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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 291 Documents
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PROSES PENCARIAN IDENTITAS GERAK GECUL GARENG OLEH SUMAR BAGYO Dewi Wulandari; Slamet MD
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (762.218 KB) | DOI: 10.33153/grt.v15i1.1725

Abstract

Sumar Bagyo yang dikenal sebagai Gareng Ngesti Pandowo merupakan salah satu pelawak yang populer dengan membawakan karakter Gareng. Gerak gecul merupakan karakter dan identitas panggungnya. Karakter gerak gecul Gareng yang dibawakan oleh Sumar Bagyo merupakan pencitraan akan dirinya dan merupakan ciri khas yang akan sulit ditiru oleh orang lain.Fenomena inilah yang menjadi perbedaannya dengan para pelawak lainnya yang lebih mengedepankan guyon maton. Muncul pertanyaan bagaimana proses kesenimanan Sumar Bagyo dalam mencari gerakgecul Gareng sebagai identitasnya. Penelitian ini menggunakan metode kualitataif dengan pendekatan sejarah. Data dikumpulkan dengan observasi, wawancara, dan pendokumentasian, yang selanjutnya dianalisis dengan menggunakan teori perubahan sosial A. Boskof. Hasil penelitian menunjukkan bahwa faktor kesuksesan karir dan dalam mencari gerak gecul meliputi faktor internal 1) Bagyo memiliki gen seorang Gareng. 2) Bagyo memiliki bakat ndagel dan menari yang terus diasah. 3) mampu menabuh gamelan. 4) sebagai staf Dinas Pariwisata dan Kebudayaan. 5) pengalaman pentas diberbagai tempat dan kalangan. 6) kreatifitas. Sedangkan faktor eksternalnya yaitu 1) Bagyo hidup dilingkungan seni. 2) Bagyo selalu up to date. 3) mempersiapkan bahan lawakan berbeda. 4) mengerti berbagai disiplin ilmu. Kata kunci: gecul, Gareng, karakter.
Analisis Kontekstual Adegan Pernikahan Ratu Ayu Kencanawungu Dalam Tari Langendriyan Sutarno Haryono
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3152.11 KB) | DOI: 10.33153/grt.v12i1.473

Abstract

The overall appearance of a dance is not a construction of which the elements can be analyzed individually but rather a complete and rounded unit (gestalt). Therefore, presentational symbols rather than discursive symbols emerge. Presentational symbols point to the hidden meaning behind the meaning that is directly visible, or reveal a level of meaning that is presupposed within the literal meaning. Of course, when interpreting the meaning of an art which contains a number of different elements, such as dance, a highly complex unit is observed which is made up of all the different elements that cannot be separated one from another. Keywords : Analysis, Contextual, Macapat, and Dance Movements.
STUDI KELAYAKAN TARI LEPAS REYOG PONOROGO SEBAGAI MODEL PENDIDIKAN DASAR DAN MENENGAH DI KABUPATEN PONOROGO M., Maryono
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (894.692 KB) | DOI: 10.33153/grt.v14i2.1707

Abstract

To day, the problem that we get is lower appreciation of youth as next generation towardtheir culture themselves. They very like, familiar and feel more as ancient tradition, out of dateand no prestige. Consequently, since people not be oriented any more to values of Javanese culture,costum, and leave the art containing adi luhung values, their attitude turn into brutal, emotional, do not have ashed culture ang less respect of older. Basically, our society life has experienced an apprehensive moral degradation. Therefore, we recently need art education to realizecharacter building among student, giving appreciation and understanding of art for them as nextgeneration. Using art education of reyog based on norms, values, ethics, and aesthetic of cultureenvironment containing adi luhung values, student character as leader generation with nationspirit and Indonesian characteristic will be built. Reyog is dance drama. To apply it to be art local subject matter, it needs for sufficientpackage that devide into some independent dance: Warok, Jathilan, Bujangganong, Kelana Sewandana, and dhadhak Merak. These dances are adapted with curricula guidance from National Education of Ponorogo. Elementery student are demanded to recognize and understandabout basic manner of reyog, however, high shool student are hoped know about basic manner andpresent independent dance of reyog based on valid rule in evaluation creteria of reyog.Keywords: education, local subject matter, reyog, and sufficiency.
KAYA TARI “MANUKSMA” SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2709.728 KB) | DOI: 10.33153/grt.v5i2.293

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and Still many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] panda waKeyword: Puppet, Enviroment
Fungsi Tembang dalam Seni Pertunjukan Tari Maryono Maryono
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2409.834 KB) | DOI: 10.33153/grt.v9i2.427

Abstract

The existence of song in a dance performance does not function simply a musical instrument but rather more comprehensively is a medium which has a great potential for expressing the content or meaning of the dance, which in turn contains a message that is intended to be communicated. It would appear that the existence of song in a dance performance is also an aesthetical medium of expression. The position of song in the performing arts has a number of highly strategic functions, namely: 1) as a medium of expression for the dancers, 2) as a musical element, and 3) as a pointer to content or meaning. The understanding of these three functions of song is based more on the strength, contribution, and support of the potential which is able to bring a dance performance to life. It should be realized that song in a dance performance is a highly significant expression of competence, and for this reason, the way in which it is treated and presented needs to be examined in greater depth in order to discover its true meaning.Keywords : song, function, and dance
PENGGARAPAN BENTUK PERTUNJUKAN RONTEG SINGO ULUNG DI PADEPOKAN SENI GEMA BUANA PRAJEKAN KIDUL, KABUPATEN BONDOWOSO Euis Mirna Nurchahya
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (910.042 KB) | DOI: 10.33153/grt.v14i1.1657

Abstract

This research uses a qualitative method with an interpretative descriptive form whichpresents a picture, description, and explanation of the data obtained from observation and interviews. The results of the data are then presented and explained accordingly. The performance ofRonteg Singo Ulung was created in 1990 and obtained its copyright in 2004. It has earned anumber of rewards and has also become an icon of the Bondowoso district. The goal of this researchis to discover how the performance of Ronteg Singo Ulung was created and how its differentelements are treated, including the background to its creation, its creator, its motivating factors,its artistic interpretation, and its proponents. The method used for collecting data included alibrary study, together with observation, and interviews.Keywords: Form of Ronteg Singo Ulung and Interpretation.
PEMADATAN SRIMPI SANGUPATI OLEH AGUS TASMAN RONOATMODJO Sonia Margarita; Dwi Wahyudiarto
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (158.013 KB) | DOI: 10.33153/grt.v17i2.2303

Abstract

AbstrakSrimpi Sangupati merupakan salah satu tarian yang berasal dari Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta disebut juga dengan Srimpi Sangupati “utuh” karena pada tari Srimpi ini berdurasikan ±1 jam dan menggunakan properti lengkap yaitu meja kecil, kenthi, sloki, dan juga pistol. Srimpi Sangupati dipadatkan oleh Agus Tasman menjadi ±16 menit dan juga tidak menggunakan properti seperti yang ada di Srimpi Sangupati Keraton Kasunanan Surakarta. Pemadatan yang dilakukan oleh Agus Tasman bertujuan untuk menjaga agar kelestarian, eksistensi, dan kontinuitas seni pertunjukan tradisi keraton terjaga. Penelitian pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman merupakan penelitan kualitatif dengan menggunakan pendekatan deskriptif analisis. Penelitian ini menggunakan teori perubahan menurut Giddens yang diperkuat oleh Douglas dan Goodmans mengenai faktor yang mempengaruhi perubahan yaitu agen dan struktur. Untuk membahas bentuk pertunjukan menggunakan teori Soedarsono, yang menyatakan bahwa elemen-elemen pendukung pertunjukan tari antara lain gerak, musik tari, rias busana, desain lantai, dan pendukung tari lainnya (properti dan lighting). Hasil penelitian menunjukan bahwa Pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman dilakukan dengan menggarap dan menyusun kembali materi yang telah ada meliputi pemadatan waktu, mengurangi pengulangan gerak, menggarap gendhing, variasi pola lantai, menghilangkan properti dan juga mengubah rasa yang ditimbulkan pada Tari Srimpi Sangupati. Dampak dari perubahan itu menjadikan Srimpi Sangupati menjadi lebih akrab dengan masyarakat luas baik dari dalam keraton maupun luar keraton. Tari Srimpi Sangupati menjadi lebih menarik, tidak monoton, dan laris.Kata kunci: Srimpi Sangupati, Keraton Kasunanan Surakarta, pemadatan, Agus Tasman.AbstractSrimpi Sangupati is one of the dances that come from Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta is also called Srimpi Sangupati “intact” because in this Srimpi dance is ± 1 hour duration and use complete property that is small table, kenthi, sloki, and also pistol. Srimpi Sangupati compacted by Agus Tasman to ± 16 minutes and also do not use the property as in Srimpi Sangupati Keraton Kasunanan Surakarta. Compaction conducted by Agus Tasman aims to maintain the sustainability, existence, and continuity of performing arts tradition awakened. Research compaction Srimpi Sangupati Keraton Kasunanan Surakarta by Agus Tasman is a qualitative research using descriptive analysis approach. This study uses the theory of change according to Giddens reinforced by Douglas and Goodmans about the factors that affect the change of agents and structures. To discuss the form of performances using Soedarsono’s theory, which states that the supporting elements of dance performances include motion, dance music, dress makeup, floor design, and other dance supporters (property and lighting). The results showed that the compression of Srimpi Sangupati Keraton Kasunanan Surakarta by Agus Tasman was done by working on and rearranging the existing material including time compaction, reducing motion repetition, working on gendhing, variation of floor pattern, eliminating the property and also changing the taste caused by Srimpi Sangupati Dance . The impact of that change makes Srimpi Sangupati become more familiar with the wider community both from within the palace and outside the palace. Srimpi Sangupati Dance becomes more interesting, not monotonous, and in demand.Keyword: Srimpi Sangupati, Keraton Kasunanan Surakarta, compression, Agus Tasman.
BENTUK DAN MAKNA SIMBOLIK TARI SEBLANG DI DESA OLEHSARI KABUPATEN BANYUWANGI JAWA TIMUR Hadi Subagyo
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3695.225 KB) | DOI: 10.33153/grt.v2i2.249

Abstract

This (is] Study Article [is] more focused (by) (at) Seblang dance in countryside ritual ceremony [in] Olehsari district (ofJ executed Amaryllis Banyuwangi sub-pmvince one year once. This dance function as symbolic communications [among/bet ween] perpetrat or with audience, perpet rator with perpetrator, and also audience with audience, so that in show activity or this Seblang ceremony happened a social interaction, and even become symbolic communications (among/between] society with its ancestor, so that give meaning which enough komplek in life Keyword: Seblang, ritual.
Tari dan Pengendalian Diri Daryono Daryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3389.73 KB) | DOI: 10.33153/grt.v9i1.381

Abstract

Art is the same as knowledge, and both have a sense of clarity. One has a clarity of feeling, the other a clarity of thought. In the arts, there is a strong emphasis on the communication of feelings or emotions between the artists, the arrangement of artistic elements, and the ability to appreciate, understand, or bring to life a work of art. In the performing arts in particular, the beauty that is created is bound by time and space because of its ‘transient’ nature. The frame for creating the dynamics of such beauty is simply a deep understanding or appreciation of the art performance. In a dance performance, the dominant actor is the dancer himself. In this context, the dancer must be able to bring to life all the elements that are present at that time of the performance and to reflect upon them in such a way as is required. In this event, the understanding of beauty is contextual. For this purpose, the dancer must search to discover his own identity by travelling and exploring, bearing in mind that the elements of art such as feeling, understanding, perception, intuition, and so on are not given but must be discovered. Keywords: Dancer, self-control, intensity, and exploration.
PROSES PENCIPTAAN A’BIRING BONE DI KAMPUNG KUNYI’ DESA BAHOREA KECAMATAN BONTOSIKUYU KABUPATEN KEPULAUAN SELAYAR SULAWESI SELATAN Bau Salawati Bau Salawati
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (563.898 KB) | DOI: 10.33153/grt.v13i1.529

Abstract

A’biring Bone is the name of a dance work which is performed in Kampong Kunyi’ in the Village ofBahoreain the Sub-District of Bontosikuyuin the Kepulauan Selayar District of the South Sulawesi Province.The way in which the A’biring Bone dance – whichin the Selayar language means “scouring the coastline” –isconstructed is closely connected to the local community, as it involves the people who live along the coast ofKampong Kunyi’. A’biring Bone is a work which tells about the lives of the people in the fishing communitywho move from Kampong Tile-Tile to Kampong Kunyi’ when the west monsoon season arrives, and hold aritual before going out to sea and a communal celebration to give thanks for an abundant harvest. This workalso presents a traditional dance that is found in the Sub-District of Bontosikuyu in the KepulauanSelayarDistrict of the South Sulawesi Province, namely the Pakarena BallaBulo dance.Keywords: Form, Creation, A’biring Bone

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