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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 TARI CENGKAHING KATRESNAN OLEH ALERIANA MAYANG DEWATI Dewati, Aleriana Mayang; Rahmani, Dwi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4690

Abstract

Cengkahing Katresnan is a dance work created by Aleriana Mayang Dewati in 2021. This dance is presented in a group format with a theme that reflects the values of Dewi Banowati's devotion to her husband, Duryudana. In this performance, Dewi Banowati is portrayed as a dedicated woman, even as she faces various conflicts and challenges in her role as the wife of a great leader. This piece symbolizes sacrifice, love, and loyalty, which are central to her story. To create this work, Aleriana employed Alma M. Hawkins' creative process theory, which consists of three main stages: exploration, improvisation, and composition. Exploration involves searching for initial ideas, drawn from history, culture, and personal experiences. The improvisation stage is carried out by developing free movements, unrestricted by specific structures, allowing for creative freedom. The final stage, composition, is the process of arranging movements into a complete dance form. In addition, the author utilized Maryono's form theory to analyze the structure and supporting elements within this dance piece. This theory aids in understanding how each movement, pattern, and placement of dancers on stage contribute to conveying the story and its meaning. The research found that Aleriana Mayang Dewati's creativity is influenced by both internal factors, such as her life experiences and artistic vision, and external factors, such as cultural environment and social support. This study also explores the various supporting components of the work, including music, costumes, and stage design, all of which play crucial roles in shaping the aesthetic experience for the audience.
BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR Istiani, Lia Sukma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4695

Abstract

The research entitled Form and Function of Ronggeng Paser Dance in Sesulu Gunung Batu Village, Penajam Paser Utara Regency, East Kalimantan is a form of traditional dance in Sesulu Gunung Batu Village, East Kalimantan. The focus of this research is on the form and function of Ronggeng Paser dance in society. To answer the problems that arise, several theories are used, including: Form theory by Slamet, MD and also function theory by Soedarsono. The research method used is a qualitative method with a descriptive analysis form. While the data used are field data and written data, then described according to the facts in the field. The research stage carried out is the data collection stage which includes observation, interviews, and literature studies, continued with data analysis. The results of this study can be obtained a picture related to the form and function of Ronggeng Paser dance that lives in the Sesulu Gunung Batu Village community, Penajam Paser Utara Regency, East Kalimantan. The Ronggeng Paser dance form in its presentation has 3 (three) movement motifs that match the song, namely the first part Batu Sopang with the song Batu Sopang, the second part Tirik with the song Tirik, and the third part Makinang with the song Makinang. This dance is included in social dances or happy dances danced by six dancers using Malay lenggang movement motifs with dance music of three types of songs, namely Batu Sopang, Tirik, and Makinang. It cannot be separated from the elements that form it and are interrelated such as movement, rhythm, expression or feeling, costume, stage location, and dancers. The function of the Ronggeng Paser dance is divided into three, namely, as a means of ceremony, as personal entertainment, and as a spectacle.
BENTUK SAJIAN BEDHAYA SAPTONGKARA KARYA I NYOMAN CAHYA BERSAMA SULISTYO HARYANTI Renansia, Erika Meilanawati; Setyoasih, Sri
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4693

Abstract

This article explores a unique form of group dance known as Bedhaya, which conveys symbolic expression through movement. The dance utilizes the symbol of Sapta Ongkara, representing the energy within humans and the universe. The Bedhaya Saptongkara dance was created by two choreographers, I Nyoman Chaya and Sulistyo Haryanti, in 2019. To delve deeper into the form and structure of this Bedhaya dance, the study employs Y. Sumandiyo Hadi's theory, which is instrumental in detailing the dance's elements. The study successfully produces a comprehensive description of the movement composition in the Bedhaya Saptongkara dance, meticulously crafted by I Nyoman Chaya and Sulistyo Haryanti. This description encompasses various crucial aspects of Bedhaya dance, including the dance movements, themes presented, type of dance, mode of presentation, the number and gender of the dancers, the dance space and stage, accompanying music, makeup and costumes of the dancers, props used, and the lighting that enhances the entire performance. Thus, this article provides an in-depth and structured overview of the Bedhaya Saptongkara dance, illustrating how the Sapta Ongkara symbol is embodied within the richly meaningful and philosophical artistic elements of the dance.  
KREATIVITAS SARI APRILIANTI DALAM KARYA TARI CAHAYA PIRDI DI SANGGAR SENI NUSA KIRANA KOTA PALEMBANG Wardani, Suci Kesuma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4224

Abstract

The research entitled Sari Aprilianti's Creativity in the Cahaya Pirdi Dance Work at the Nusa Kirana Art Studio in Palembang City contains the Cahaya Pirdi dance which is a composition of the Pirdi dance by Sari Aprilianti in 2016. The Cahaya Pirdi dance is a new creative dance work that illustrates that humans must strive to achieve something for the sake of survival on earth. At the beginning of the composition, this dance was specifically for children, but in 2020 the Cahaya Pirdi dance was danced for the first time by teenagers to take part in a competition. The problems formulated in this study are the first, what is the form of the Cahaya Pirdi dance, and the second is how is Sari Apriliani's creativity in creating the Cahaya Pirdi dance. Answering the problem about the form of the Cahaya Pirdi dance, Soedarsono's theory of form is used that the form of dance includes interrelated elements including dance movements, floor patterns, dance music, make-up and costumes, properties, time and place of performance. Meanwhile, to answer the problem about Sari Apriliani's creativity, the theory from Rodhes' theory known as 4P (Four P's Creativity) developed by Utami Munandar states that creativity usually has four dimensions, namely personal, process, product, and driver. Based on the object to be studied, the study uses a descriptive analysis method. The results of the study show that Sari Apriliani's creativity is influenced by internal factors, such as her life experiences and artistic vision, and external factors, such as the cultural environment and social support. In addition, this study discusses various supporting elements of the work, such as music, costumes, and stage design. All of these components play an important role in creating an aesthetic experience for the audience
BENTUK PERTUNJUKAN TARI SORENG DAN PERANNYA BAGI MASYARAKAT DESA LEMAH IRENG KECAMATAN BAWEN KABUPATEN SEMARANG Sari, Dewi Purnama
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4288

Abstract

Soreng Dance is a traditional art form originating from Lemah Ireng Village, Bawen, Semarang Regency. This dance is an evolution of the previously established Keprajuritan Dance. Soreng Dance draws inspiration from the history of the Demak Bintara Sultanate, making it unique and special for the dancers involved. They not only perform the dance but also portray significant figures from the Demak Sultanate, creating a strong emotional connection between the dancers and the story being told. One of the distinctive features of Soreng Dance is the large number of dancers involved in the performance, reflecting the communal nature of this art form. The war theme depicted in this dance also infuses the accompaniment with energy and enthusiasm, which is highly appreciated by the audience. This makes Soreng Dance performances one of the most eagerly awaited entertainments for the community. For the people of Lemah Ireng Village, Soreng Dance is not just entertainment, but also a source of pride and a strong cultural identity. The enthusiasm shown by the villagers when watching Soreng Dance performances is proof that this art form holds deep meaning for them. The presence of Soreng Dance in the village also underscores the importance of preserving traditional arts and culture, which serves as a symbol of local pride while strengthening social bonds among the community members.
PENCIPTAAN TARI CALENGSAI KARYA RIANTO Saputri, Willia Dwi; Kuncoro, Jonet Sri
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4779

Abstract

The Calengsai Dance is a creative work born from the acronym of three cultural elements: Calung, Lengger, and Barongsai. This dance portrays the unique cultural journey between China and Banyumas, where the elements of Calung, Lengger, and Barongsai are crafted, developed, and acculturated into a harmonious unity. The result is the creation of a new dance work titled Calengsai Dance, which is performed in the Metamorphosis Lengger show. This dance is a form of development from the original work created by Sri Rahayu, which was further developed by Rianto. In its development process, Rianto added new elements such as Chinese singers, Barongan Banyumas, and dancers with buffalo heads known as pembarong. Through this innovation, the Calengsai Dance becomes not just a new creative dance but also a symbol of the acculturation of two great cultures, namely Javanese and Chinese. The presence of Calung Lengger, Barongsai, and Barongan Banyumas in this dance reflects a fusion of Banyumasan traditional movements, meticulously crafted by Rianto through processes of observation, exploration, experimentation, formation, and intensive training for the dancers. The final result of this process is a work of art that not only captivates aesthetically but is also rich in cultural values, embodying a dialogue between tradition and innovation in the contemporary dance scene of Indonesia.
KARYA TARI TANDE’ SEBAGAI REPRESENTASI FENOMENA SAWER PADA KESENIAN TAYUB MADURA DI SUMENEP Handayani, Sri Cicik; Alkaf, Mukhlas
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4935

Abstract

This article discusses the Tande' dance piece created by Sri Cicik Handayani as a representation of the sawer phenomenon observed during research in Tanah Merah Village, Sumenep Regency. The sawer phenomenon, which was once a sacred part of the Tayub Madura art form, has now undergone a shift in meaning. Tayub, which was once believed to bring good fortune and ward off misfortune or danger, is now more commonly seen as mere entertainment. This reflects a change in the function and meaning of the tradition. In the Tande' piece, the researcher addresses this issue through a new choreographic approach that emphasizes the spirit of the Tandha’ woman, a female figure in the tradition, as well as the various problems arising from the sawer phenomenon in Tayub Madura. Additionally, this work is intriguing because it incorporates various elements beyond movement, such as symbols and values embedded in the local community, all of which are presented in the form of a performance art. This research not only focuses on describing the Tande' dance itself but also delves into the creative process undertaken by the researcher, who also acts as the creator and dancer in the work. Therefore, this research falls into the category of artistic research, where the process of creating the work is an integral part of the scientific study. To collect data, the researcher employed several methods, including observation, interviews, and documentation, all of which played a crucial role in understanding and formulating this work.
TARI TOPENG SEKARTAJI ONĔNG HASIL REINTERPRETASI TARI TOPENG SEKARTAJI TUNGGAL KARYA SULISTYO HARYANTI Puspitaningrum, Windri Estri; Sulastuti, Katarina Indah
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4966

Abstract

The Sekartaji Tunggal Mask dance by Sulistyo Haryanti is an interpretation of the SekartajiMask fragment which was reinterpreted to become the Sekartaji Onĕng Mask dance. This studyanswers the problems of (1) the form of the Sekartaji Tunggal Mask dance, (2) the process and resultsof the reinterpretation of the Sekartaji Tunggal Mask dance by Sulistyo Haryanti to become theSekartaji Onĕng Mask dance. The method used in this qualitative research is descriptive analytics.In discussing the problem of form, the concept of form is used by Katarina Indah Sulastuti that formis related to dance or choreographic compositions which include interrelated elements, includingmotion, make-up, dance music, floor patterns, dramatic designs, properties, place and time ofperformance. Dharsono Sony Kartika discussed the reinterpretation of art that conceptually tries toreinterpret traditional art forms. By following with modern techniques and the artist's style ofexpression individually in expressing ideas, the creation of works of art can reinterpret traditionalart idioms, as a model of conservation, and development, or also known as cultural personalexpression. The results showed that the form of the Topeng Sekartaji Tunggal dance by SulistyoHaryanti uses the movements of the developed bedhaya and srimpi dances. The music for the dancerefers to Fragmen, the clothing used refers to the character Sekartaji, the floor pattern uses straightand curved lines. The process and results of the reinterpretation produce the Topeng Sekartaji Onĕngdance through the stages of preparation, exploration, improvisation, the training process, thestabilization/rehearsal stage and the reinterpretation results are carried out in the motion of the mask,the dance music adds songs and monologues. Corrective makeup uses a paes style mask with a dodotklembrehan dress. The dramatic design is reinterpreted with 5 peak points towards the climax and 4descending points, the floor pattern emphasizes the curved line pattern.
REFLEKSI PENCIPTAAN TEATRIKAL TARI GOOD ANRONG Sholihin, Muhammad Ibnu; Bantolo, Matheus Wasi
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4974

Abstract

The research entitled Reflections on the Theatrical Creation of Good Anrong Dance is a research that focuses on tracing the process of creating Good Anrong Dance Theatrical works. This study reveals three problems, namely the reflection of mother's acceptance, the transformation of ideas into the creation process, and the form of presentation of the work. This study uses the Practice Based Research method. To dissect each problem, this study uses Kubler Ross theory to reveal the reflection of maternal acceptance, Wahyu Santoso prabowo's theory of net concepts, krenteg, karep, Lois Ellfeldt, Suzanne K Walther to analyze the transformation of ideas into the creation process, and the theory of Janet Adshead and Slamet MD to describe the form of presentation of the work. The data were collected through observation, literature study, and interviews. The results of the study show: first, the idea of the Theatrical work of Good Anrong Dance on the theme of Acceptance emerged as a form of criticism of social phenomena that underlies the formation of the idea of creating a reflection of mother's acceptance. Second, efforts to develop and express the idea of reflection of mother's acceptance into the form of work, continue with creative activities in the form of the stages of idea transformation carried out during the creation process. The stages of transforming ideas into the creation process include exploration, improvisation, evaluation, formation, training process, and presentation process. The theatrical work of Good Anrong Dance is a form of creativity and expression of freedom to the readers of the theme, taking into account the context of the form of creation. Theatrical work of Good Anrong Dance builds dramatic elements through dancers, movements, visual arrangements, and elements of sound, expression or feeling related to the theme and idea of the work.
MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN Yuniar, Ni Ratih Putri; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5423

Abstract

This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects. To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance. The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.

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