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Greget

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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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PROSES KREATIF EKO SUPRIYANTO DALAM KARYA TARI CRY JAILOLO Pipin Riyanto
Greget Vol 16, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

AbstrakÂ Penulisan ini mengungkap tentang proses kreatif Eko Supriyanto dalam karya tari Cry Jailolo. Skripsi ini menggunakan metode penelitain Kualitatif dengan pendekatan koreografi dan deskriptif analitis, dengan mendiskripsikan koreografi tari Cry Jailolo mulai dari gerak, pola lantai, iringan, rias dan busana, dan waktu dan tempat pertunjukan. Untuk prosses kreatif menggunakan teori Alma M. Hawkins. Untuk membahas masalah bentuk pertunjukan menggunakan teori Soedarsono Hasil penelitian ini menunjukkan bahwa karya tari Cry Jailolo ini merupakan karya yang digarap Eko Supriyanto melalui proses kreatif dengan tahapan-tahapan yaitu riset, training, conditioning, rehearseal dan performing.Kata kunci: Proses kreatif dan koreografi tari Cry JailoloÂ AbstractÂ This paper discusses the creative process of Eko Supriyanto in the Cry Jailolo dance. The dissertation uses a qualitative research method with a choreographic and analytical descriptive approach, describing the choreography of the Cry Jailolo dance with regard to aspects of movement, floor pattern, accompaniment, make-up and costume, and time and place of performance. Alma M. Hawkinsâ€™ theory is used to discuss the creative process and Soedarsonoâ€™s theory is used to discuss the form of the performance. The results of the research show that the Cry Jailolo dance was composed by Eko Supriyantoby means of a creative process which involved the stages of research, training, conditioning, rehearsing, and performing.Keywords: Creative process and choreography of the Cry Jailolo dance.

PEMBENTUKAN GERAK TARI DILA PANGETO KARYA INDRA JAYA DI KABUPATEN SUMBAWA BARAT NUSA TENGGARA BARAT A Azizah; Matheus Wasi Bantolo
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

AbstractDila Pangeto Dance is a work created by Indra Jaya in 2016. This research will emphasize the choreography which includes Indra Jaya as the creator, the idea of creation about the world and education, the process of creation that there is exploration, improvisation, and composition, as well as the formation of dance motion Dila Pangeto. To discuss the above problems using the foundation of Theory: Choreography using Seymour theory, the form of servings using the theory of Suzanne K. Langer, and formation of motion using the theory of Doris Humphrey. This dance research uses a descriptive method of analytic with qualitative data types through the data collection stage i.e. observation, interviews, library studies, as well as data analysis stage. The results of the study were the choreography Dila Pangeto which discusses the creators, ideas of creation, and the process of creation and the form of dance in which there is a serving structure divided into five parts, and the dance elements of Dila Pangeto include two female dancers, a parallel floor pattern, and zigzag, the stage space that has been provided by the organizing committee, dressing and clothing using West Sumbawa costumes, Dila and shawl properties, West Sumbawa Music and the addition of violin instruments, as well as Motion derived from the motion of West Sumbawa Dance and Gentao or Pencak Silat. The formation of Dila Pangeto Dance uses the motion of West Sumbawa Dance and Gentao. The formation of the dance movements of Dila Pangeto in the movement patterns such as Ngengke ‘, Palangan Telas, Nyempung, Bagerik, plump besai ‘, Bolang sweep ‘, Juluk Betak, Pio Ngibar, remove Pengkenang, Betak Jala, Sempanang, Telnyak ninting, Pusuk nyer, puntal yarn, Nesek , ninting Seleng, ente Dila, swivel dila, Jonyong, Basalunte ‘, Tanak, Ngijik, and Bajempit contains more designs using a unidirectional line design, the dynamics of gentle motion, functional rhythm or rhythm, mechanisms, and emotional The motivation of the life of West Sumbawa. Characters and character in each motion pattern the Dila Pangeto dance has a gentle, polite, and graceful character.Keywords: Dila Pangeto dance, Indra Jaya, choreography, and formation Motion.

KREATIVITAS DWIYASMONO DALAM KARYA TARI HARJUNA KERATARUPA Fitri Monika Sari; Nanik Sri Prihatini
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

This research focuses on Dwiyasmono’s creativity in creating Harjuna–Keratarupo Dance. Harjuna–Keratarupo Dance is a phetilan dance two adult males. Issues raised in the research is about the form of Harjuna–Keratarupo Dance. And about Dwiyasmono’s creativity in the Creations of Harjuna–Keratarupo Dance. This research is a Qualitative research using descriptive methods of analysis and the technical collection of observations, interviews, bibliography studies and Documents. To analyse the shape of the dish using form concepts expressed by Suzane K. Langer and its elements the constituent was outlined using Soedarsono’s theory. To Explain Dwiyasmono’s creativity analyzed using theory Rhodes that creativity there are four elements, namely person, press, process, product. The results of the research known as Harjuna-Keratarupo Dance in the form of a divided into three parts, namely the Maju Beksan, Beksan and Mundur Beksan. This dance has the merging of two styles of dance motion. Dwiyasmono’s creativity in the cupping section of the Surakarta movement is combined with the movement of Yogyakarta style. The dance music in the dance is colored with a leather puppet pack. The development of the garage is influenced by external factors and internal factors, especially for its withdrawal.Keywords: Harjuna Keratarupo, form, Dwiyasmono, creativity.

BENTUK DAN FUNGSI TARI MAESWARA SWATANTRA NJUK LADANG DI KABUPATEN NGANJUK Delima Indra Prasta; F. Hari Mulyatno
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

AbstractMaeswara Swatantra Anjuk Ladang Dance is a new creation dance created by Didik Purwanto in Nganjuk regency. The dance was rushed by 7 female dancers using the Bokor property. This research will essentially reveal about the form and function of the Maeswara Swatantra Anjuk Ladang dance in Nganjuk district. The research uses foundations of theory to dissect Problem forms used Sri Rochana Widyastutieningrum concept about the physical form and the form of the reveal. To dissect function problems, this study uses function theory Soedarsono on the function of the show is divided into two namely function Primary and secondary functions. The primary function is divided into 3 namely (1) As a ritual means, (2) as a means of personal entertainment and (as Aesthetic presentation facilities. Secondary functions are such as education, propaganda, Legation, and Identity of an area. The methods used in this study Qualitative method with an ethnokoreological approach through various stages of observation, data collection and data writing. The results of this study showed that the Maeswara Swatantra Anjuk Ladang Dance is a themed group dance that serves as a welcome guest as well as the regional imaging of Nganjuk regency.Keywords: forms, functions, dance Maeswara Swatantra Anjuk Ladang.

MAKNA GERAK TARI TANGGAI DI KOTA PALEMBANG SUMATERA SELATAN gabriella Saras Katungga; S Syahrial
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Tanggai Dance is a welcome guest dance in the city of Palembang. Tanggai Dance is one of the dance that until now continues to exist and become a dance that must be known and studied by young people especially women. It is not recklessly to dance the Tanggai dance, but dancers should also know the contents of the dance, because there is a value to be conveyed to the people who appreciate the Tanggai dance. There are two focus problems that will be researched and formulated in the research question which is how the form of Tanggai dance and what is the meaning of the movement of Tanggai dance in the city of Palembang. This research uses qualitative research methods. The research aims to discuss the shape and meaning of the dance movements of Tanggai. The discussion of the form uses the concept of Suzzane K. Langer and Soedarsono about the form which means the structure of a relationship of various factors that are intertwined. Discussion of the meaning of motion using the concept expressed by Anya Peterson Roice about the three things of use is, mimetic, abstract, and metaphoric. The result of this research is Tanggai dance in Palembang city is a packaging dance form for welcome guests. Related to the meaning of the whole movement of Tanggai dance that has the meaning of surrender to the Lord Almighty.Keywords: dance form and motion meaning.

KESENIAN RAKSASA DALAM UPACARA BERSIH DESA DI DESA SALAMREJO KECAMATAN BINANGUN KABUPATEN BLITAR Rifa Fitriana
Greget Vol 16, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

AbstrakÂ Kesenian Raksasa adalah kesenian rakyat yang disajikan dalam upacara bersih desa sejak tahun 2005. Kesenian Raksasa ada karena kepercayaan masyarakat Desa Salamrejo mengenai kehadiran Eyang Genderuwo Senin sebagi danyang penunggu desa. Kesenian ini dipertunjukan dalam bentuk arak-arakan dan memakai kostum butho. Penelitian ini bersifat kualitatif menggunakan pendekatanetnokoreologi dengan metode etnografi tari yang ditulis secara deskriptif analisis. Hasil penelitian ini dapat diperoleh gambaran bahwa kesenian Raksasa dalam upacara bersih desa, memiliki arti sebagai sarana penyempurna dari upacara bersih desa. Bagi masyarakat desa Salam rejo hingga sekarang percaya bahwa upacara bersih desa dengan menyajikan kesenian Raksasa, desa mereka dapat terlindungi dari segala musibah dan mampu meningkatkan perekonomian masyarakat.Kata kunci: Raksasa, upacara, bentuk dan fungsi.Â AbstractÂ Raksasa is a folk art that has been performed in village cleansing rituals since 2005. The art of Raksasa exists because of the belief of the Salamrejo village community in the presence of Eyang Genderuwo Senin, a spirit (danyang)who guards the village. The performance takes the form of a procession and uses the costume of an ogre or butho. The research is qualitative, using an ethnochoreological approach with an ethnographical dance method, and is written in the form of a descriptive analysis. From the results of the research it can be seen that the art of Raksasa in village cleansing ceremonies is significant as a medium for perfecting the ceremony. The commu- nity in Salamrejo still believes that holding a village cleansing ceremony with a performance of Raksasa will protect them from all kinds of disaster and help improve the economic situation of the community.Keywords: Raksasa, ceremony, form, and function.

TINDAK TUTUR DIREKTIF DALAM SENI PERTUNJUKAN JAWA Sutarno Haryono
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

The follow-up directive is a speech speaker with the intention that the partner speak or not perform the action in accordance with the intent of the speakers. The follow-up directive uses your substitute word as the perpetrator, although the word is not always present in every utterance. The follow-up directive is prospective, we are unlikely to have someone else do something in the past. As with some other types of greeting, the follow-up directive suspects a number of circumstances related to the person being called and the context of the situation (background). The backdrop depicts the place where events occur, the current atmosphere of the event, and the timing of events that include morning, noon, night or all time (time of day) and period of time, which will come, or that have been Then (time of period).Keywords: Speakers, speaking partners, speech, follow-up directive,

PERAN JOGED DANYANG DALAM RITUAL BERSIH DESA DI DUSUN NATAH Siti Khasanah; Katarina Indah Sulastuti
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Joged Danyang is the core dance in the village’s clean ritual ceremony held in Natah hamlet of Tirtomoyo district Wonogiri. Natah villagers believe that Natah Hamlet is guarded by Danyang named Gadhung Mlathi. People believe that if not implementing a clean ritual village then there will be catastrophe. The problems that will be discussed in this research are roles and forms. The method used is a qualitative method with a descriptive analytical approach displays the observation results based on the actual circumstances. A discussion on the form of Joged Danyang using the theory of Suzane K. Langer includes: Dancers, motion, makeup, dance music, time and place, and offerings. To discuss the role of Joged Danyang using the theory of Sumandiyo Hadi as worship or adoration to the spirit of ancestors and communication with God or the Almighty, as a means of influencing the power of nature and as a means for legitimacy. Results of this study showed that the form of a Joged Danyang very simple, movement experiencing repetition and view of dancers focus on Danyang furniture. Joged Danyang role respect and communication to the community. Joged Danyang from the clean ritual of the village. Some impacts of entertainment, economic aspects, and aspects of the Social. Thus Joged Danyang has an important role in Natah community of Tirtomoyo Sub-district and surrounding areas.Keywords: Joged Danyang, form, and role.

KREATIVITAS KAHARUDDIN DEA IMOK DALAM KARYA TARI KEMANG PASIKI KECAMATAN ALAS KABUPATEN SUMBAWA eka Nurhayati; Silvester Pamardi
Greget Vol 18, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

The Kemang Pasiki Dance was created in 2016 by Kaharuddin Dea Imok, who originated from his interest in seeing the skills of Sumbawa women. The problem is formulated in this research the first how to form Kemang Pasiki dance second how to creativity Kaharuddin Dea Imok in creating the Kemang Pasiki dance. Based on the object examined, this research uses a qualitative method describing the research object according to the data in the field in the form of real data. To know about the form of dance Kemang Pasiki researchers use the concept of Suzanne K, the writer that is made clear by the opinions of Soedarsono discussing about dance elements that include motion, floor patterns, music, fashion makeup and place Show. Next to discuss about the creativity of Kaharuddin Dea Imok use the thought concept of Mel Rodes, and for the process used 4P namely pribadi (person), pendorong (press), Proses (prosess) and produk (product). The results of the study gained that creativity Kaharuddin Dea Imok can be seen from the experience as a choreographer in creating dance works. Kemang Pasiki Dance forms can be seen Composition of the elements of the movement, the floor pattern, and the Music, fashion makeup and a place of performances that become one unit In the Kemang Pasiki dance performance. Creativity Imok can be seen from the development of the basic movements of Sumbawa dance, and movements that are calculated with the Rdat motion and the Zapin motion and the skills movement of Sumbawa women.Keyword: Kemang Pasiki dance, dance form, and creativity.

BENTUK TARI MEGATRUH KARYA DARYONO Mutiara Nabiella; Pramutomo Pramutomo
Greget Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

The Megatruh dance is one of the traditional dance performed by a single man based on contemporary style, created by Daryono. This is one of the works which is applied Surakarta style (Kasunanan and Mangkunagaran) and Yogyakarta. This work was born from a creativity possessed by Daryono, enriched by many improvised patterns in the performance. Therefore, it can be concluded from this study that the objective of the study was to examine the form and development of creative elements in the Megatruh dance. Studying the problem of the dance’s form used the concept of Alma M. Hawkins which was highlighted by Suzane K. Langer’s thought. Meanwhile, to discuss the problem of developing the creative elements, this study used the concept of Sandra Cerny Minton. The writing process and review of the study used qualitative methods with descriptive analysis models to explain the form. The results of this study was that the form of this work is a structured improvisation carried out directly on the stage. It was totally relied on how Daryono used his body and applied his dance experience on his work, Megatruh Dance. Keywords: Megatruh Dance, Development of Creative Elements, Forms.

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