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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 291 Documents
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KOREOGRAFI ASMARASIH KARYA UMIYATI SRI WARSINI Indah Ayu Saputri; Wahyu Santoso Prabowo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v17i1.2293

Abstract

Tari Asmarasih merupakan tari berpasangan yang ditarikan oleh dua penari (laki-laki dan perempuan) dan bertemakan percintaan. Tari ini disusun oleh Umiyati Sri Warsini tahun 1989 di Pura Mangkunegaran. Disusun untuk mengisi keperluan resepsi pernikahan, selain itu tari ini juga dapat di pentaskan dalam acara lain yang tujuannya sebagai hiburan. Penelitian ini menggunakan teori bentuk yang dikemukakan oleh Suzane K. Langer, dan sebagai model analisis untuk mendeskripsikan koreografi Asmarasih, menggunakan teori dari Janet Adshead tentang komponen koreografi. Selanjutnya menggunakan landasan teori garap yang dikemukakan oleh Rahayu Supanggah, untuk menganalisis mengenai garap tari Asmarasih. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dengan pendekatan etnografi tari. Hasil penelitian ini dapat diperoleh tentang koreografi Asmarasih yang tidak terlepas dari elemen-elemen pembentuknya, saling berkaitan seperti penari, gerak, tata visual dan elemen suara. Tari Asmarasih juga diketahui merupakan satu-satunya tari pasihan atau percintaan, yang terdapat di Pura Mangkunegaran. Garap gerak maupun garap gendhing secara kreatif menggunakan aturan-aturan yang berada di lingkungan Pura Mangkunegaran. Dengan demikian walaupun terdapat gerak dan gendhing gaya Yogyakarta dan Surakarta, maka bisa dikatakan sebagai gaya Mangkunegaran. Penelitian ini juga mengungkapkan kesenimanan Umiyati Sri Warsini yang merupakan satu-satunya generasi seniman wanita abdi dalem yang ada di Pura Mangkunegaran, setelah era Nyi Bei Mardusari (alm.), yang memiliki kemampuan multitalenta (penari, pesindhen, pengeprak, dan guru tari). Kata kunci : Tari Asmarasih, Umiyati Sri Warsini, koreografi, garap.
TELAAH TENTANG TARI BENTEN (The Study of Benten Dance) Efrida Efrida
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3101.587 KB) | DOI: 10.33153/grt.v8i1.331

Abstract

The widespread nature is a teacher. That term becomes the philosophy of life of the Minangkabau society which finally inspires them in expressing their art life. One of the works of art of Minangkabau artists which is inspired by the natural phenomenon and expressed in the form of dance is Benten Dance. Inspired by a flying eagle rotating motion – turn in the blue sky while stalking its prey, Benten dance symbolize the meaning of love of a mother in taking care of her child. This is in accordance with matrilineal custom Minangkabau society that puts women at the main place in society. In addition, Benten dance moves is also based on silat moves (Indonesian martial art), which if it is described consist of motifs of moves, movement phrases, sentence or kinds of moves and parts of moves. Keyword : Benten Dance
GUNA DAN FUNGSI TARI PIRING PADANG MAGEK SUMATERA BARAT Syahrial Syahrial
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (275.459 KB) | DOI: 10.33153/grt.v12i2.495

Abstract

Tari Piring is a traditional art which can be found in almost every village or nagari inMinangkabau. The nagari of Padang Magek, in the Tanah Datar Regency of West Sumatra, is avillage which owns and preserves the existence of Tari Piring. The Tari Piring that is owned andmaintained by the people of Padang Magek essentially reflects the dignity of the village chief inleading and educating his people. As an integral part of the socio-cultural life of the people ofPadang Magek, this dance has a specific function and purpose associated with the object andpurpose of the performance. From the analysis that was carried out, the results obtained indicatethat Tari Piring serves as 1) the expression of emotions, 2) aesthetic appreciation, 3) entertainment,4) symbolism, 5) integration of the community, and 6) sustainability for the culture. FurthermoreTari Piring is used for 1) material culture, 2) social institutions, and 3) aestheticalpurposes.
TARI BEDAYAN PADEPOKAN TUGUREJO DI DESA SRAGI KECAMATAN TALUN KABUPATEN BLITAR SEBAGAI EKSPRESI KOMUNITAS Windari Astuti
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (800.073 KB) | DOI: 10.33153/grt.v14i2.1717

Abstract

The performance of the Bedayan Dance of PadepokanTugurejois an example of an art formfrom Padepokan Tugurejo which continues to exist today. The Bedayan Dance ofPadepokanTugurejo, which has a duration of 30 minutes, is a tool or bridge for the community ofPadepokan Tugurejo to channel their own individual expression of the soul. The questions addressed in the research, amongst others, are what is the form of the Bedayan Dance ofPadepokanTugurejo and why is the expression of the community formed through this dance. Themethod used to answer these questions is a qualitative descriptive research method in which thedata was collected through the steps of direct observation, interviews, and a library study. Thetheoretical foundation used is based on the theories of Y.SumandyoHadiandStephanieRoss. Theresults of the research show that the lack of interest among the young generation in the continuation of this art form means that the performance of this art continues to be given by members ofthe older generation. Through the Bedayan Dance of PadepokanTugurejo, it is possible to form theexpression of the soul of the artists from PadepokanTugurejo.Keywords:Bedayan PadepokanTugurejo, Form of Performance, Expression, Community.
Tari Tayub Dalam Upacara Sedekah Laut Longkangan Masyarakat Munjungan Yayuk Retno Wati
Greget Vol 11, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2933.734 KB) | DOI: 10.33153/grt.v11i1.453

Abstract

Tayub is a genre of folk art in which the movements are still quite simple. This study of Tayub uses a qualitative descriptive method in order to provide a complete picture and present the data obtained about the art of Tayub in a Longkangan ceremony in the village of Munjungan in the district of Trenggalek. The data was collected, classified, and interpreted in order to obtain a complete set of data by using an ethno-choreological approach. Tayub is used as a part of the Longkangan ceremony in the village of Munjungan. In connection with the function of Tayub in a fertility ritual, it is performed as part of the Longkangan sea-offering ceremony. This ceremony is surrounded by numerous conditions and requirements, such as the time of the ceremony which must be in the month of Dulkaidah or Longkang. The Tayub performance takes place on the Blado Munjangan coast. Tayub is an essential part of the Longkangan ritual and the local community believe that if Tayub is not performed, danger may strike. The Tayub performance holds an important position in this ceremony as an expression of the community about their traditional beliefs. Keywords : Tayub, Longkangan, Ceremony.
PERTUNJUKAN KABARET OYOT GODHONG DI MIROTA BATIK YOGYAKARTA Ni Luh Made Kartika Ratna Dewi
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1199.508 KB) | DOI: 10.33153/grt.v14i1.1667

Abstract

The research entitled “The Performance ofOyot GodhongCabaret in Mirota BatikYogyakarta” is in the form of a qualitative descriptive analysis which uses a creative approach.The goal of the research is to describe analytically the form of the performance and the creativework of all those who support the Oyot Godhong Cabaret in Miroto Batik Yogyakarta. By applying a qualitative method with an analytical descriptive approach, the research findings show thatthe performance of the Oyot Godhong Cabaret is in the form of a dance and musical performancewhich is performed mainly by transgender artists with a group of backing dancers who present agroup composition with many variations. The structure of the performance consists of anopening(traditional Javanese) dance, which is separate from the main part of the performance.This is followed by the opening section of the Cabaret and the main performance, which is mainlyperformed using lip-synch, and the final section. The mood of the performance is lively, joyful,and interspersed with laughter. Based on the characteristics and entertaining nature of the performance, Oyot Godhong Cabaretmay be described as a form of Kitsch performance.Keywords: Cabaret, Transgender, and Creativity.
SISINGAAN SENI KEMASAN WISATA DI KABUPATEN SUBANG Tubagus ` Mulyadi
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5627.895 KB) | DOI: 10.33153/grt.v2i2.267

Abstract

Artistry (of) Sisingaan represent Earing people resistance representasisymbolfirst to colonial pra ctice a period of/to power(of) Dutch. Symbol Power grinding this implied in the form of appearance (of) lion idol which (is) stretcher. While resistance form depicted in moppet figure riding lion, please implies that grind will fail by the rising generation. Artistic (of) this tidiness (of) lebeih focussed [by) (at) show estetik facet, without eliminating meaning which consist in in itKeyword:  Sisingaan, artistic (of] tidiness
Tari Bedhaya Ketawang: Refleksi Mitos Kanjeng Ratu Kidul dalam Dimensi Kekuasaan Raja Kasunanan Surakarta Sulistyo Haryanti
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2794.298 KB) | DOI: 10.33153/grt.v9i1.405

Abstract

This article is an interpretation of Tari Srimpi through the analysis of symbols, according to Hinduism. The interpretation focuses on a discussion of how aesthetic power is established through the symbol of four dancers in Tari Srimpi. Usually discussions about the four Tari Srimpi dancers (referred to as: batak, gulu, dhadha, buncit) are about keblat papat lima pancer (four points and a centre), and four human characteristics (amarah, aluamah, supiyah, and mutmainah). This article attempts to discuss the symbol of the four dancers from another angle, formulated through Hinduism, which describes four human potentials through the figure of Panca Pandawa. Although Pandawa consists of five brothers, it is actually a symbol of four human potentials: (1) Puntadewa as a symbol of spirituality, (2) Werkudara as a symbol of attitude, (3) Arjuna as a symbol of  science, and (4) the twins Nakula-Sadewa as a symbol of skill.Keywords: Srimpi dance, Panca Pandawa, and human potential.
SASTRA TEMBANG PADA KONTEKSTUAL ADEGAN DAMARWULAN SEBAGAI PENGUASA MAJAPAHIT DALAM TARI LANGENDRIYAN Sutarno Haryono
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (413.733 KB) | DOI: 10.33153/grt.v13i1.539

Abstract

The presence of dance is generally not a construction whose elements can be analyzed butrather a unified or cohesive whole (gestalt). Thus, presentational symbols rather than discursivesymbols appear. Presentational symbols refer to the meaning that is hidden behind the meaningthat is immediately visible, or reveal a level of meaning that is presupposed within the literalmeaning. Of course, interpreting an art which contains several different elements, such as the artof dance, is highly complex since it is constructed of elements that are bound together and cannotbe separated from each other.Keywords: Analysis, Contextual,Macapat, Dance Movements.
TINJAUAN GARAP GERAK TARI PENTHUL DI MELIKAN,TEMPURAN PARON KABUPATEN NGAWI Sri Maryati Andayani; RM. Pramutomo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (997.784 KB) | DOI: 10.33153/grt.v17i1.2298

Abstract

Tari Penthul Melikan merupakan kesenian tradisional kerakyatan di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tari Penthul Melikan diciptakan oleh Bapak Munajah pada tahun 1952 di Dusun Melikan Desa Tempuran Kecamatan Paron Kabupaten Ngawi. Tarian ini diciptakan untuk menghibur masyarakat setelah selesai membangun sekolah di Dusun Melikan pada saat itu. Penelitian ini menggunakan landasan teori bentuk oleh Susanne K. Langer. Sedangkan teori garap oleh Rahayu Supanggah meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap. Tujuan penelitian ini adalah untuk menganalisis bentuk dan garap tari Penthul Melikan. Dalam penelitian ini penulis menggunakan metode penelitian kualitatif. Hsil penelitian ini dapat diperoleh gambaran yang berkaitan dengan bentuk dan garap tari Penthul Melikan. Bentuk tari Penthul Melikan tidak terlepas dari elemen-elemen pembentuknya yang saling berkaitan seperti gerak tari, penari, tata busana, properti. Sementara itu garap tari meliputi materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap dan pertimbangan garap.Kata kunci : tari Penthul Melikan, bentuk, garap gerak.AbstractThe Penthul Melikan dance is a traditional folk dance found in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The Penthul Melikan dance was created by Bapak Munajah in 1952 in the Hamlet of Melikan in Tempuran Village, Paron District, in the Regency of Ngawi. The dance was created to entertain the community after the construction of a new school was completed in the Hamlet of Melikan at that time. This research is based on Susanne K. Langer’s theory of form and Rahayu Supanggah’s theory of treatment (garap) which includes the material for garap, the person implementing the garap, the medium of garap, the tools or equipment of garap, the determinants of garap, and the considerations of garap. The goal of the research is to analyze the form and treatment of the Penthul Melikan dance. In this research, the writer uses a qualitative research method. The results of the research present a description of the form and treatment of the Penthul Melikan dance. The form of the Penthul Melikan dance is connected with the interrelated elements of its formation, including the dancers’ movements, dancers, costumes, and properties. The treatment of the dance includes the material for garap, person implementing the garap, medium of garap, tools or equipment of garap, determinants of garap, and considerations of garap.Keywords: Penthul Melikan dance, form, treatment of movement.

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