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INDONESIA
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 LOEDIRO PANTJOKO DALAM TARI REWANDA WIRAKA KRIDO Oktaviantari, Hervina; Suharji, Suharji
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.5896

Abstract

The research entitled "Rewanda Wiraka Krido Dance by Loediro Pantjoko" examines two problems raised in the research, namely (1) what is the form of the Rewanda Wiraka Krido dance by Loediro Pantjoko; and (2) how creative Loediro Pantjoko is in the Rewanda Wiraka Krido Dance. Two problems were studied using Y. Sumandiyo Hadi's theory of choreography and then to reveal creativity using Srihadi's concept. Choreography theory is a framework of thought used to analyze, interpret and create dance works. By using this theory, you can reveal the meaning contained in a dance, understand the creative process of its creator, and evaluate its aesthetic and artistic qualities. This research uses qualitative methods, the data collection stage is produced through observation, interviews, literature study and document study.The research results obtained show that choreographically the Rewanda Wiraka Krido Dance is a group of monkeys that live and thrive in the wilderness. The Rewanda Wiraka Krido dance uses developmental movement motifs from the Surakarta Style Traditional Dance combined with acrobatic movements. The addition of female dancers is a new breakthrough so that they can be accepted throughout society. Creativity is created based on sensitivity to the environment, life experience and imagination, so that he succeeded in presenting Rewanda Wiraka Krido's choreography with totality. Java has a wealth of traditional dances with various themes and meanings. The word "Wira" in Javanese is often associated with courage and heroism, while "Krido" can be interpreted as a game or performance. This combination of words may indicate a dance that tells a heroic story.
INTERPRETASI PADA TOKOH SRIKANDI DALAM TARI SRIKANDI CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI Firdha, Agustin; Sulastuti, Katarina Indah
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.5963

Abstract

The character of Srikandi in the dance Srikandi Cakil by Didik Bambang Wahyudi portrays a Javanese woman who is graceful and charming yet has a masculine character that is agile, clever, and confident, capable of defeating opponents, including men. Srikandi is depicted as a firm and resolute figure. Agustin became interested in interpreting this character in her own dance. This research focuses on Agustin's interpretation and the process of interpreting the character of Srikandi in Srikandi Cakil. In discussing the form of the interpreted dance, the concept from Katarina Indah Sulastuti is used, covering elements of movement, makeup-costume, music, floor patterns, dramatic design, props, and performance space. Meanwhile, the interpretation process is based on Bahari's theory, which states that interpretation is the act of understanding the meaning, message, and values contained in a work. This research is qualitative, using the Practice Based Research method, with data collected through participatory observation, interviews, literature review, and document studies, and presented descriptively and interpretively. The research findings show that the structure of Agustin's interpretation of Srikandi in Srikandi Cakil remains grounded in the traditional Surakarta dance style. The interpretation develops elements of movement, music, floor patterns, and dramatic design. Movement interpretation is applied to the battle, dialogue (antawecana), and combat gestures in the song. Music interpretation includes adding dialogue, song (tembang/palaran), and a vocal segment (pocapan) at the end of the dance. Floor pattern interpretation involves adding curved lines. The interpretation process follows stages of preparation, exploration, dancer adaptation, work realization, rehearsal, evaluation, and presentation.
BENTUK DAN PROSES PENCIPTAAN TARI BETARI AMONG KITRI Sari, Gigis Setia Puspita
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.6102

Abstract

The basic idea of ​​the research entitled "The Form and Process of Creating the Betari Among Kitri Dance", which is based on the story of the fertility religious myth Nyai Sekar Sari, aims to provide a descriptive explanation of the form and process of creating the Betari Among Kitri Dance.This research uses a descriptive field research method that emphasizes data collection through observation, interviews, and literature studies, collecting data through a Participation Action Research (PAR) approach involving researchers as dancers and choreographers using a field approach and then packaged descriptively.This research uses the theory of Y. Sumandiyo Hadi, 2003 which is used to discuss the form of the Betari Among Kitri Dance work and the theory of Alma M. Hawkins which is used to solve problems regarding the process of creating the Betari Among Kitri Dance work. In the form of exploring the elements in the Betari Among Kitri Dance work, namely: (1) theme (2) dance title (3) synopsis (4) type of dance (5) dance description (6) dance movements (7) dance space (8) floor pattern (9) dance accompaniment / music (10) dancers (number and gender) (11) make-up and dance costumes (12) lighting and stage setting (13) mode of presentation. The process of creating this work goes through the preparation, design and composition stages, including the exploration, improvisation and composition stages. The results of this research can describe the form and process of creating the Betari Among Kitri dance work.
KEPENARIAN SRI WARDOYO DALAM TARI GAMBIRANOM Prastiyo, Aris
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i2.6103

Abstract

The Gambiranom dance is a dance with a fanciful theme depicting King Gambiranom or better known as Bambang Irawan. Being in love with Dewi Titisari, this dance was danced by Sri Wardoyo to determine his bachelor's degree at the STSI Surakarta pavilion in 1990.This research uses the theoretical basis of form proposed by Suzane K. Langer, and as an analytical model to describe the Gambiranom dance, using Janet Adshead's interrelated theory, namely dancers, movement, music, accompaniment, make-up and clothing. This research uses descriptive analysis, namely studying the factual history of Sri Wardoyo's life from childhood to adulthood. By explaining the developments and interviews that support most of the research obtained from interview and observation data, the results of data collection are then selected and clarified in accordance with the objectives and formulation of the problem in this writing. After that the results are analyzed and concluded. From the results of this research, it can be obtained that the description is related to Sri Wardoyo's dancing in the Gambiranom dance. Having total will becomes important, with motivation growing strong within a person, this is the main capital in living the world until one's life stops beating. The motivation that was awakened in Sri Wardoyo is clear evidence of the formation of Sri Wardoyo's good dancing skills.
PRESENTASI ESTETIS JARANAN SENTEREWE KOMUNITAS MANUNGGAL REKSO BUDOYO DALAM FESTIVAL JARANAN TRENGGALEK TAHUN 2023 Margareta, Sherly Hanggary; Wahyudiarto, Dwi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.6729

Abstract

This study examines the aesthetic presentation of the Jaranan Senterewe performance by the Manunggal Rekso Budoyo community at the 2023 Trenggalek Jaranan Festival. The research aims to analyze both the structural form and aesthetic components of the performance, using Sumandiyo Hadi’s theory of performance form and Doris Humphrey’s theory of performance aesthetics (as translated by Sal Murgiyanto). Employing a qualitative research method, data were collected through observation, interviews, and literature review. The findings indicate that the Jaranan Senterewe performance comprises distinctive elements such as dominant movements of the hands, feet, and head influenced by East Javanese traditions; a rigging stage as the performance space; pelog-based musical accompaniment with gendhing lancaran and sampak patterns; and a thematic emphasis on struggle and heroism. The performance features a group dance format with 14 male dancers, traditional costumes, bold makeup, neutral lighting, and symbolic props including kuda kepang, whips, Celeng, and Barongan. The aesthetic structure includes four main components: (1) Design, encompassing spatial formations and temporal sequencing; (2) Dynamics, involving variations in movement and musical intensity; (3) Rhythm, marked by traditional patterns such as mungkus and midak; and (4) Motivation, structured into opening, main, and closing sections. This study concludes that Jaranan Senterewe is a performance rich in symbolic meaning and artistic expression, contributing to the cultural vibrancy of East Javanese traditional arts.
DESIGN AND IMPLEMENTATION OF DANCESPORT VIDEO TEACHING SYSTEM BASED ON MODEL-VIEW-CONTROLLER (MVC) Yuanxin, Lyu; Saearani, Muhammad Fazli Taib
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.6745

Abstract

Dancesport, a form of social dance that blends competition with artistry, serves as both a cultural enrichment activity and a fitness choice for many. Despite its benefits, traditional Dancesport instruction typically requires in-person classes, which can limit accessibility due to constraints of time and location. As a result, many enthusiasts miss out on fully experiencing the joy of dance. However, advancements in computer networks and communication technology have paved the way for online teaching to become a practical alternative. Addressing the specific needs of modern Dancesport education, this paper focuses on the development of a video teaching system using MVC architecture. By integrating technologies such as Freemarker templates, Hibernate frameworks, the MySQL 5.0 database, and Hadoop, the system is designed to enhance Dancesport learning. The project includes a comprehensive analysis of the functional requirements for the system, followed by an overall design plan. Key functional modules are thoroughly examined to ensure the system meets the unique demands of Dancesport instruction, providing an innovative solution for accessible and engaging dance education.
TARI NHAY LARA RUDA: SEBUAH REFLEKSI HUMANISME PEREMPUAN TIONGHOA MUSLIM Latifah, Salsabila Alfi; Pramutomo, R.M.
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.6771

Abstract

This study explores the creative process behind the Nhay Lara Ruda dance by Salsabila Alfi Latifah, focusing on six fundamental components: (1) source materials, (2) personnel, (3) facilities, (4) tools and equipment, (5) influencing factors, and (6) creative considerations. The analysis of the dance form is divided into two key aspects: (a) the physical form—comprising elements that are perceptible through the five senses, such as movement, music, props, and floor patterns; and (b) the expressive form—which encompasses aesthetic and symbolic meanings. This analytical framework is informed by Rustopo’s perspective, as cited in Sejarah Tari Gambyong: Seni Rakyat menuju Istana, which conceptualizes artistic form as the embodiment of an artist’s internal experiences, made manifest through tangible media. It emphasizes the dynamic interplay between form (wadah) and content (isi). The notion of garap (creative composition) follows Rahayu Supanggah’s theoretical model, which underscores the synthesis of technical execution and artistic intuition. Employing a qualitative research methodology, the study utilizes a combination of performance analysis, literature review, in-depth interviews with selected informants, and direct observation of the Nhay Lara Ruda choreography. The findings indicate that the dance originates from an aesthetic vision and symbolically portrays the character and life journey of Nhay Lara Ruda. The work serves not only as a form of artistic entertainment but also as a symbolic narrative of perseverance and the human pursuit of happiness.
KEPENARIAN ADI PUTRA CAHYA NUGRAHA DALAM TARI NGREMA BOLET JOMBANGAN Utomo, Catur Prayogo; Soemaryatmi, Soemaryatmi
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7077

Abstract

This research explores two main issues related to the form, technique, and performance quality of Adi Putra Cahya Nugraha in the Ngrema Bolet Jombangan dance: (1) the formal structure of the Ngrema Bolet Jombangan dance, and (2) the characteristics of Adi Putra Cahya Nugraha’s performance in terms of dance technique and expression. The study is grounded in the theoretical perspectives of Alma M. Hawkins on dance form, Sumandiyo Hadi’s theories of form and technique, and Tri Broto Wibisono’s concept of asisapapongolati. Using a qualitative research methodology with a choreographic approach, data were collected through field observation, interviews, and documentation. The findings reveal that the Ngrema Bolet Jombangan dance is a traditional folk dance with a warrior theme, performed in solo, duet, or group formations. Its structure consists of four main sections: (A) Ajon-ajon (opening), solah kanuragan, and isen; (B) Solah kridha and solah busana; (C) Solah budhalan; and (D) Pungkasan (closing). Adi Putra Cahya Nugraha, as the pengreman (lead dancer), demonstrates refined technical abilities and expressive qualities consistent with the principles of asisapapongolati. His dance practice incorporates both ritualistic and technical preparation, including nyebeng, nyajen, and gladen. Additionally, Adi showcases a personal stylistic identity through specific movement techniques such as adeg tanjak, saduk sampur, selentik sampur, and gantungan jaranan. This study contributes to the understanding of individual interpretation within traditional dance forms and highlights the role of personal style in sustaining and innovating cultural performance practices.
BENTUK DAN FUNGSI PERTUNJUKAN TARI KUDA LUMPING “MASAL DEWASA” : STUDI ETNOKOREOLOGI DI PAGUYUBAN TURONGGO BUDHOYO MASIRAN Yunanto, Nur Yasin; Kususmastuti, Eny
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7149

Abstract

This study investigates the form and function of the “Masal Dewasa” Kuda Lumping dance as performed by the Turonggo Budhoyo community in Masiran Hamlet, Kaligading Village, Boja District, Kendal Regency. It addresses two research questions: (1) What constitutes the form of the “Masal Dewasa” Kuda Lumping dance? and (2) What functions does this performance serve? Framed by M. Jazuli’s theoretical perspective, the study employs a qualitative methodology with a descriptive ethnochoreological approach. Data were gathered through participant observation, in‑depth interviews, and performance documentation. Findings indicate that the “Masal Dewasa” Kuda Lumping dance is a collective ensemble performance comprising ten interrelated elements—among them theme, movement vocabulary, performers, musical accompaniment, props, costumes, make‑up, and floor patterns. Functionally, the dance fulfills ceremonial, entertainment, spectacular, social, and cultural‑preservation roles. In this way, it operates not only as an artistic expression but also as a living symbol of the local community’s cultural identity.
NATYA GANDES: INOVASI REPERTOAR JAIPONGAN KEMASAN SENI WISATA: Indonesia Nuriawati, Risa; Azizah, Farah Nurul
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7272

Abstract

The Natya Gandes dance is an innovative Jaipongan repertoire specifically created to cater to the demands of tourism-oriented performances in West Java. Developed through a practice-based research approach, this work preserves the essential structural components of traditional Jaipongan—bukaan, pencugan, nibakeun, and mincid. To appeal to a broader and more contemporary audience, Natya Gandes incorporates modern elements, including Zumba-inspired movements and digitally arranged traditional music. The title Natya Gandes symbolizes a graceful, energetic, and skilled female figure, reflecting the choreography’s expressive, interactive, and dynamic character. This article focuses on examining the conceptual framework underlying the choreography of Natya Gandes, offering a detailed analysis of its key components: movement vocabulary, spatial design, musical accompaniment, title and theme, genre and stylistic nature, performance method, number and gender of dancers, as well as makeup, costuming, and lighting. Ultimately, this choreographic innovation aims to enrich the traditional performing arts repertoire while simultaneously enhancing the appeal of West Javanese cultural heritage within the tourism sector.

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