overall result of the relationship of various interrelated factors or rather the way all aspects are assembled”. Regarding form, Sumandiyo Hadi’s thoughts on the principles of motion are also used. To dissect the problem of function using the theory of Soedarsono which states, the function of dance is divided into three: 1. As a means of ritual/ceremony, 2. As a means of personal entertainment, 3. As a means of spectacle. The method used in this study is a qualitative method with an ethnoarchaeological approach through the stages of observation, data collection and data analysis. The research showed that the Gantar Empuluuq Tempuuq Dance in Sekolaq Darat Village is a group dance performed by female dancers carrying a wooden stick and a piece of bamboo. This dance consists of three parts depicting flying birds and always a group, supported by movement, music, make up, costumes and floor patterns that become one unit in the presentation. Gantar Empuluuq Tempuuq dance is a dance that is still desired in the midst of the Tonyooi Benuaq Dayak community. This dance not only has a function as a means of traditional ceremonies but also for the needs of the people of West Kutai Regency in their social life such as welcoming guests, entertainment and spectacle. Performing art, including dance, will continue to live and exist as long as they are functional and useful in people’s lives as supporters.
PELESTARIAN TARI KRETEK SEBAGAI KESENIAN KOTA KUDUS YANG DIKEMBANGKAN SANGGAR PURING SARI Meilani, Annisa Sukma
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Kretek dance is a new dance creation typical of Kudus Regency which lives, grows and develops in Kudus society. The Kretek dance was created in 1986 by an artist named Endang Tony and her husband Supriyadi. This dance depicts the process of making Kretek cigarettes and tells the story of the activities of cigarette workers, from selecting tobacco, tidying up cigarette sticks, to delivering them to the foreman for inspection. The Kretek dance has become a dance of pride for the people of Kudus and has become an iconic dance in the city of Kudus.  This dance symbolizes that the city of Kudus is 'Kretek City', meaning the center of Kretek cigarette production, whether made traditionally by hand or modernly made by machines. The existence of Kretek dance cannot be separated from the role of Sanggar Puring Sari as one of the arts studios that preserves Kretek dance. This studio is in Barongan Village, Kota District, Kudus Regency. As a preserver of Kretek dance, Sanggar Puring Sari introduces Kretek dance in all its activities, especially during routine practice. This research is intended to describe the role of Sanggar Puring Sari Kudus Regency in preserving Kretek dance in Kudus Regency. Efforts to preserve the Kretek dance can be seen in tangible (visible) and intangible (invisible) ways. The research method uses qualitative research. Data collection techniques can be through observation, interviews and documentation. The data that has been obtained will be analyzed using data triangulation.
KREATIVITAS LOEDIRO PANTJOKO DALAM TARI REWANDA WIRAKA KRIDO Oktaviantari, Hervina; Suharji, Suharji
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The research entitled "Rewanda Wiraka Krido Dance by Loediro Pantjoko" examines two problems raised in the research, namely (1) what is the form of the Rewanda Wiraka Krido dance by Loediro Pantjoko; and (2) how creative Loediro Pantjoko is in the Rewanda Wiraka Krido Dance. Two problems were studied using Y. Sumandiyo Hadi's theory of choreography and then to reveal creativity using Srihadi's concept. Choreography theory is a framework of thought used to analyze, interpret and create dance works. By using this theory, you can reveal the meaning contained in a dance, understand the creative process of its creator, and evaluate its aesthetic and artistic qualities. This research uses qualitative methods, the data collection stage is produced through observation, interviews, literature study and document study.The research results obtained show that choreographically the Rewanda Wiraka Krido Dance is a group of monkeys that live and thrive in the wilderness. The Rewanda Wiraka Krido dance uses developmental movement motifs from the Surakarta Style Traditional Dance combined with acrobatic movements. The addition of female dancers is a new breakthrough so that they can be accepted throughout society. Creativity is created based on sensitivity to the environment, life experience and imagination, so that he succeeded in presenting Rewanda Wiraka Krido's choreography with totality. Java has a wealth of traditional dances with various themes and meanings. The word "Wira" in Javanese is often associated with courage and heroism, while "Krido" can be interpreted as a game or performance. This combination of words may indicate a dance that tells a heroic story.
INTERPRETASI PADA TOKOH SRIKANDI DALAM TARI SRIKANDI CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI Firdha, Agustin; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The character of Srikandi in the dance Srikandi Cakil by Didik Bambang Wahyudi portrays a Javanese woman who is graceful and charming yet has a masculine character that is agile, clever, and confident, capable of defeating opponents, including men. Srikandi is depicted as a firm and resolute figure. Agustin became interested in interpreting this character in her own dance. This research focuses on Agustin's interpretation and the process of interpreting the character of Srikandi in Srikandi Cakil. In discussing the form of the interpreted dance, the concept from Katarina Indah Sulastuti is used, covering elements of movement, makeup-costume, music, floor patterns, dramatic design, props, and performance space. Meanwhile, the interpretation process is based on Bahari's theory, which states that interpretation is the act of understanding the meaning, message, and values contained in a work. This research is qualitative, using the Practice Based Research method, with data collected through participatory observation, interviews, literature review, and document studies, and presented descriptively and interpretively. The research findings show that the structure of Agustin's interpretation of Srikandi in Srikandi Cakil remains grounded in the traditional Surakarta dance style. The interpretation develops elements of movement, music, floor patterns, and dramatic design. Movement interpretation is applied to the battle, dialogue (antawecana), and combat gestures in the song. Music interpretation includes adding dialogue, song (tembang/palaran), and a vocal segment (pocapan) at the end of the dance. Floor pattern interpretation involves adding curved lines. The interpretation process follows stages of preparation, exploration, dancer adaptation, work realization, rehearsal, evaluation, and presentation.
BENTUK DAN PROSES PENCIPTAAN TARI BETARI AMONG KITRI Sari, Gigis Setia Puspita
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The basic idea of ​​the research entitled "The Form and Process of Creating the Betari Among Kitri Dance", which is based on the story of the fertility religious myth Nyai Sekar Sari, aims to provide a descriptive explanation of the form and process of creating the Betari Among Kitri Dance.This research uses a descriptive field research method that emphasizes data collection through observation, interviews, and literature studies, collecting data through a Participation Action Research (PAR) approach involving researchers as dancers and choreographers using a field approach and then packaged descriptively.This research uses the theory of Y. Sumandiyo Hadi, 2003 which is used to discuss the form of the Betari Among Kitri Dance work and the theory of Alma M. Hawkins which is used to solve problems regarding the process of creating the Betari Among Kitri Dance work. In the form of exploring the elements in the Betari Among Kitri Dance work, namely: (1) theme (2) dance title (3) synopsis (4) type of dance (5) dance description (6) dance movements (7) dance space (8) floor pattern (9) dance accompaniment / music (10) dancers (number and gender) (11) make-up and dance costumes (12) lighting and stage setting (13) mode of presentation. The process of creating this work goes through the preparation, design and composition stages, including the exploration, improvisation and composition stages. The results of this research can describe the form and process of creating the Betari Among Kitri dance work.
KEPENARIAN SRI WARDOYO DALAM TARI GAMBIRANOM Prastiyo, Aris
Greget : Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The Gambiranom dance is a dance with a fanciful theme depicting King Gambiranom or better known as Bambang Irawan. Being in love with Dewi Titisari, this dance was danced by Sri Wardoyo to determine his bachelor's degree at the STSI Surakarta pavilion in 1990.This research uses the theoretical basis of form proposed by Suzane K. Langer, and as an analytical model to describe the Gambiranom dance, using Janet Adshead's interrelated theory, namely dancers, movement, music, accompaniment, make-up and clothing. This research uses descriptive analysis, namely studying the factual history of Sri Wardoyo's life from childhood to adulthood. By explaining the developments and interviews that support most of the research obtained from interview and observation data, the results of data collection are then selected and clarified in accordance with the objectives and formulation of the problem in this writing. After that the results are analyzed and concluded. From the results of this research, it can be obtained that the description is related to Sri Wardoyo's dancing in the Gambiranom dance. Having total will becomes important, with motivation growing strong within a person, this is the main capital in living the world until one's life stops beating. The motivation that was awakened in Sri Wardoyo is clear evidence of the formation of Sri Wardoyo's good dancing skills.
PENGARUH VISUALISASI TARI BEDANA TERHADAP PENGUATAN NILAI-NILAI KEARIFAN LOKAL DAN EDUKASI BUDAYA DI PROVINSI LAMPUNG Saputra, M Naruli; Janah, Laelatul; Ziddan, Amri Sukroeni; Sumargono, Sumargono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.2512

Abstract

Traditional arts, or regional arts, are inherited and passed down from generation to generation in the archipelago, and will experience development from generation to generation. In reality, it is not easy for traditional arts to maintain their existence and are faced with the current of globalization which is currently getting bigger. Bedana dance as a type of traditional Lampung dance is a symbolic embodiment of customs and religion and has become integrated with Lampung society. Bedana dance has lived and developed in the Lampung area along with the arrival of Islam, so it is not surprising that in other regions in Indonesia it has similarities in both variety and movement, which also has the same function, namely Social Dance which has an Islamic spirit. This research aims to see the effect of providing visualization treatment on strengthening local wisdom values ​​and cultural education in the Lampung Province region. This research uses an experimental method with a one group pretest-posttest design. The results of research carried out in the Lampung region show that after being given treatment to the community using Bedana dance visualization, there is a difference in pretest and posttest scores on the value of local wisdom and cultural education in Lampung province with a sig (2-tailed) value of 0.000, which is smaller. compared to the α value, which is 0.05, therefore Ho is rejected, meaning there is an average difference between the pretest score and the posttest score.
BELIATN BAWO SAJIAN KEMASAN WISATA SANGGAR SENI SWALAS GUNAQ Awensius, Awensius; Daryono, Daryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.3852

Abstract

The treatment rituals in the Dayak Tonyoii and Benuaq communities are called Beliatn Bawo, a form of healing ceremony for non-medical diseases or illnesses (tenengkoah). The community's belief in the Beliatn Bawo ritual ceremony is a legacy of hereditary ancestral traditions whose implementation is led by an entrusted or elder, namely the pemeliatn. Apart from being a leader in healing rituals, as a medium of communication to ancestral spirits to gain magical-spiritual powers, and as a Beliatn Bawo dancer. This study uses a qualitative method, the report form uses analytical description by explaining the results of observations based on the actual situation. To strengthen this writing, several concepts or theories are used, namely the idea of form by Sumandiyo Hadi and Soedarsono, and a theory of tourism performances, the concept of tourism used by J. Maguet. Used an ethnochoreological approach to view dance as a tourist art product. Various stages have been carried out, namely data collection, observation, interviews, and literature study. The Beliatn Bawo dance was created by the Swalas Gunaq Art Studio. This dance is taken from the healing ritual tradition and then gets a creative artistic to become an art performance. In this way, the Swalas Gunaq Art Studio consciously develops its function as a tourism package to enrich the variety of arts, especially dance in West Kutai Regency, East Kalimantan. The tourist package Beliatn Bawo Dance includes elements of dance movements, music, offerings, props, make-up and clothing, mantras, and the pemeliatn Beliatn Bawo ritual dance.

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