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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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ANALISIS ESTETIS TARI DRIASMARA Dwiyasmono, Dwiyasmono; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 12 No. 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v12i2.505

Abstract

The dance Driasmara is a pasihan dance in traditional Surakarta style and a developmentof previous pasihan dances, including Karonsih, Lambangsih, Endah, and Enggar-enggar. Thisdance has a variety of moods for creating dramatic effect through its treatment of the movements,vocal melody, dance steps, levels, and musical accompaniment, so that it is interesting to analyzeits aesthetical formation. In order to discover the aesthetical formation of the dance Driasmara,tools for aesthetical analysis are required, including the concepts of wiraga, wirama, wirasa, andhasta sawanda as well as the concept of dramatic design. It is hoped that this study will bebeneficial for the development of the life of the arts, in particular aspects of aesthetical analysis.
ESTETIKA TARI KUKILO GAYA SURAKARTA GUBAHAN S. MARIDI Resi, Laras Ambika; Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 13 No. 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v13i1.533

Abstract

This research aims to uncover the aesthetic meaning of the Kukila dance through anaesthetical review in order to discover and describe: (1) the form of the Surakarta style Kukiladance which includes its theme, dancers, movements, make-up, costumes, music, and dance formation;(2) an explanation of the concept which symbolizes the form of the dance and the responseof the audience; and (3) an explanation of the aesthetic meaning of the Surakarta style Kukiladance. The form of the research is qualitative descriptive. The research uses a holistic approachwhich places the form of the dance or its sensation as the objective factor, the concept or idea whichsymbolizes as the genetic factor, and the response or emotion of the audience as the affective factorin an interactive communicative study. The research places each factor in an equal position as adata source and in the activity of the analysis.The theories used for researching the Kukila dance are: (1) Theories of Aesthetics; (2) Theoriesof Performing Arts; (3) Theories of Symbolism; and (4) Theories of Communication. Themethods used by the writer for collecting the data include: a library study, direct and indirect observation, and interviews with a number of informants. The conclusions drawn, based on theform, symbols, and emotions of the audience, are that aesthetically, the Kukila dance depicts afriendship between two kinds of birds which are agile, lively, and vivacious in character, while itfunctions as entertainment and can be interpreted as having content which is meaningful forcharacter building. In its implementation, the form of the Kukila dance is expressed through theperformance of presentative and representative movements which are agile, lively, and vivacious,and supported by make-up and costumes resembling the appearance of a bird, as well as dynamicmusic, creating a sense of harmony in a high quality work of art. The Kukila dance is essentiallya popular dance which is often learned by children in elementary school and junior high school.Keywords: Kukila dance, aesthetic, and character building.
TARI REMO JOMBANGAN SEBAGAI TARI PENYAMBUTAN KEBUDAYAAN KHAS JOMBANG Wardana, Veronica Michelle Aprilia
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.2740

Abstract

Remo Dance is one of the cultural heritages that has been introduced since ancient times. This type of dance is often displayed during a welcome ceRemony in Jombang, East Java. Remo dance will often be found in several events, especially on Ludruk or the National Grand Day. To discuss this object, the authors use qualitative research methods by analyzing several books and by the method of Internet research. The author's analysis shows that historically Remo dance comes from the city of Jombang, but is often also used by surrounding communities such as Surabaya, Mojokerto, Malang, Nganjuk, etc. Based on historical records, Remo Dance was originally created in the village of Ceweng, Diwek District, Jombang. In the beginning, the dance was made by street artists in the past by giving the theme of a prince who is known to be valiant and brave. The first time this dance was introduced was by way of traveling the streets and busking. Furthermore, this dance was enabled in certain occasions, especially the Ludruk show. Along with the development of the dance concept, this type of dance is widely known by the wider community, especially neighboring areas. Furthermore, this dance is adapted to the traditions in the local area.
MAKNA SIMBOLIS TARI JARO ROJAB DI KECAMATAN WANGON KABUPATEN BANYUMAS Pravitasari , Galuh Lutfa; Widyawati, Setya
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3575

Abstract

This journal examines the dance creations of Banyumasan style, namely Jaro Rojab Dance by Ida Restina. This dance was created to participate in Festival dan Lomba Seni Siswa Nasional (FLS2N) for high school in Banyumas Regency. Although dance creations but there are stories and plots there must be meanings and values expressed through symbols. This is interesting to research, so the problem is formulated as follows: 1. What is the form of Jaro Rojab Dance? 2. What is the symbolic meaning of Jaro Rojab Dance? To explain the problem use the form theory of Sri Rochana Widyastutieningrum, the theory of symbols from Wiryamartana and the theory of Allegra Snyder. The presentation of this research data is a description of the analysis. The results of observations on the form of Jaro Rojab Dance to analyze the symbol which is externally the constituent of Jaro Rojab Dance inspired by the traditional ceremony procession of jaro change in Cikakak Village and the movement of Lengger banyumas art. While internally is the treasury of motion that undergoes stages of stimulation, transformation, unity. Overall, Jaro Rojab Dance is a picture and symbol of the nature of the local community where the dance created. In other side, Jaro Rojab dance also performed the potential of cultural tourism owned by Cikakak Village and Banyumas Regency.   
MAKNA KARYA UMBUL DONGA DALAM PELEPASAN WISUDAWAN FAKULTAS SENI PERTUNJUKAN ISI SURAKARTA PERIODE II 15 OKTOBER 2019 Wardhani, Chrysnanda Kusuma
Greget: Jurnal Kreativitas dan Studi Tari Vol. 23 No. 1 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v23i1.3846

Abstract

This research is aimed to describe the form and content of Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019. This research was done by employing qualitative methods with descriptive narrative analysis and holistic criticism of dance performance by Sutopo. There were several research steps done to accurately collect the data. Data was collected through various sources of references, interviews, and audio-visual records. Sources of references are employed to understand the concept, notion, and background that are correlated with the essence of this research. Furthermore, those are complemented by employing interviews with people who were involved in the Graduation Ceremony of The Performing Arts Faculty at The Indonesian Institute of Arts that was held on October, 15th 2019. The form analysis was done by using Speech Act Theory by Kreidler. Umbul Donga is constructed of two elements (verbal and nonverbal elements). Those are supported by the Performing Arts Theory by Maryono. The Performing Arts Theory was employed to explain non-verbal components which consist of themes, movements, dancers, expressions, floor patterns, makeups, and music.  It was found that based on the verbal and nonverbal analysis, work conception, and audience feedback, Umbul Donga on the Second Period of Graduation Ceremony of The Performing Arts Faculty in the Indonesian Institute of the Arts, Surakarta which was held on October, 15th 2019 can be interpreted as a medium of pray forgiveness, gratitude, and guidance.  
KONEKSITAS TARI DAN MUSIK PADA TARI KELANA GAYA SURAKARTA Maryono, Maryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4030

Abstract

Klana Dance Surakarta style there are at least three main versions that can be traced, namely Kelana dance version S. Ngaliman, version of S.Maridi, and Version Sunarno Purwo Lelono. The three versions of Kelana dance in the groove do not have a prominent difference, but there are quite strong differences and very principles, especially in pacak and wiled sustainability that I observed from 1979 to the 2010s. The connection of dance and music in Surakarta Style Kelana dance shows the existence of a blend and harmony formed from the role of music to dance that serves as a pointer of content, illustration/nglambari, membungkus/mungkus, and nyawiji so as to form a Kelana dance Surakarta Style that is dashing, sigrak, spirit, firm and authoritative. The basic principle that each element in Kelana dance is a visual form that is artistic has shown coherence between elements and total connection so that it can function as a means of expression of the artist steadily.Keywords: music and Kelana dance
RAMPAK BARONG PADA PERTUNJUKAN JARANAN PAGUYUBAN TURONGGO SETYO JATI DI KABUPATEN BLITAR Setyawati, Juwita Dwi; Sumargono, Sumargono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4031

Abstract

Rampak Barong dance, which is in a jaranan performance of Paguyuban Turonggo Setyo Jati in Blitar is a dance that belongs to a folk dance, which is a dance that lives and develops in the local communities with the simplicity of movement, floor patterns, make-up and even costume, because all of that are the characteristics of folk dance. This study aims to reveal the form of the performance and the function of that dance. Rampak Barong dance is very popular among the local community because there are many attractive movements including forward somersaults, interesting foot movements including srimpetan and junjungan. It become more interesting not only because of all kind of movements, but also there is one of main movement called nyaplok. The theoretical basis used to answer the problem of form is Soedarsono's theory in his book entitled “Introduction to Dance Elements and Dance Problems”, and supported by Soedarsono's opinion in his book entitled “Indonesian Performing Arts in Globalization” to describe the functions. The methodology used for this research are nterview, observation, and literature study. This research used descriptive analysis method used to describe the Rampak Barong dance. The results of this researh showed that the form of the dance performance Rampak Barong Paguyuban Turonggo Setyo Jati consists of several dance offerings with several elements of the dance offerings, such as dancers, movement, make-up, music, and performance venues. The function of the Rampak Barong dance as a means of ritual, as personal entertainment and as an aesthetic presentation, namely through ticketing performances or fundraisingKeywords: Form, Function, Rampak Barong, Turonggo Setyo Jati
BENTUK PERTUNJUKAN WAYANG BOCAH SRIKANDHI KRIDHA KARYA JONET SRI KUNCORO Pamungkas, Chrisnar Bagas; Daryono, Daryono
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4032

Abstract

The Wayang Bocah Srikandhi Kridha show was a dramatical production directed by Jonet Sri Kuncoro that displayed in 36th anniversary celebration of Soerya Soemirat dance studio. The problem with study is how the processing and appearance of the Srikandhi Kridha by Jonet Sri Kuncoro. Based on objects studied, this study uses a qualitative method with a process and shape approach. To find out about the garging process use the thinking of Rahayu Supanggah that include of materi garap, penggarap, sarana garap, perabot garap, penentu garap, pertimbangan garap. Discuss problem forms using concept forms by Rustopo in Sri Rochana Widyastutieningrum about elements that include of structure of a presentation, variety of motion, dance music, makeup and clothing, division of a single dancer and group, dance floor, property, and stage pattern. Studies have shown that a Srikandhi Kridha feature in a dramatic dialogue with the genre of Wayang Orang (bocah), one that concerns materi garap, penggarap, sarana garap, perabot garap, penentu garap, pertimbangan garap. The Wayang Bocah Srikandhi Kridha show set out from director’s concern for the child's world understanding of the puppet story. From reflection of his thought, Jonet took the play of the story with Srikandhi Kridha. Played by students of Soerya Soemirat dance studio. The shape of a Wayang Bocah Srikandhi Kridha show can be seen from all the performance being made into a solid outfit.Keywords: Wayang Bocah, garap, and form.
PENCIPTAAN TARI INS SPESIAL BERSAMA ANAK TUNAGRAHITA DI SLB A YKAB SURAKARTA Mahendra, Dwi; Kuncoro, Jonet Sri
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4033

Abstract

The journal Penciptaan Tari Ins Spesial Bersama Anak Penyandang Tunagrahita di SLB A YKAB Surakarta '' discusses one form of storytelling group dance with the theme of children with intellectual disabilities who want to show that they have dreams or hopes in the future. will be packaged in a non-story group choreography, compiled by Dwi Mahendra in 2019. This research is intended to describe the form of performance of the Special Ins dance and the creation of the Special Ins dance. The research method used is a qualitative research method using descriptive analytic. In this study using the reactive participation approach from Jonet Sri Kuncoro. Describing the creation of Special Ins Dance using Rhodes's creativity theory quoted by Utami Munandar in compiling Special Ins Dance, in describing the form of Special Ins Dance performances using the theory of Sumandiyo Hadi to elaborate on its elements. The results obtained in this study in the form of a description of the creation of Special Ins Dance prepared by Dwi Mahendra as well as a form of performance consisting of dance moves, dance halls, dance accompaniment or music, dance titles, dance themes, dance types, presentation modes, number of dancers and types dance genitals, makeup and costumes, lighting, and dance properties.Keywords: Ins Special Dance, form, process.
PERTUNJUKAN OPERA AGNUS PERDITUS KARYA MATHEUS WASI BANTOLO Yudiaernanda, Estherlita Priskanike; Supriyanto, Supriyanto
Greget: Jurnal Kreativitas dan Studi Tari Vol. 20 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4034

Abstract

Agnus Perditus is a dance genre opera, Agnus Perditus is taken from Latin means lost sheep. The work of Agnus Perditus was directed by Matheus Wasi Bantolo for a joint Christmas event between the Indonesian Institute of the Arts Surakarta and Sebelas Maret University which was held at Teater Besar of the Indonesian Art Institute, Surakarta. In 2016 the combined Christmas was directed by Matheus Wasi Bantolo. The theoretical basis in this study uses the concept of working on Rahayu Supanggah which examines the process of working on an art, as well as the theory of form approach from Suzanne K. Langer in her book entitled "Problematic Art" which is translated by F.X Widaryanto. This research is a qualitative research with analytical descriptive method, which describes the results of the observations clearly based on the actual situation. The data collection stage was carried out through observation, interviews, and literature study. The purpose of this research is to reveal the form of the work of Matheus Wasi Bantolo's Agnus Perditus. Opera Agnus Perditus was presented in a joint Christmas celebration event between the Indonesian Institute of the Arts Surakarta and the Sebelas Maret University Surakarta. The work is inspired by the New Testament Bible story in the Gospel of Luke 15: 11-32, which tells of a lost sheep and the film "Prodigal Son" which tells of a lost sheep or a lost child has been found, so it is used as an idea to work on creation the work of Agnus Perditus.Keywords: Dance form, working process, opera, Matheus Wasi Bantolo.

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