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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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BENTUK DAN FUNGSI JARANAN BUTO CAMPURSARI LANGGENG BUANA DESA TEGALARUM BANYUWANGI Hidayah, Nikmatul; Suharti, Mamik
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.v22i2.5546

Abstract

Jaranan Buto Campursari is a folk dance found in the Tegalarum Village area, Sempu District, Banyuwangi Regency. Jaranan Buto Campursari has undergone several changes both in terms of name and presentation. This is due to the need for presentation so that it is not monotonous. Previously, the name Jaranan Buto did not use the name Campursari, but Setro Asnanwi added the name Campursari because the form of presentation included the presentation of other dances. As it developed, Jaran Buto Campursari changed its name to Jaranan Buto Campursari Langgeng Buana. This research aims to describe the form and function of Jaranan Buto Campursari which lives and develops in Tegalarum Village, Sempu District, Banyuwangi. Jaranan Buto Campursari is one of the folk dances in the Langgeng Buana art group which is danced in groups. The main problems in this research consist of 2 (two) first, what is the form of Jaranan Buto Campursari, the second is how Jaranan Buto Campursari functions. This research uses the theory of form and function. The theory of form comes from Y. Sumandyo Hadi and the theory of function uses theory from Soedarsono. This research is qualitative in nature through the stages of observation, interviews, documentation and literature study, as well as using data analysis. The results of this research show that the Jaranan Buto Campursari dish consists of 2 parts, namely pre-performance and performance. The author reveals the form and function of Jaranan Buto Campursari. Form includes the structure of the presentation and the elements of the performance. The Jaranan Buto Campursari performance has several functions that influence society. Among them as a means of ceremonies, as personal entertainment and as a spectacle for the local community. Apart from that, Jaranan Buto Campursari has an influence on the economy of the people of Tegalarum Village and its surroundings.
PERSPEKTIF HOLISTIK TARI MERADAI GARAPAN SEKOLAH MENENGAH KEJURUAN NEGERI 5 KOTA BENGKULU Lara Sati, Ane Gempita; Maryono, Maryono
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.v22i2.5593

Abstract

Bengkulu is one of the provinces located on the island of Sumatra with its capital city being Bengkulu City. Bengkulu City has a very famous ceremonial tradition, namely the Tabot ritual tradition which is held every year on the 1st to the 10th of Muharram. The Tabot ritual is often used as an entertainment event in the form of creative dance or new works created by local artists in Bengkulu City. One of them is the Meradai dance which is a work of State Vocational High School 5 of Bengkulu City in 2017. This study aims to reveal the meaning contained in the Meradai dance created by State Vocational High School 5 of Bengkulu City. The meaning of the dance is revealed by revealing three problems including: the genetic concept, the form of purpose, and the audience's response to the Meradai dance created by State Vocational High School 5 of Bengkulu City. This study uses a holistic art criticism approach that places three factors, namely genetic, objective, and affective, which are a unity as a source of the flow of meaning. This study is qualitative with data collection techniques including interviews, observations, and literature studies. The results of the discussion based on genetic factors, objectives, and affective aspects of the Meradai dance created by State Vocational High School 5, Bengkulu City are used for competitions, entertainment and learning materials, and contain values ​​of fighting spirit, mutual cooperation, and cultural history values.
TARI SRIMPI BLONYO MALELA: WUJUD DEKONSTRUKSI SRIMPI BLONYO Saputra, Windi
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.v22i2.5594

Abstract

This research examines the Srimpi Blonyo Malela’s dance work as a result of the deconstruction of the Srimpi Blonyo dance. The Srimpi Blonyo Malela’s dance work is the result of a deconstruction of the Srimpi Blonyo dance. The meaning of deconstruction itself is to dismantle the establishment through various texts and cultural contexts. This is research uses qualitative research and the explanation is analytical descriptive. The literature review and literature study for this research were taken from oral and written references. The results of the research on Srimpi Blonyo Malela's dance work found a form of overall renewal of the Srimpi Blonyo dance except for make-up and clothing. Deconstruction or dismantling is carried out on elements such as the content of the story line, movement arrangement, floor pattern structure, number of dancers, props used and musical accompaniment. These elements were created through the creativity, imagination and exploration of deconstructors. The Srimpi Blonyo Malela dance is based on the mythical belief of Dewi Sri and Raden Sadana, which makes people aware of the ecology of the universe which is worked out symbolically through the medium of movement, clothing and sound. Both are central figures in agricultural and fertility mythology, often associated with the balance of the universe. Apart from that, giving values regarding belief in Dewi Sri and Raden Sadana in some Javanese communities is a way of expressing gratitude to God Almighty.
KREATIVITAS DJOKO PRAKOSA DALAM KARYA TARI KRIDHA DWIPANGGA DI KABUPATEN SRAGEN Pertiwi, Intan Hanny; Setyastuti, Budi
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.v22i2.5601

Abstract

This research problem was formulated as a form of Kridha Dwipangga Dance performance which explains Djoko Prakosa's creative process. The results of this research show that the Kridha Dwipangga dance is a choreography and creativity of Djoko Prakosa with the theme of elephant fauna. Kridha Dwipangga Dance is intended as a form of education, tourism, and is expected to become an icon of Sragen Regency. The intended form of education is that the Kridha Dwipangga dance can be taught as learning material for Elementary School (SD) – Junior High School (SMP) levels. Apart from that, there is also education to introduce the Sangiran Archaeological Site to students. The form of tourism intended is related to the Circular Letter received by Sragen Regency from the Central Java Province Tourism and Culture Office so that each region can develop its tourism potential, including artistic and cultural potential. For this reason, Djoko Prakosa was asked to create a typical dance from Sragen Regency, hereinafter called the Kridha Dwipangga Dance. It is hoped that the iconic form of the Kridha Dwipangga dance will strengthen and publicize the Sangiran Archaeological Site which reveals many facts about well-known animal fossils, including elephants which are visualized in the form of dance. The Kridha Dwipangga dance icon presented by a group of female dancers inspired by the strong, protective and nurturing character of the elephant animal is a reflection of the Regent's attitude and responsibilities in running the government of Sragen Regency.
BENTUK KOMPONEN NONVERBAL KARYA TARI ELEGI Purwanta, Eunike Meta; Maryono, Maryono
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.v22i1.5607

Abstract

The research on “Bentuk Komponen Nonverbal Karya Tari Elegi” explores the elements contained in dance. This dance is a depiction of a romantic relationship that leads to things that are considered toxic. This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. For problem solving, use verbal and nonverbal concepts from Maryono in the Book Analisa Tari. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.
KREATIVITAS SRI MUMPUNI DALAM TARI MULIE BEKIPAS DI SANGGAR KUSUMA LALITA METRO LAMPUNG Fitri Ciptaningsih; Syahrial
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.v23i1.5748

Abstract

This research aims to describe and show Sri Mumpuni's creativity in the Mulie Bekipas Dance at Sanggar Kusuma Lalita Metro Lampung. The problems in this research include: (1) what is the form of the Mulie Bekipas Dance at the Kusuma Lailta Studio? and (2) how is Sri Mumpuni's creativity in the Mulie Bekipas Dance at the Kusuma Lalita Studio? Thus, to answer this problem, Y. Sumandiyo Hadi's theory is used to discuss the dance form which contains elements of group choreography and to discuss Sri Mumpuni's creativity in this dance work the author uses Rodhes' theory quoted by Utami Munandar, namely person, process (process), press (pusher) and product (product). This research uses a qualitative research method with a choreographic approach. The research stage carried out was data collection by means of observation, interviews and literature study. Then all the data is collected and finally analyzed. The results of the research show that the Mulie Bekipas Dance form is a group dance, which consists of 11 elements which include dance movements, dance space, dance accompaniment/dance music, dance theme, type/kind/nature of dance, mode or method of presentation, number of dancers/type gender and body posture, make-up, lighting/stage lighting, dance props/other equipment. And this creativity is shown in the choreographer, the factors that influenced it, the creation process up to the formation of the Mulie Bekipas Dance.
BENTUK TARI KEMBANG KEMANGI KARYA JAJULAIDIK DAN YUDA GADIS OCTIANI SANGGAR TARI SAYUWIWIT Anggraini, Maya Lestari; Slamet
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.v23i1.5891

Abstract

This research describes the form and choreography of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio. Kembang Kemangi dance is the new choreography inspired by the local tradition of Banyuwangi. The research questions include: (1) What is the form of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio, (2) How is the choreography of the Kembang Kemangi dance by Jajulaidik and Yuda Gadis Octiani from the Sayuwiwit Dance Studio. In dissecting the formulation of the problem in this research, the theory of form and choreography by Slamet, in his book entitled "Melihat Tari," was used. This research uses a qualitative research method with a choreographic approach. The research steps are data collection through observation, interviews, literature review, and data analysis. The results of the research show that the form of the Kembang Kemangi dance consists of dance elements. These are movement, music, makeup and costume, dancers, flour pattern, and stage. Kembang Kemangi is a group choreography that contains 7 dancers.  The choreography of the dance movements is related to "solah-ebrah." Solah is an effort to manifest the form of human body movements that are developed to form an ebrah which includes a variety of movements that have the essence of the smallest unitary meaningful motion form.   
FUNGSI TARI LADING DI DESA TEMPIRAI KECAMATAN PENUKAL UTARA KABUPATEN PENUKAL ABAB LEMATANG ILIR PROVINSI SUMATERA SELATAN Rahmadini, Zakiyah; Syahrial
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.v23i1.5942

Abstract

The research entitled "The Function of the Lading Dance in Tempirai Village, North Penukal District, Penukal Abab Lematang Ilir Regency, South Sumatra Province", aims to describe the Form and Function of the Lading Dance. The problems in this research include: (1) what is the form of the Lading Dance? and (2) how does the Lading Dance function? Answering problems regarding dance form using Y. Sumandiyo Hadi's theory and discussing function using M. Jazuli's theory. This research uses descriptive qualitative research methods. Data obtained through observations, interviews and literature study.  The results of the research show that the form of Lading Dance is a group dance, which consists of 11 elements which include dance movements, dance space, dance accompaniment/dance music, dance theme, type/type/nature of dance, mode or method of presentation, number of dancers, gender, and body posture, make-up, lighting/stage lighting, dance props/other equipment. The functions of the Lading dance include: Lading dance for ceremonial purposes, namely the traditional wedding ceremony of Tempirai Village and the ceremony for welcoming important guests. The function of the Lading dance is for entertainment/spectacle which is intended to enliven and celebrate a meeting or reception. The function of the Lading dance for performance aims to provide an aesthetic experience to the audience. The function of Lading dance for educational media means that dance becomes a tool for education or learning the values needed to achieve goals.  
KOREOGRAFI PELUK JIWA KARYA JONET SRI KUNCORO DAN MT. WASI BANTOLO BERSAMA ANAK DISABILITAS TUNA RUNGU Wardanny, Smirna; Widyastutieningrum, Sri Rochana
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.v22i2.5983

Abstract

This study describes the process of creation and form of Peluk Jiwa dance. The problems in this study include process of creating Peluk Jiwa dance choreography and form of Peluk Jiwa dance. The choreography of Peluk Jiwa is based on the traditional Surakarta style dance movements that are balanced and adapted to the abilities of the dancers who are deaf children, non-disabled children and physically disabled singers. The dance work Peluk Jiwa tells about social equality between normal people and people with physical disabilities. This study uses a qualitative method that is descriptive analysis. The theory used to solve the problem of the choreography creation process uses a theory with seven stages, namely elements of dance moves, theme selection, technique, exploration, organization, unity, presentation while to dissect the form of the work of Peluk Jiwa Dance using nine main elements including (1) dance title, (2) dance themes, (3) types of dance, (4) dance room, (5) dance moves, (6) dance music, (7) presentation methods, (8) dancers, (9) makeup and clothing. The results of this study indicate that Peluk Jiwa Dance is the work of Jonet Sri Kuncoro and Wasi Bantolo with children hearing impairments who were created through a seven-stage creative process and also added that the form of Peluk Jiwa is a drama dance involving dancers for children with hearing impairments. This work contains a message of social equality between children with hearing impairments and normal children.
KARAKTER SUTAWIJAYA DALAM TARI PENANGSANG SUTAWIJAYA Hendrawan, Mochamad; Hartanto, Hartanto
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.v22i1.5984

Abstract

The research entitled "Karakter Sutawijaya dalam Tari Penangsang Sutawijaya" focuseson the discussion of the character of the Sutawijaya figure. Sutowijoyo’s character is interpreted as a smooth, dexterous, skillful and sigrak. The work carried out find this character with an emphasis on the elements of movement and the application of Javanese dance musical concepts. This research is intended to describe the character, the creative process of dancing, and the form of dance presentation.The research used is qualitative research by looking at object empirically. Data collectin through observation, interview, and literature studies. Observation emphasizes on the quality of Surakarta style dance performance, interviews and literature studies as a complement to observation and to support knowledge about characterization. Description of Sutawijaya's character through book references, interpretations of dance creators, and interpretations of dancers. The creative process of dancing, using Srihadi's theory. The discussion of the form of dance presentation uses Maryono's theory. The results of this study are in the form of a dance presentation that reveals about Sutawijaya by having an authoritative character, andap asor, firm, and doubtful. The creative process is manifested in the development of scene patterns, motion, clothing, and music. The form of offering the Penangsang Sutawijaya dance is a paired dance with the theme of war. This dance is presented by two male dancers, the dashing son and the alus madya son.

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