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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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Implementasi Manajemen Strategik dalam Pertunjukan Ramayana Prambanan Cahyani Tunggal Sari
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3504.979 KB) | DOI: 10.33153/grt.v9i1.375

Abstract

This study examines the strategic management, in the form of an environmental analysis, of the Ramayana Ballet at Prambanan. Specifically, it examines the strengths and weaknesses of the internal environment, and the opportunities and threats of the external environment of the Ramayana Ballet at Prambanan in its capacity as a business. An environmental analysis is needed in  order to anticipate the old strategies that may undergo changes in the rapid onset and high intensity of globalization. The correction of these strategies may influence the company’s vision and mission.     Keywords:  Environment analysis and strategic management
FESTIVAL LIMA GUNUNG DI MAGELANG Joko Aswoyo
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (273.508 KB) | DOI: 10.33153/grt.v12i2.521

Abstract

This article aims to describe the social and cultural event called Festival Lima Gunung(FLG). This festival is an art performance that is held by and for the agricultural communitieswho live on the slopes of the mountains Merapi, Merbabu, Andong, Sumbing, and Menoreh.The performance is inspired by art forms that are used for ritual purposes in the villages on thesefive mountains. The festival is managed independently without any support from elsewhere.Observation, direct involvement, and interviews were used to gather data related to this festival.The results showed that this event has a significant and varied influence on the development ofthe arts among the agricultural communities on these five mountains.
BENTUK TARI CAKILAN DALAM PERTUNJUKAN EBEG TEATER JANUR Vicky Yoga Lestari
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1389.026 KB) | DOI: 10.33153/grt.v15i1.1733

Abstract

Penelitian ini membahas tentang gerak tari Cakilan dalam pertunjukan Ebeg Teater Janur yang di dalamnya menyangkut perkembangan bentuk tari Ebeg yang diakibatkan oleh perubahan sosial masyarakat Banyumas. Salah satu bentuk perkembangan dari tari Ebeg yaitu dengan adanya gerak tari Cakilan. Gerak tari Cakilan menarik untuk diteliti karena di dalamnya terdapat fenomena baru yaitu berupa akulturasi budaya Banyumas dan Surakarta. Penulisan ini menggunakan metode kualitatif. Untuk menjelaskan tentang permasalahan yang muncul dengan menggunakan pendekatan etnokoreologi dan teori-teori yang berhubungan dengan objek yang diteliti. Tahap pengumpulan data penelitian meliputi observasi, wawancara dan studi pustaka serta tahap pengolahan dan analisis data. Hasil dari penelitian ini yaitu mendeskripsikan tentang asal-usul gerak tari Cakilan dalam pertunjukan Ebeg Teater Janur, proses penciptaan dan pembentukannya serta faktor pendukung yang mempengaruhi masuknya tari Cakilan dalam pertunjukan Ebeg Teater Janur.Kata kunci: gerak tari cakilan, pertunjukan ebeg, dan teater janur.
Budi Tani Sebagai Ekspresi Ritual Dan Pertunjukan Di Desa Lencoh Kecamatan Sela Kabupaten Boyolali Dwi Rahmani
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4232.127 KB) | DOI: 10.33153/grt.v8i1.329

Abstract

Budi Tani Dance performance was grown and developed at Lencoh Village Society as part of syawalan traditional ceremony that conducted on village cleaning day (bersih dusun ). This ceremony was related its advocates’sociocultural. For Lencoh Village Society, its existence is syncretism that seen through ceremonial activities. By provided offerings and followed Budi Tani Dance performance full of symbols, Lencoh society was attempted to communicate with powerful beings for made dual relationship such as vertically and horizontally. Lencoh society was communicated with its God, ancestors and holy soul to get safety, benediction in its life through vertically relationship. Then, togetherness and devotion sense based on cooperation and assistance each others would built through horizontally relationship. Traditional ceremony of syawalan that conducted on cleaning day (bersih dusun) and followed by Budi Tani Dance performance with magical religious attitude related to norm and social attitude to preserve Lencoh society life as the prop was executed based on belief.Keyword : Folk Dance, Budi Tani Dance
DARI RELIEF CANDI MENUJU KARYA TARI: SEBUAH CATATAN KREATIF Anggono Kusumo Wibowo
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (561.26 KB) | DOI: 10.33153/grt.v12i2.493

Abstract

Temple reliefs appear to store data about motifs portraying dance movements that wereknown in the past, although in their depiction, these movements appear broken or fragmented(nyeklèk). As an analogy to this, the pattern of nyeklèkan movements that are well-known inthe Cakil dance can provide a source for creative ideas in the creation of new dances. The questionto be addressed in this paper is how we can use the temple reliefs as a source for creative ideas innew dances. The method used was to trace the values found on temple reliefs and then apply themto the context of performing dance movements, as well as in relation to kinesiology and thesegmentation of the body. Although not in a literal sense, this paper aims to discover the meaningof nyeklèk in all aspects of a performance (movement, music, and artistic setting). In this way,temple reliefs can be understood as the product of a traditional work in the form of artefacts thatcontain a particular meaning. Tradition apparently remains an endless source of ideas. Nyeklèkan,which until now has been understood as a vertex and or a defined bending of the body in Cakilanand strong male dance, is explored in refined or alusan dance with its free flowing movements byadapting the techniques of flowing contemporary dance movements which are based on the techniqueof releasing movements. Nyeklèkan is seemingly a moving frame of movements that areperformed with a technique of freezing at certain points. This provides a rich artistic contrastwhich shows the freedom and ability of the body to perform (or express the language of) a highquality of movements, in every segment of the body, in every field of stance, and in every techniquewhich is applied (whether traditional Javanese or modern-contemporary dance).
PERJALANAN RONGGENG TAYUB DI PRIANGAN Toto Sudarto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1428.837 KB) | DOI: 10.33153/grt.v14i2.1715

Abstract

A study of ronggeng viewed from the historical perspective interested. In fact it has beeninfluenced by a pre-historical period where human believe in super natural. Peopole in the prehistoric period connected the rituals with dance atraction for their own significance. The ronggengincluded as a dance figure connected to the rituals because of its originally from the saman danceand it similiar to the dance of woman priest. It remains us to the function of ‘catalyst’to theancestors. Ronggeng was symbols of recovery rites in the human believe. Ronggeng was alsosymbol of a fertility rites in the human believe in addition to the relationship of its function hasbeen influenced by the Dongson’s culture for the mostly Southeast Asia societies where theybelieve on the Goddess of Rice. Therefore the information of ronggeng has been wrote in Indian’sliterature and sculpture or relief panels of the temple. Eventually the ronggeng is identicallywith fertility rites because of its relation to the Sri Devi and in other side is its atraction has alsoviewed as laisure among the aristocrats. In the Islam’s period where performing arts used to be away of dakwah, so that the ronggeng status in herent with the sufi a manifestation of ma’rifat’sways, where the human assumted to their God. In feudalism feriod of Priangan the ronggeng as apersonal symbol. During this period ibing keurseus appeared as a new version of tayuban bystressing on aesthetic movement appearance. At last the ronggeng unappeared because of its ignorance to the etic norm of religion.Keywords: the ronggeng, continuities, the changing function.
TARI BUGIS KEMBAR VERSI S. NGALIMAN (Kajian Kritik Holistik) Yunita Sari; Maryono Maryono
Greget Vol 16, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1148.551 KB) | DOI: 10.33153/grt.v16i1.2350

Abstract

Tari Bugis Kembar merupakan hasil gubahan dan sudah dibakukan ke dalam kaset pita oleh S. Ngaliman pada tahun 1974. Tari Bugis Kembar termasuk jenis tari wireng yang bertemakan keprajuritan. Tari Bugis Kembar disajikan oleh dua penari putra dengan menggunakan gerak tari gagah gaya Surakarta dan gerak pencak silat. Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis makna Tari Bugis Kembar versi S. Ngaliman. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan kritik holistik. Adapun metode pengumpulan data yang ditempuh dengan cara studi pustaka, wawancara, dan observasi. Bentuk pembahasan Tari Bugis Kembar versi S. Ngaliman, peneliti menggunakan pendekatan teori kritik holistik pemikiran H. B Sutopo. Untuk mengupas hal-hal yang berkaitan dengan faktor objektif Tari, peneliti menggunakan teori bentuk dari Maryono. Berdasarkan hasil pembahasan keterkaitan ketiga faktor: genetik, objektif, dan afektif Tari Bugis Kembar versi S. Ngaliman, ditemukan maknanya bahwa Tari Bugis Kembar merupakan bentuk tari gagah bertemakan keprajuritan yang secara visual memberikan kesan enerjik, atraktif, ngglece cenderung gecul, humor dan banyak memperlihatkan gerak- gerak akrobatik merupakan sajian yang menghibur dan mengidukasi tentang nilai-nilai keprajuritan. Adapun nilai-nilai keprajuritan tersebut terdiri dari nilai-nilai semangat, ketegasan, keberanian dan daya juang sebagai patriotisme prajurit yang mengedepankan persatuan, kebersamaan dan perdamaian dalam bela negara.Kata Kunci: S. Ngaliman, Tari Bugis Kembar, Kritik Holistik, Makna. Abstract TheBugisKembardance is a composition that was standardized in cassette form by S. Ngaliman in 1974. BugisKembar is a form of wireng dance with a military theme. It is performed by two male dancers who use dance movements based on the masculine Surakarta style repertoire and pencaksilat. The goal of the research is to describe and analyze the meaning of S. Ngaliman’s version of the BugisKembar dance. A qualitative research method is used with a holistic critical approach. The method of data collection includes a library review, interviews, and observation. The discussion on S. Ngaliman’s version of the BugisKembar dance is presented using an ap- proach based on H.B. Sutopo’s holistic critical theory. In order to analyze the elements related to the objective factors of the dance, Maryono’s theory of form is used. Based on the results of the discussion concerning the relationship between the three factors – genetic, objective, and affective– ofS. Ngaliman’s version of the BugisKembar dance, it can be seen that the BugisKembar dance is a form of strong masculine dance with a military theme, which visually presents as an energetic,  attractive, roguish, and humorous performance with acrobatic movements, providing entertain- ment but at the same time educating the audience about military values. These values include zeal, assertiveness, courage, and fighting power, characteristics of the patriotism of a soldier who prioritizes unity, solidarity, and peace while defending his country.Keywords: S. Ngaliman, BugisKembar Dance, Holistic Criticism, and Meaning.
TARI PAGAR PENGANTIN PADA UPACARA PERNIKAHAN DI KOTA PALEMBANG Damri Aprizal
Greget Vol 16, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (750.001 KB) | DOI: 10.33153/grt.v16i2.2364

Abstract

Abstrak Penelitian ini mengkaji Tari Pagar Pengantin pada upacara pernikahan di Kota Palembang. Fokus utamanya dari aspek bentuk beserta unsur-unsur penyajiannya. Penelitian ini menggunakan landasan teori bentuk dari Suzzane K. Langer. Penelitian menggunakan penelitian tekstual untuk analisisnya menggunakan analisis bentuk. Tari ini ditarikan oleh lima orang penari yaitu penari utama pengantin sebagai primadona dan ke empat penarinya sebagai dayang, dengan penari utama yaitu pengantin menari di atas nampan yang terbuat dari kuningan emas yang berada di atas pelaminan pengantin sebagai tempat pertunjukan dengan fungsi untuk memberikan sajian kepada tamu undangan. Hasil pembahasan skripsi ini menunjukan bahwa wujud tari Pagar Pengantin merupakan media penghormatan tuan rumah terhadap tamu undangan yang datang.Kata kunci: Bentuk, Unsur-unsur penyajian, Tari Pagar Pengantin. Abstract This research investigates the Pagar Pengantin dance in wedding ceremonies in the city of Palembang. The main focus is on aspects of form and elements of performance. The research uses Susanne K. Langer’s theory of form. A textual method is used to analyze the form. This dance is performed by five dancers. One dancer is the prima donna and acts as the bride, while the other four dancers are her ladies-in-waiting. The main dancer (portraying the bride) dances on top of a brass tray on the ornately decorated stage where the bride and groom are seated,performing to entertain the guests at the wedding. The results of the research show that the form of the Pagar Pengantin dance is a medium through which the host honours the guests who attend the wedding ceremony.Keywords: Form, elements of performance, Pagar Pengantin dance.
TARI BRAMASTRA KARYA WAHYU SANTOSO PRABOWO DALAM PANDANGAN METAFORA Asri Rachmadani; RM. Pramutomo
Greget Vol 16, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (903.281 KB) | DOI: 10.33153/grt.v16i1.2355

Abstract

Abstrak Tari Bramastra merupakan tari yang tergolong dalam tari alus tunggal gaya Surakarta yang disusun oleh Wahyu Santoso Prabowo pada tahun 1984. Tari Bramastra dapat dibawakan oleh penari perempuan maupun laki-laki dengan durasi 10 menit 50 detik. Terbentuknya tari Bramastra berawal dari keadaan yang mengancam umat manusia dengan adanya penciptaan sebuah senjata nuklir dan rudal yang berkekuatan dahsyat. Senjata ini kemudian disetarakan dengan senjata yang ada dalam cerita wayang yaitusenjata Bramastra yang hanya dimiliki oleh Batara Brama (dewa api) yang diturunkan kepada Arjuna. Permasalahan dalam pembahasan penelitian diantaranya bagaimana koreografi Bramastra karya Wahyu Santoso Prabowo dan bagaimana makna tari Bramastra karya Wahyu Santoso Prabowo dipandang dari analisis metafora. Penulisan skripsi ini menggunakan metode penelitian kualitatif dengan pendekatan bentuk, yaitu pengumpulan data yang dilakukan dengan caraobservasi, wawancara, dan studi pustaka. Landasan teori yang digunakan adalah landasan teori dari Y. Sumandiyo Hadi dan Anton M. Moeliono. Hasil dari penelitian dapat disimpulkan yaitu makna yang terkandung dalam tari Bramastra adalah bahwa dalam menggunakan sebuah senjata harus ada perhitungan yang matang sehingga dapat terfikirkan bagaimana dampak dan akibat yang terjadi dari senjata tersebut, dan apabila senjata sudah memenuhi target dari fungsi yang diinginkan akan berakhir dengan sifat yang buruk yaitu munculnya sifat sombong atau congkak karena apa yang diinginkan sudah terpenuhi.Kata kunci : Tari Bramastra, Metafora, Makna. Abstract Bramastra dance is a dance that belongs to a single style Solo solus dance composed by Wahyu Santoso Prabowo in 1984. Bramastra dance can be performed by female and male dancers with a duration of 10 minutes 50 seconds. The formation of Bramastra dance begins with a state that threatens mankind with the creation of a powerful nuclear weapon and missile. This weapon is then synonymous with weapons that exist in the puppet story that is Bramastra weapon that is only owned by Batara Brama (god of fire) is passed down to Arjuna.Problems in the discussion of research such as how the choreography Bramastra work of Wahyu Santoso Prabowo and how the meaning of dance Bramastra Wahyu Santoso Prabowo work is viewed from the analysis of meta- phor. Writing this essay using qualitative research methods with a form approach, namely data collection conducted by way of observation, interview, and literature study. The theoretical basis  used is the theoretical basis of Y. Sumandiyo Hadi and Anton M. Moeliono.The result of the research can be concluded that the meaning contained in Bramastra dance is that in using a weapon there must be a mature calculation so that it can think how the impact and effect of the weapon, and if the weapon has met the target of the desired function will end with the nature the bad is the appearance of arrogance or arrogance because what is desired has been fulfilled.Keywords: Bramastra Dance, Metaphor, Meaning.
TARI PAKARENA LAIYOLO DI DESA LAIYOLO KECAMATAN BONTOSIKUYU KABUPATEN KEPULAUAN SELAYAR Dewi Primasari; Nanik Sri Prihatini
Greget Vol 16, No 1 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1719.867 KB) | DOI: 10.33153/grt.v16i1.2351

Abstract

Abstrak Artikel ini hasil dari penelitian yang memfokuskan pada pokok permasalahan bagaimana latar belakang keberadaan tari Pakarena Laiyolo di desa Laiyolo kecamatan Bontosikuyu Kabupaten Kepulauan Selayar serta bentuk penyajian tari Pakarena Laiyolo. Tujuan penelitian ini untuk memahami dan menjelaskan latar belakang keberadaan tari Pakarena Laiyolo, memahami dan menjelaskan bentuk penyajian tari Pakarena Laiyolo. Metode penelitian yang digunakan adalah metode penelitian kualitatif, dengan pendekatan interaksi analisis. Secara struktur meliputi tahap kajian historis, bentuk penyajian, dan dilanjutkan dengan simpulan. Hasil penelitian yaitu memaparkan hasil kajian berupa asal muasal tari Pakrena pada umumnya dan menggambarkan hubungan latar belakang dan bentuk penyajian tari Pakarena Laiyolo.Kata kunci: Tari Pakarena Laiyolo, latarbelakang, bentuk penyajian. Abstract This article is the result of a research study which focuses primarily on the background of the PakarenaLaiyolo dance in Laiyolo Village, in the BontosikuyuDistrict ofKepulauanSelayar, as well as on the form of performance of the PakarenaLaiyolo dance itself. The goal of the research is to understand and explain the background of the PakarenaLaiyolo dance and also to understand and explain the form of performance of this dance. The research method used is qualitative, with an interaction approach of analysis. Structurally, the research includes a historical study, a de- scription of the performance form, and a conclusion. The results of the study present the origins of the Pakarena dance in general and describe the relationship between the background and the per- formance form of the PakarenaLaiyolo dance.Keywords: Pakarena Laiyolo Dance, background, form of performance.

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