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<![CDATA[BENTUK DAN FUNGSI KESENIAN TIBAN DI DESA WAJAK KECAMATAN BOYOLANGU KABUPATEN TULUNGAGUNG ]]>
<![CDATA[Dera Vernanda Willya Putri]]>;
<![CDATA[Sriyadi Sriyadi]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4136
<![CDATA[This research aims to address two problems related to the dance form dan the function of Tiban, including : (1) how the dance form of Tiban in Wajak Village Boyolangu District Tulungagung Regency , (2) how the function of Tiban in society people who lived in Wajak Village Boyolangu District Tulungagung Regency. These two problems are analyzed based by theory dance form from Soedarsono and theory of function from Bronislaw Malinowski , Anthony Shay, and Sumandiyo Hadi. This research is qualitative methods. Qualitative teqnique of data is triangulation data that include of observation, interviews, ad bibliographical study. The results of this research refers that dance form and the function of Tiban. The dance form include of the structure of performance and the elements of dish. The performance of Tiban have many function that influent by the society lived of people in Wajak Village Boyolangu District Tulungagung Regency. Dance as an existention of self, dance as a ritualsm, dance as reflection activity and streght of society, Dance show of aesthetic, and dance as economy system.]]>
<![CDATA[ELEMEN-ELEMEN KOREOGRAFI DAN REFLEKSI DALAM SAJIAN KARYA TARI TUNJUNG PUTIH ]]>
<![CDATA[Divany Rico Jhosua]]>;
<![CDATA[Mamik Widyastuti]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4143
<![CDATA[Tunjung Putih dance by the choreographer; Divany Rico Jhosua in 2020 is a new traditional art whose dance work creation is motivated by the problem of social discrimination experienced by cross-dressers and cross-gender dancers. The idea of creating this work is the story of Wrahatnala's character while posing as a woman and acting like a sissy. To find out the elements of choreography in Tunjung Putih dance, the author uses the concept presented by Y. Sumandyo Hadi, namely the explanation of the concepts of cultivation through the elaboration of choreographic elements. The result of this study is to know the form of Tunjung Putih dance through the description of 11 elements of choreography in it. Reflection of the creation of Tunjung Putih dance in the form of critical analysis with further research to respondents on issues and responses related to the presentation of this dance work.]]>
<![CDATA[MAKNA TARI GANDHONG DI DESA BANGUN KECAMATAN MUNJUNGAN KABUPATEN TRENGGALEK ]]>
<![CDATA[Melinia Intan Pramadani]]>;
<![CDATA[Setya Widyawati]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4137
<![CDATA[The thesis entitled The Meaning of Gandhong Dance in Bangun Village, Munjungan District, Trenggalek Regency reveals the problems of meaning of the Gandhong Dance. These three problems are studied by performing arts theory and pragmatics theory. In its application to analyze the form of the nonverbal component using the theory of performing arts according to Maryono and the analysis of the form of the verbal component using a pragmatic approach with Kreidler's speech act theory. The research method is qualitative in nature with data collection by direct observation or through recording media, interviews, and literature studies. The results of the research findings based on the discussion and linkage of nonverbal components, verbal components, and audience responses that Gandhong Dance is a folk dance that functions as entertainment and provides meaning messages that are conveyed to the audience. The meaning of Gandhong Dance is to show the value of social life by living in harmony, mutual cooperation, maintaining health, and praying for safety and peace.]]>
<![CDATA[IDENTITAS LOKAL SIDOARJO DALAM KOREOGRAFI BANJAR KEMUNING KARYA AGUSTINUS HERI SUGIANTO ]]>
<![CDATA[Arum Trianingsih Hermawan]]>;
<![CDATA[Pramutomo Pramutomo]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4138
<![CDATA[Sidoarjo is known to have the city icon “Shrimp and Milkfish” because it has an area located on the coast and part of the livelihood of the community is fishermen. Coastal communities have distinctive cultural traits and characteristics with the habit of processing marine products. Sedekah Laut or Petik Laut is one of the cultures owned by the coastal community of Sidoarjo which is manifested in the form of the Banjar Kemuning dance. This study seeks to uncover problems related to local identity expressed in the choreography of the Banjar Kemuning dance. The research problems were analyzed based on the theory of culture and identity, the theory of choreographic concept analysis, the theory of art and identity and the theory of expression. This research is qualitative with data collected through literature study, interviews, and observations of Banjar Kemuning Dance. The results showed that the components of the Banjar Kemuning dance include: (1). Choreography, (2). Accompaniment music; poetry and narration, and (3). Clothing, (4).Properties that as a whole reflect the lives of coastal communities who are active, dynamic and do not forget to be grateful for the marine products they get from God Almighty in the form of a complete unity of the Banjar Kemuning dance.]]>
<![CDATA[BENTUK SAJIAN TARI BEDHAYA GEHING KARYA THERESIA SRI KURNIATI ]]>
<![CDATA[Sonia Pangesti Lambangsari]]>;
<![CDATA[Sri Rochana Widyastutieningrum]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4134
<![CDATA[This article discusses the Bedhaya Ge-Hing dance by Theresia Sri Kurniati .Its main focus is on the aspects of process and form. Using the theory of process by Wallas in Utami Munandar book and theory of form by Y. Sumandiyo Hadi. Writing this thesis using qualitative research methods. Data collection techniques used were observation, interview, and literature study. The results showed that the Bedhaya Ge-Hing dance has the characteristics of process and form in accordance with the ideas of choreographer.]]>
<![CDATA[FUNGSI TARI NADRAK PAGUYUBAN RUKUN SANTOSA DESA BRONGKOL KABUPATEN SEMARANG ]]>
<![CDATA[Karinsa Krisna Murti]]>;
<![CDATA[Slamet Slamet]]>
<![CDATA[ Greget Vol 20, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v20i2.4141
<![CDATA[The article entitled Functions of the Nadrak Dance Association of Rukun Santosa, Brongkol Village, Semarang Regency aims to determine the function of Nadrak Dance. Nadrak dance is one of the folk dances in the Rukun Santosa Association which is danced in groups. The main problem of this research is the function of the Nadrak Dance. This research uses function theory. The theory of function was expressed by Bastomi. This research is qualitative. The data were collected through observation, interviews, and literature study. The results of this study the authors reveal the form and function of the Nadrak Dance. Form includes elements of motion, rhythm, expression or feeling, costumes, stage, and dancers. Nadrak Dance functions as a sacred art (religious interests) and secular art (a means of communication, education, and recreation).]]>
<![CDATA[ANALISIS GERAK TARI ANOMAN RAHWANA KARYA DIDIK BAMBANG WAHYUDI ]]>
<![CDATA[Efpry Ayu Wardhani]]>;
<![CDATA[Matheus Wasi Bantolo]]>
<![CDATA[ Greget Vol. 21 No. 1 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v21i1.4435
<![CDATA[Tari Anoman Rahwana merupakan karya tari berupa penggalan yang diciptakan oleh Didik Bambang Wahyudi pada tahun 1987. Penelitian ini bertujuan untuk mendeskripsikan bentuk penyajian, analisis gerak, dan pembentukan gerak tari Anoman Rahwana. Metode penelitian yang digunakan adalah metode deskriptif analitik dengan data kualitatif, yang melalui tahapan pengumpulan data yaitu observasi, wawancara, dan studi pustaka. Permasalahan yang ada dalam penelitian ini dibahas menggunakan landasan teori Soedarsono untuk menganalisis bentuk penyajian, sedangkan untuk analisis gerak menggunakan landasan teori Soedarsono dan pembentukan gerak menggunakan teori Doris Humphrey. Hasil analisis menunjukkan gerak tari Anoman Rahwana mengandung gerak representasi yang memiliki makna yang jelas dan gerak non representasi yang digarap untuk mendapatkan bentuk yang artistik. Formasi gerak tari Anoman Rahwana dalam pola geraknya lebih banyak mengandung rancangan garis yang berlawanan, dinamika dengan berbagai tempo yang berbeda, menggunakan ritme dan mekanisme yang fungsional, serta motivasi gerak yang diilhami oleh kehidupan sehari-hari, sebagai gerak penghubung atau transisi dan untuk membedakan pola gerak. dalam karakter tari gagah gaya Surakarta.]]>
<![CDATA[HOLISTIK TARI SINGO JOWO LASKAR KARYA UMI USWAHTUN KHASANAH ]]>
<![CDATA[Novia Nur Nurul Amintamah]]>;
<![CDATA[Maryono Maryono]]>
<![CDATA[ Greget Vol. 21 No. 1 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v21i1.4440
<![CDATA[Penelitian ini bertujuan untuk mengungkap makna yang terkandung pada Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah. Makna tari dapat diungkap dengan melihat tiga permasalahan meliputi: (1) Bagaimana Genetik Tari Singo Jowo Laskar Karya Umi Uswahtun Khasanah, (2) Bagaimana Objektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah, (3) Bagaimana Afektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah. Penelitian ini dikaji dengan pendekatan Kritik Seni Holistik yang menempatkan tiga faktor yaitu genetik, objektif, dan afektif merupakan satu kesatuan sebagai sumber terjadinya aliran makna. Penelitian yang dilakukan bersifat kualitatif dengan tehnik pengumpulan data meliputi wawancara, observasi, mengkaji dokumen arsip, dan perekaman. Hasil temuan penelitian berdasarkan analisis faktor genetik, objektif, dan afektif Tari Singo Jowo Laskar Yudho Karya Umi Uswahtun Khasanah dapat mengungkap makna bahwa karya tersebut berfungsi sebagai hiburan dan mengangkat nilai-nilai historis kedaerahan, nilai semangat perjuangan, nilai patriotisme dan nasionalisme yang berguna bagi generasi muda dan masyarakat.]]>
<![CDATA[BENTUK TARI BEDHAYA KAWUNG KARYA M.G. SUGIYARTI ]]>
<![CDATA[Bella Twoaras Merdekawati]]>;
<![CDATA[Supriyanto Supriyanto]]>
<![CDATA[ Greget Vol. 21 No. 1 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v21i1.4436
<![CDATA[Tari bedhaya merupakan tarian yang hidup dan tumbuh di lingkungan keraton. Bedhaya adalah salah satu bentuk tarian sakral di keraton, khususnya di Jawa. Tarian bedhaya ini dibawakan pada acara-acara resmi keraton. Tari Bedhaya adalah bentuk tarian berkelompok yang biasanya ditarikan oleh sembilan orang penari wanita. Tari Bedhaya masih dilestarikan di keraton Yogyakarta dan Surakarta. Penelitian ini mengungkap dua permasalahan yaitu bagaimana proses penciptaan tari Bedhaya Kawung dan bagaimana bentuk tari Bedhaya Kawung karya M.G. Sugiyarti. Penelitian ini bersifat kualitatif dengan pendekatan koreografi, metode yang digunakan adalah deskriptif analisis. Dalam membedah masalah proses penciptaan karya tari Bedhaya Kawung menggunakan teori dari B.P.H. Suryodiningrat, sedangkan untuk membedah masalah bentuk tariannya menggunakan teori R.M. Soedarsono. Hasil penelitian menunjukkan bahwa proses penciptaan tari Bedhaya Kawung memiliki tiga tahapan, yaitu: latar belakang tari Bedhaya Kawung, ide atau gagasan, aturan penyusunan tari Bedhaya Kawung gaya Yogyakarta. Sumber gerak tari Bedhaya Kawung menggunakan gaya Yogyakarta. musik yang digunakan adalah seperangkat gamelan tala pelog, kendang dan terompet. Riasan yang digunakan cantik, sedangkan busana yang digunakan adalah rompi tanpa lengan dan motif kain dengan motif kawung. pola garap gerak tari Bedhaya Kawung yang dikembangkan sesuai dengan pola garap gerak tari.]]>
<![CDATA[PERMAINAN DALAM KESENIAN LAESAN ANAK DI DESA BAJOMULYO KABUPATEN PATI ]]>
<![CDATA[Ade Nusri Fitria Wardhani]]>;
<![CDATA[Joko Aswoyo]]>
<![CDATA[ Greget Vol. 21 No. 1 (2022) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/grt.v21i1.4441
<![CDATA[Penelitian ini berusaha untuk mendeskripsikan serta menjelaskan mengenai pentingnya mengenal permainan dalam sebuah pertunjukan kesenian laesan anak dan unsur-unsur yang ada dalam pertunjukannya. Metode yang digunakan dalam penelitian ini adalah metode penelitian deskriptif analisis yang menekankan pada observasi lapangan dengan menggali informasi dan gambaran sesuai fakta dan teknik pengumpulan data observasi, wawancara, studi pustaka dan studi dokumen. Hasil penelitian menganalisis permainan dalam sebuah pertunjukan yang menggunakan teori dari Johan Huizinga dan Desmita ini, dapat membedah setiap unsur masing-masing permainan yang meliputi : gerak tari, syair lagu masing-masing permainan, dan properti yang digunakan.]]>
