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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 298 Documents
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PENCAK SILAT DALAM TARI WIRENG DI SURAKARTA Mathias Supriyanto
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2755.187 KB) | DOI: 10.33153/grt.v8i1.345

Abstract

The Art tradition life residing in kraton environment, is in general influened by king power, because result of tradition in this dance tradition diffused many by top kick king his day. One example Bedhaya Anglir dance, this dance have heroic theme to depicting Raden Said (Mangkunegara I) fight against Pangeran Mangkubumi I. Besides Overcast Bedhaya Anglir still many other soldier dances, that is type dance Wireng. Type dance its Wireng composition using many taken away from pencak silat. In composition dance Wireng there is two form move pencak silat, first pencak silat motion which have distilisasi; both pencak silat motion which still purification (wadag), like Bogis danceKeyword : Wireng, Heroic, pencak silat.
ANALISIS ESTETIS TARI DRIASMARA Dwiyasmono, Dwiyasmono; Maryono, Maryono
Greget : Jurnal Kreativitas dan Studi Tari Vol. 12 No. 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (230.591 KB) | DOI: 10.33153/grt.v12i2.505

Abstract

The dance Driasmara is a pasihan dance in traditional Surakarta style and a developmentof previous pasihan dances, including Karonsih, Lambangsih, Endah, and Enggar-enggar. Thisdance has a variety of moods for creating dramatic effect through its treatment of the movements,vocal melody, dance steps, levels, and musical accompaniment, so that it is interesting to analyzeits aesthetical formation. In order to discover the aesthetical formation of the dance Driasmara,tools for aesthetical analysis are required, including the concepts of wiraga, wirama, wirasa, andhasta sawanda as well as the concept of dramatic design. It is hoped that this study will bebeneficial for the development of the life of the arts, in particular aspects of aesthetical analysis.
PERKEMBANGAN KREATIVITAS DALAM TARI BEDANA KIPAS DI SANGGAR MULI JEJAMA BEBAGI LAMPUNG Arini Sofia
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1360.014 KB) | DOI: 10.33153/grt.v15i1.1723

Abstract

Tari Bedana kreasi merupakan hasil kreasi tari bedana tradisi. Tari tersebut merupakan tari pergaulan yang bisa disajikan tunggal, berpasangan, atau kelompok dengan menggunakan properti yang digunakan dalam berbagai acara. Tari Bedana yang tadinya ditarikan berpasangan pada masa sekarang ini hanya ditarikan secara kelompok dengan tambahan properti kipas hal ini membuat tarian bedana menjadi lebih menarik dan lebih bebas tidak terikat dengan nilai-nilai tradisi Dahulu tari ini merupakan tarian yang hanya disajikan untuk upacara adat sakral yang hanya ditarikan oleh penari yang ditentukan oleh tetua adat setempat, serta hanya dapat ditampilkan di tempat tertentu. Tari Bedana merupakan tarian sakral yang hanya diadakan pada acara hatam qur’an tapi pada masa sekarang ini Tari Bedana dapat ditampilkan dimana saja kapan saja tanpa harus terikat dengan normanorma adat. Kata kunci: Tari Bedana tradisi menjadi Tari Bedana Kreasi.
Koneksitas Linier Musik Terhadap Pertunjukan Tari Tradisi Maryono Maryono
Greget Vol 11, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2732.141 KB) | DOI: 10.33153/grt.v11i2.469

Abstract

The linear interconnection of traditional music toward tradition dance performance has important role as accompanied music with vital contribution. Traditional music called karawitan in a dance performance not only has function as accompanied music but also being: (1) guidance for content or meaning; (2) integrated (nyawiji); (3) rested (nglambari); and (4) wrapped (mungkus) in a whole dance and therefore represented a quality art performance. The interconnection of traditional music toward tradition dance performance was a fusion feel that integrated in expression quality. Keywords : interconnection, traditional music called karawitan, and tradition dance performance. 
“NGOMBANG”: POTRET ANTROPOLOGIS MASYARAKAT PESISIR PEKALONGAN DALAM KARYA TARI Hery Suwanto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1230.421 KB) | DOI: 10.33153/grt.v14i2.1705

Abstract

Life of fishermen in Wonokerto Kulon, Pekalongan, Central Java owned a hard life. Theylived with a cycle rotation of life: monotoni. In the circle of nature, when the wind blows fromAsia continent through Indonesia region, made condition changed: waves more higher, wind blowsstronger and the sea more difficult to be sailed. People in Wonokerto called it as angin kombang.When angin kombang blowing from West, time become very valuable to brightening and cheerup, one of through the art of kendang pencak, a traditonal Javanese art of fighting. Kendang Pencak represent the art of self-defence but also can called as a self-defence dance, combining silatand dance accompanied by gamelan orchestra. the beat of kendang become a kind of beat representing a vital energy of fishermen life. Monotoni of fishermen life will lost because emerging eruption of new dynamics in their life. The creator’s empirical experience owned body dance and alsohave learned pencak silat and karate exploited to explore dance movement of kendang pencakbecome kind of a new dance. “Ngombang” explore fisherman body: continuing monotoni motionsexpressing strength, mobility, and slow-softly movements. Exploration of the body combined bymotions of traditional martial art of kendang pencak supported by karate, yoga and tai-chi.These elements represent in body dance of dancers.Keyword: fishermen, kendang pencak, monotoni.
Wayang Wong Lakon Lumbung Tugu Mas dalam Ritus Suran Desa Tutup Ngisor, Magelang Dwi Wahyudiarta
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4927.958 KB) | DOI: 10.33153/grt.v5i2.291

Abstract

The story of Lumbung Tugu Mas in the Javanese stage show (wayang wong) in the Suran ceremony in Tutup Ngisor village, Magelang, is believed to have the power to expel evil spirits, and has an important meaning for the community, giving them the hope of prosperity. The figure of Semar in this story has an important symbolic value, which is still adhered to by the supporting community. The other function of the story is to fulfil social and aesthetical needs. Keywords: Lumbung Tugu Mas story, meaning, and symbol.
Penumbuhan Bakat Melalui Pembelajaran Tari Bagi Anak-anak di Sonorejo Kabupaten Sukoharjo Mamik Suharti
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2714.614 KB) | DOI: 10.33153/grt.v9i2.423

Abstract

The dance lessons that take place outside school hours for children in the Sonorejo area are a special kind of activity or service which aims to develop the children’s talent in the field of dance from an early age. Children from kindergarten up to high school age take part in the dance lessons. So far, the process has had encouraging results both in terms of quantity and quality, and the children have acquired a broad range of dance skills. Since the children come from a variety of different backgrounds and are of varying ages and from several different villages, the lessons implement a teaching model known as Magnet School and Investigation, while the method used is that of drills, lectures, and play. With this approach, the dance lessons seem to run well. As a result of the dance lessons, every child is able to participate in a concert by memorizing and enjoying the dances they have learned. Hence, in addition to developing children’s dance skills from a young age, they are also able to show their appreciation which in the future will be beneficial to their studies as well as contributing to the preservation and development of the art of dance in the future.Keywords : lessons, dance, and students
TARI CALENGSAI DI KABUPATEN BANYUMAS REPRESENTASI SIMBOL STATUS ETNIS JAWA DAN ETNIS TIONGHOA Eikka Sullistyaningsih
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (882.137 KB) | DOI: 10.33153/grt.v14i1.1655

Abstract

The goal of this research is to discover the form of the Calengsai dance by looking at theprocess through which the work was created. The artistic treatment or interpretation of theCalengsai dance uses Rahayu Panggah’s theory of Garap (interpretation), beginning with thematerial for interpretation and continuing through to the different considerations for interpretation. In order to reinforce the description about the representation of status symbols present in theCalengsai dance, Marvin Olsen’s concepts of Behavioural Interaction and Symbolic Interactionare used. The method used in writing this thesis is a qualitative method with an ethnochoreologicalapproach which uses an analytical descriptive form of discussion, presenting the data obtainedabout the creative ideas that emerge from the Calengsai dance through Calung, Lengger, andBarongsai. The process of artistic interpretation in the Calengsai dance and the representation ofstatus symbols present in the Calengsai dance can be seen from the analysis of the form of theCalengsai dance. The results of the research show that the role of the Calengsai dance in theBanyumas region is a status symbol for the ethnic Javanese and ethnic Chinese communitiesthrough Behavioural Interaction and Symbolic Interaction that are analyzed by looking at theform of the Calengsai dance.Keywords: Calengsai, Status Symbol, Dance.
KESENIAN KOBRO SISWO KOMUNITAS SINAR MUDA DESA SALAKAN KABUPATEN TEMANGGUNG (Kajian Holistik) Kiki Fatmawati; Sutarno Haryono
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (151.694 KB) | DOI: 10.33153/grt.v17i2.2302

Abstract

AbstrakPenulisan Skripsi ini bertujuan untuk mengungkap kesenian Kobro Siswo komunitas Sinar Muda dari segi kritik seni holistik untuk mendeskripsikan dan menganalisa tentang : (1) faktor genetik, membahas mengenai latar belakang terbentuknya kesenian Kobro Siswo komunitas Sinar Muda (2) faktor objektif, membahas komponen verbal dan komponen non-verbal, mendeskripsikan menjelaskan hubungan komponen non-verbal dan verbal (3) faktor afektif, menjelaskan respon atau tanggapan penghayat (4) menjelaskan makna kesenian Kobro Siswo komunitas Sinar Muda. Bentuk penelitian adalah penelitian kualitatif deskriptif, dengan menggunakan pendekatan kritik seni holistik. Teori yang digunakan untuk mengakaji kesenian Kobro Siswo komunitas Sinar Muda adalah : (1) Teori pragmatik untuk mengkaji komponen verbal dan koneksitas komponen verbal dan non-verbal, (2) Teori seni pertunjukan untuk mengkaji komponen non-verbal dan verbal. Simpulan didapat berdasarkan analisis koneksitas faktor genetik, objektif, afektif. Kesenian Kobro Siswo komunitas Sinar Muda merupakan kesenian yang berfungsi sebagai hiburan dan media dakwah. Kesenian Kobro Siswo komunitas Sinar Muda memberikan pesan moral yaitu mengajarkan pentingnya menjadi manusia yang memiliki semangat pantang menyerah dan selalu ingat kepada Tuhan Yang Maha Esa.Kata kunci: Kobro Siswo komunitas Sinar Muda, kritik seni holistik, pragmatik.AbstractThe aim of this thesis is to uncover the art of Kobro Siswo in the Sinar Muda community from a holistic art criticism perspective in order to describe and analyze: (1) the genetic factors, including a discussion of the background to the formation of the art of Kobro Siswo in the Sinar Muda community; (2) the objective factors, including a discussion of the verbal and non-verbal components and a description of the relationship between the verbal and non-verbal components; (3) the affective factors, including an explanation of the response or reaction of the audience; and (4) an explanation of the meaning of the art of Kobro Siswo in the Sinar Muda community. The form of the research is descriptive qualitative with a holistic art criticism approach. The theories used to study the art of Kobro Siswo in the Sinar Muda community are: (1) The theory of pragmatics to study the verbal component and the connection between the verbal and non-verbal components. (2) The theory of performing arts to study the verbal and non-verbal components. The conclusion is obtained based on an analysis of the connection between the genetic, objective, and affective factors, and shows that the art of Kobro Siswo in the Sinar Muda community is an art that functions both as entertainment and as a medium for religious proselytization. The art of Kobro Siswo in the Sinar Muda community present moral messages which teach about the importance of becoming a human being with a spirit that never gives up and always remembers Almighty God.Keywords: Kobro Siswo Sinar Muda community, holistic art criticism, pragmatic.
TARI PIRING PADANG MAGEK (Sebuah Tinjauan Estetik) Syahrial Syahrial
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5222.897 KB) | DOI: 10.33153/grt.v1i2.245

Abstract

Tan Pinng is a traditional art which can be found in every nagan in Minangkabau. Nagari Padang Magek, in Tanah Datar Regency West Sumatera Province, is a nagan which has and maintains Tan Piring. As a traditional art, Tan Pinng holds certain aesthetic values. The aesthetic values are reflected by unity, complexity, and intensity a series of mevements supported by other aspects like costumes, ivoperties, musics, and the like in their presentation. Key word. Aesthetic, unity, complexity, and intensity.

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