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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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ANALISIS KOREOGRAFI BEDAYA RETNA DUMILAH KARYA S. NGALIMAN TJONDROPANGRAWIT Supriyanti, Supriyanti; Meilawanti, Widya Kinanthi Rahayu
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.v21i2.4697

Abstract

Bedaya Retna Dumilah is a type of Surakarta-style classical dance danced by seven female dancers. The composer of this dance was S. Ngaliman Tjondropangrawit in 1978. This Bedaya dance is rarely performed. The form of presentation of the Bedaya Retna Dumilah dance is unique and exciting. The uniqueness of this dance lies in the dance moves, floor patterns, accompaniment, and themes. This study aims to analyze and describe the Choreography of the Bedaya Retna Dumilah Dance by S. Ngaliman Tjondropangrawit. The method was carried out by analyzing the visual data of the Bedaya Retna Dumilah Dance video from the text side and conducting interviews using triangulation to obtain valid data. The choreographic approach was analyzed descriptively from form, technique, and content.  S. Ngaliman composed the Bedaya dance with various innovations from movements, floor patterns, timing, themes, poetry, and dance accompaniment. The renewal of this work is necessary so that it can be taught to students in the Dance Study Program, especially for teaching Surakarta Dance classes. The results found from the Choreography of the Bedaya Retna Dumilah Dance are that the theme of the dance is an essential part of composing the Bedaya dance. The piece of romance influences all aspects of the Bedaya Retna Dumilah dance composition. The dance theme also determines the color of the new arrangement of the Bedaya Retna Dumilah dance. S. Ngaliman Tjondropangrawit as a dance master from Surakarta. Significantly skillfully incorporating elements of novelty into the Bedaya Retna Dumilah dance.
PROSES KREATIF WAHYU JATMIKO PADA PENCIPTAAN TARI SIMA SWATANTRA ANJUK LADANG Sugiarti, Yeni; Pramutomo, R.M.
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.v21i2.4698

Abstract

This research delves deeply into the creative process undertaken by Wahyu Jatmiko in creating the dance work Sima Swatantra Anjuk Ladang, as well as analyzing the form and presentation of the dance. The main focus of this study is to explore the choreography of Sima Swatantra Anjuk Ladang and to understand how Wahyu Jatmiko's creative process led to the creation of this work. The method used in this research is qualitative with a choreographic approach, which allows the researcher to examine the elements of movement and dance presentation in more detail. To analyze the creative process, the writer applies the 4P theory (Four P’s of Creativity), which includes the aspects of Person (individual), Process, Press (pressure/conditions), and Product. In dissecting the choreography of Sima Swatantra Anjuk Ladang, the writer utilizes key elements of group choreography, such as dance movement, dance space, accompaniment, theme, dance type, as well as supporting elements like costume, lighting, and props. The results of this study show that Sima Swatantra Anjuk Ladang is a representational work that stands out from Wahyu Jatmiko’s other creations. This work was developed through a creative process involving movement exploration, improvisation, and composition, where each stage contributed significantly to the final form of this group dance. Sima Swatantra Anjuk Ladang emerges as a work that not only reflects the creativity of its creator but also embodies rich elements of local aesthetics and culture.
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.
PROSES PENCIPTAAN KARYA TARI UNBALANCED Dewi, Septiana; Supendi, Eko
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.v22i2.5426

Abstract

Unbalanced is a dance work composed by Septiana Dewi in 2022 and performed at the Great Theater Building of the Indonesian Institute of the Arts in 2023. The Unbalanced dance work was inspired by the empirical experience of a deaf and mute person named Irfan Nurdiawan, a disabled athlete. Irfan Nurdiawan has had hearing loss since birth. However, Irfan tries to show others that he can also achieve like other normal children. The Unbalanced dance work is in the form of a group with five female dancers and Septiana Dewi as a dancer and choreographer. In the process, the dancers try to feel what kind of experience a deaf and mute person feels by covering their ears in a closed room and also in a crowded environment. This study is intended to describe the form of the Unbalanced dance work performance and the process of creating the Unbalanced dance work. The description of the form of the Unbalanced dance performance uses the theory of Slamet MD in his book entitled melihat Tari in 2016, and the process of creating the Unbalanced dance work uses the theory of Alma M. Hawkins quoted by Bambang Pudjasworo et al in the book Karya Cipta Seni Pertanggungaan in 2017. The method used in this study is qualitative research which includes observation, interviews and documentation. The results obtained in this study are in the form of a description of the form of performance consisting of movement, dancers, costume make-up, floor patterns, dance music and the place where the Unbalanced dance work is performed as well as the process of creating the Unbalanced dance work.
BENTUK PERTUNJUKAN KESENIAN TIBAN DI DESA SURAT KECAMATAN MOJO KABUPATEN KEDIRI Hayya, Fina Lu'lual; 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.v22i1.5434

Abstract

Tiban Performing art at Desa Surat Kecamatan Mojo Kabupaten Kediri is a research that discusses the form and activity of art in the community.This research aims to explore the form of performance found in the Tiban arts in Surat Village, Mojo District, Kediri Regency. The problems to be discussed are: (1) How is Arriving in Surat Village, Mojo District, Kediri Regency? (2) How is the form of the Tiban show in Surat Village, Mojo District, Kediri Regency? Problems regarding the Tiban were analyzed using Richard Schechner's theory. This study used a qualitative research method, with an ethnoarchaeological approach. Ethnochoreology is one of the branches of science that discusses ethnicity and its various problems. Answering about Tiban in Sur at Village uses Talcott Parsons' theory which explains constitutive, cognitive, moral values, and also expressions, while regarding the form of Tiban uses Richard Schechner's theory which focuses on performance studies. The collection of data and information is carried out by means of observation or observation of research objects, interviews, and library research. The results of this study indicate that the art of Tiban cannot be separated from public trust, knowledge, moral values, and expressions that are embodied in Tiban in Surat Village, Mojo District, Kediri Regency. The form of performance is human activity in the form of Tiban performances which are manifested into games, rituals, and business, as well as the audience that exists as a series of human activities in the form of Tiban art performances.
BENTUK DAN FUNGSI DRAMA TARI GANDRUNG TERAKOTA DI KABUPATEN BANYUWANGI Sugiharta, Hiltania Milyadita
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.v22i2.5501

Abstract

One form of the existence of performing arts in Banyuwangi Regency is the Gandrung dance. In its development, various Gandrung dances emerged with various performances. The Gandrung Terrakota dance drama is one of the performing arts that is developing in Banyuwangi Regency. This performance combines drama and dance performances which are performed in groups using a story line with the theme of the history of the journey of a Gandrung dancer. The Gandrung Terrakota dance drama performance form in Banyuwangi Regency was created in 2018 by Mr. Slamet Dihardjo, as a teacher from SMK Negeri 1 Banyuwangi, Dance Department. He, together with the students of SMK Negeri 1 Banyuwangi, Department of Dance, created a work that depicts the journey of a Gandrung dancer to the graduation ritual process of a Gandrung dancer and is ready to perform in full. This study aims to describe the formulation of the problems related to the Gandrung Terakota Dance drama, including: (1) how is the form of the Gandrung Terakota Dance drama; and (2) how is the function of the Gandrung Terakota Dance drama. Both of these problems use qualitative research methods that examine textual and contextual performing arts. There are two stages that must be carried out in qualitative research, namely the data collection stage which consists of observation, interviews and research. The second stage is the data processing stage which is carried out by analyzing the data according to the Gandrung Terakota Dance drama. The research results show that the Gandrung Terakota Dance drama is a form of performance which has 5 scenes packaged into the Gandrung Terakota Dance drama performance. The function of this drama is classified as a function of ritual, entertainment, and spectacle.

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