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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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KREATIVITAS DIDIK BAMBANG WAHYUDI DALAM KARYA TARI ANOMAN CAKIL Denny Rostyana Putri; Karyono Karyono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3182

Abstract

This thesis is titled by the Creativity of Didik Bambang Wahyudi in Anoman Cakil dance to uncover the creativity of Didik Bambang Wahyudi by describing and explaining: (1) The form of Anoman Cakil dance and (2) Didik Bambang Wahyudi’s creativity in the works of Anoman Cakil dance. Both issues were examined using the concept of the show form by Maryono which reveals verbal and non-verbal components. To uncover the creativity of Didik Bambang Wahyudi in the work of Anoman Cakil dance is using the theory of Rhodes cited by Utami Munandar that creativity there are four elements in it, namely person, press, proscess and product. Anoman Cakil dance composed by Didik Bambang Wahyudi told about the battle between two characters that have different character of Anoman and Cakil. Anoman Cakil dance is a dance work born from the interpretation of Didik Bambang Wahyudi. Harmony between the person and the creative process, as well as the ability to implement a story where Anoman essentially never met Cakil, but it is not impossible for Anoman to meet Cakil on a journey.Keywords: creativity, form, Anoman Cakil dance.
TARI JARAN KEPANG BOYOLALI PADA PAGUYUBAN KETHOLENG DI KABUPATEN BOYOLALI (TINJAUAN BENTUK SAJIAN DAN GARAP TARI) Widyawati Kedasih Putri; Silvester Pamardi
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3190

Abstract

This study discusses the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance was composed by Eko Wahyu Prihantoro. The problem taken in this research is, how the form of presentation and how to work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. This research was conducted with a qualitative method using descriptive analysis and data collection techniques of observation, interviews, and literature study. Discusses these two problems, using concepts or thoughts from Slamet MD regarding the elements of dance formation which contain motion, rhythm, expression or taste, costumes, venues and dancers. Discussing the problem of working on using the concept of Rahayu Supanggah which contains material about the work on the event or the work on, working on, working on facilities, furniture or work on the device, determinants of work on and consideration of work on. The results of this study are describing the form of presentation and work on the Boyolali Jaran Kepang dance at the Paguyuban Ketholeng in Boyolali Regency. The Boyolali Jaran Kepang dance in its form of sajin is divided into 3 parts according to the dynamics of its movements. The makeup and clothing in this dance have a simple form and are easy to wear by dancers. The Boyolali Jaran Kepang dance accompaniment used a slendrobarreled accompaniment. In the preparation of the Boyolali Jaran Kepang dance, it is motivated by phenomena found in the Boyolali area. Boyolali Jaran Kepang dance has several elements in the dance work, namely choreographers, composers, dancers, musicians, costumes, movements, and the role of Boyolali Regency government.Keywords: Boyolali Jaran Kepang Dance, Ketholeng, form of presentation, working on dance.
KOREOGRAFI KRIDHA MANGGALA KARYA DWI MARYANI DEBITA EMY RACHMAWATI; Matheus Wasi Bantolo
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3457

Abstract

This research is a discussion about the dance Kridha Manggala by Dwi Maryani which was created based on the Javanese dance tradition of Surakarta and Poco-Poco dance. The problem in this study was the form and creation of this work.   To discuss the issue using the thought of choreography according to Sal Murgiyanto, the category of contemporary dance based on tradition according to Matheus Wasi Bantolo, the form of the dish using the analysis of Janet Adshead, and the process of creation using thinking of Alma M Hawkins. The methods in this study are descriptive analytic with qualitative data, and use a choreographed approach.The results showed that this work is a work Dwi Maryani showed that there is a combination of two elements that are Java elements and the Poco-Poco. The second combination of this element makes a fierce idea for Dwi Maryani in creating the work of Kridha Manggala. The combination of these two elements can be seen in terms of motion, music, and costumes.  The process of creating this work through stages, viewing, sensing, interning, imagining or imagination, tilling, and forming. Live through the exploration, improvisation, and composition stages. Keywords: Kridha Manggala, Dwi Maryani, choreography.
BENTUK DAN FUNGSI TARI SILAMPARI KAYANGAN TINGGI DI LUBUKLINGGAU SUMATRA SELATAN Hilaria Widia Ayuningtyas; Syahrial Syahrial
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3183

Abstract

This study examines Silampari Kayangan Tinggi dance in Lubuklinggau. Its main focus is on the aspects of form and function in its prsentation. Using the theory of form by Suzanne K. Langer which is described using concept of Y. Sumandiyo Hadi and theory of function by M. Jazuli. This research is a type of qualitative research with an intersubjective approach that emphasize observation in the field by capturing information and illustrated in fact. This dance form is also a development of the Silampari dance which is the root of the welcoming dance in Lubuklinggau city and Musi Rawas district. This dance ia a guest welcoming dance perfomed by woman totaling four to ten dancers and two tepak bearers namely Bujang Dere (son and daughter of the city of Lubuklinggau). The result of this study indicate that the Silampari Kayangan Tinggi dance as form of respect to the guest of honor who visited Lubuklinggau.Keywords: Form, Function, Silampari Kayangan Tinggi Dance.
ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA Endra Sabekti; Didik Bambang Wahyudi
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3455

Abstract

The research titled "Analysis of Merak Subal Dance Movement by S. Maridi at Soeryo Soemirat Gallery in Surakarta", was created by S. Maridi in the 1969s. Merak Subal Dance is a dance that represents the life (behavior) of peacocks. S. Maridi's Merak Subal dance was inspired by sundanese peacock dance.This study aims to describe and analyze the movements in The Merak Subal Dance. The research method used is descriptive analytics with qualitative data properties, namely collecting data through observations, interviews, subsequent library studies analyzed descriptively. The research problems were analyzed using conceptual foundations from Soedarsono on dance forms and Agus Tasman on the analysis of dance moves and characters.The results of Merak Subal Dance research in Soeryo Soemirat gallery showed that the dance was presented in the form of a group dance drawn by three dancers with a duration of about eight minutes. Elements that make up The Merak Subal Dance are motion, floor design(floor pattern), top design, dramatic design, theme, makeup and fashion, dance music, property, lighting, venue and performance time. Then the analysis of motion includes materials, energy, space, time, organization, aggregation, character, description. Keywords: Merak Subal Dance, choreography, Soeryo Soemirat gallery.
KEPENARIAN GULU DALAM TARI SRIMPI LUDIRAMADU GAYA SURAKARTA Aqueenes Forsa Putri Setiawan; Dwi Rahmani
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3456

Abstract

Essay of this artwork present an analysis dizziness of Gulu’s in a Srimpi Ludiramadu dance Surakarta sytle covers problem 1). How was the dizziness of Gulu’s in the Srimpi Ludiramadu dance?, 2). How does the garap fillings and shapes of Srimpi Ludiramadu dance the dizziness of the Gulu’s?, 3). How was Gulu’s role in Srimpi Ludiramadu dance?. The three issues are discussed of the normatical concept of the Javanese Hasta Sawanda and the consept of garap fillings and shapes. The methods of art were conducted through library studies, observation, and interviews. Research has shown that the dizziness Gulu’s in a Srimpi Ludiramadu dance is required a process whish is countinue and intensive. Dancing a group dance must be supported by personal and group consciousness. The dizziness of the Gulu’s on this Srimpi Ludiramadu was taste of mrabu, kenes, and meneb supported with makeup and karawitan to keep up the impression of grace.                                                                                                                      Keywords: Dizziness, garap, Srimpi Ludiramadu.
KEPENARIAN BUNCIT DALAM TARI SRIMPI GANDAKUSUMA Regita Rian Utami; Sri Setyoasih
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3184

Abstract

Essay of this artwork present an analysis dizziness of Buncit’s in a Srimpi Gandakusuma dance Surakarta sytle covers intepretation garap fillings and shapes, the dizziness of Buncit’s in the Srimpi Gandakusuma dance. The garap fillings and shapes which is studied with concept of the Javanese Hasta Sawanda. Concept shapes Susan Langer used to analyze elements in dance.The method used is  bservation, library studies, and interview. Research has shown that the dizziness Buncit’s in a Srimpi Gandakusuma dance is a required a process which is continue and intensive. Dancing a group dance must be supported by personal and group. The dizziness of the Buncit’s on this Srimpi Gandakusuma was taste of mrabu, meneb, and sigrak supported with makeup and karawitan to keep up the impression of grace.  Keywords: dizziness, garap, Srimpi Gandakusuma.
PERKEMBANGAN REOG CING PO LING PAGUYUBAN PONCO MANUNGGAL JATI DI DESA JATIREJO, KECAMATAN KALIGESING, KABUPATEN PURWOREJO Sudrajat Dewandana; Katarina Indah Sulastuti
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3454

Abstract

The article entitled Development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency is trying to uncover two problems, namely: (1) how the form of the show Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency today.; and (2) how is the development of Reog Cing Po Ling Ponco Manunggal Jati Group in Jatirejo Village, Kaligesing District, Purworejo Regency from 2016-2019. The first problem was examined based on the form theory which explained that the form of the performance consists of interconnected elements including dance moves, floor patterns, dance music, makeup and clothing, property, time and place of performance. Meanwhile, to examine the second problem used development theory that the development is a process of re-processing based on elements of tradition and expansion of the introduction area in the form of a new look without reducing or eliminating the values of existing traditions so that it can be enjoyed by the wider community. This research is qualitative. The techniques or steps in this study include the stage of data collection, the stage of data analysis, and the stage of preparing the report. The results of this study showed that Reog Cing Po Ling Ponco Manunggal Jati was carried out communally with elements of the show arranged neatly. The development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati lies in the elements of the show and the expansion of the stage area. The development occurred due to the influence of factors both from inside and outside the reog Cing Po Ling art group. Internal factors that influence the development of Reog Cing Po Ling include creativity of art actors, management of organizational systems, and spirit of togetherness among art actors. While external factors such as local government, artists from outside, and the development of technology  Keywords: Reog Cing Po Ling Paguyuban Ponco Manunggal Jati, Form, Development.   
KELANGSUNGAN DAN PERUBAHAN TARI SEDULANG SETUDUNG KABUPATEN BANYUASIN Rian Ardiansyah; Dwiyasmono Dwiyasmono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3185

Abstract

Since this dance was created in 2002 it already go through some developments and still on going until now. The purpose of this research is to uncover about the causative factors of Setulang Setudung dance continuity and changes in Banyuasin District. This research is using a qualitative kind of research. The process of the data collection has involve observations, interviews and documentations. The results of this research showing the present form of Setulan Setudung dance which is including moves, musics, costume and make up, also properties. Beside that, the results of this research is that Setulan Setudung dance still on goin until now and already going through cange because of the art response against the existing challenges such as the impact of oustiders culture, government, economy and education. Keywords: Sedulang Setudung dance, continuity, and Dance Change.
GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI Nur Aini; Soemaryatmi Soemaryatmi
Greget Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3453

Abstract

Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How  to work on  Anoman  Cakil dance  by Didik Bambang  Wahyudi  (2) How  to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the  concept of cultivation  by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the  then  spread  hand  arm  and  keris  shell.  Beksan  retreat  is  the  last  part  of  the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.

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