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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 305 Documents
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REFLEKSI PENCIPTAAN TARI NYI PANDANARAN PRAJURIT PEREMPUAN Anjali, Sangghita; Soemaryatmi, Soemaryatmi
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.v21i2.5985

Abstract

The Nyi Pandanaran Prajurit Perempuan dance is a choreography created by Sangghita Anjali in 2021. This dance will be performed at the ISI Surakarta Great Theater building on January 7, 2022. The Nyi Pandanaran Prajurit Perempuan dance has a theme of soldiering. This work is presented by a single female dancer. The title of this research is Reflection on the Creation of the Female Warrior Nyi Pandanaran Dance which will reveal two problems, namely how the creative process of the female warrior Nyi Pandanaran dance is and how the form of the dish is presented. To dissect the Creative Process problem, Mel Rodhes's theory of 4P (Four P’s Creativity) Thoughts is quoted by Utami Munandar, while the Form of Serving uses the theory of Forms according to Djelantik. This study uses an artistic practice-based research method consisting of Re-Visiting/visiting again, Re-Questioning/questioning, and Re-Interpreting/re- interpreting. The results of this study indicate that the Creative Process of compiling the Nyi Pandanaran Prajurit Perempuan dance was produced through the stages of preparation, incubation, illumination, and leveraging/evaluation. Nyi Pandanaran Dance Prajurit Perempuan is a dance that is presented in a singular form. The dance moves used are traditional movements with clothing designs inspired by the Semarang model warriors, and using gamelan musical instruments combined with modern musical instruments such as the saxophone and chimes. These elements are assembled into one in a presentation, in a plot consisting of three scenes that reveal an atmosphere of majesty, firmness, determination, persistence, and submission. The Nyi Pandanaran Prajurit Perempuan dance is a choreographic creativity that is packaged in totality.
PERKEMBANGAN TATAK MOCCAK PADA MASYARAKAT SUKU PAKPAK Agnesti Sinaga; Rithaony Hutajulu; Hubarry Gulo
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7280

Abstract

Tatak Moccak is a Pakpak tribal martial art that is taken from the history and lifestyle of the ancestors of the Pakpak tribe, who in the past lived nomadically in the middle of the wilderness. The research method used is a qualitative method with several approaches, including data collection through fieldwork, interviews, observations, documentation, and laboratory work. The approach used is a historical approach that will reveal the origins and development of Tatak Moccak. The results obtained from this study are that Tatak Moccak is an integral part of the lifestyle of the Pakpak people who are nomadic in the mountains and forests, functioning as an essential skill for self-protection from natural and external threats, as well as training a strong and agile physique. Over time and cultural changes, the development of Tatak Moccak is classified into three main aspects, namely the cultural aspect, the entertainment aspect and the championship aspect. The dancer's costume is predominantly black with a red and white headband accent and ulos sibolang on the waist, as well as the use of Hau Era-era properties, machetes, and sticks, not only support the visuals of the performance but are also full of meaning of identity and strength in Pakpak culture.
KARYA TARI KOLABORASI RAMAYANA KONTEMPORER X SUB ORDINAT Bulan Noverina Rahma Saputri; Eko Supriyanto
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7610

Abstract

The dance work “Sub-Ordinat” is a contemporary creation based on a Practice-led Research approach, exploring the theme of subordination and the role of women within the traditions of the Kasunanan Surakarta Palace. The focus centers on the practice of nyêntir and the dhodhok movement, historically performed by female abdidalêm, whose roles are often marginalized both socially and performatively. The creative process is developed through three reflective phases: Re-Visiting , which examines the historical and cultural meanings of dhodhok; Re-Questioning, which reconsiders the position of women within patriarchal social structures; and Re-Interpreting, which transforms the symbol of the subordinate body into an empowered expression through contemporary movement language. This work goes beyond physical aesthetics to offer a social critique of symbolic domination within traditional cultural systems. Through movement, spatial composition, and bodily relations, the piece constructs a visual narrative of empowered humility. “Sub-Ordinat” was performed during the opening of World Dance Day at the Indonesian Institute of the Arts (ISI) Surakarta as part of a collaborative presentation alongside Nuryanto’s work, Ramayana Kontemporer. This collaboration served as a space for dialogue between tradition and innovation, while also reinforcing the importance of critical awareness toward women’s roles and contributions in performing arts.
WISISI: TRANSFORMASI TARI-MUSIK PAPUA DARI RITUAL ADAT KE HIBURAN GLOBAL DIGITAL Muhammad Ilham Mustain Murda
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7681

Abstract

Wisisi, a dance-music form originating from the Dani community in the Papuan Highlands, was traditionally embedded in ritual practices as a medium of social cohesion, entertainment, and collective healing. Over the last decade, Wisisi has undergone a profound shift from ritual performance into popular entertainment, later evolving into digital music production performed on national and international stages. This article aims to examine the transformation of Wisisi from its ritual roots to its position as a global cultural expression. The study applies a qualitative approach, combining literature review, audiovisual documentation, and mini-ethnographic analysis of sources such as traditional performance archives, contemporary recordings, and the documentary Wisisi Nit Meke that won recognition at the Indonesian Film Festival in 2023. The findings reveal three major aspects of transformation: first, the transition of function from ritual practice to public celebration; second, the adaptation of Wisisi into electronic forms by younger musicians using digital production tools; and third, the dissemination of Wisisi across online platforms and international festivals. These changes demonstrate how Wisisi negotiates cultural identity in the digital era while raising concerns regarding commodification and the sustainability of indigenous values.
KOREOGRAFI PARTISIPATORIS SEBAGAI PRAKTIK PEMULIHAN EKOLOGIS: STUDI KASUS PADA KARYA INDUNG BRAGA BERJAGA Ferry Cahyo Nugroho; Nurudin; Nur Yasni Robbiulsani
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7757

Abstract

This study examines Indung Braga Berjaga as a form of participatory choreography that plays a role in the recovery of ecological and social trauma following the 2024 Cikapundung River flood. The work involved collaboration between Hot Mama Dance Club, Gymnastic Emporium, and the PKK women of Kampung Braga through a community-based creative approach. This research aims to understand how participatory choreography can serve as an ecological recovery practice and strengthen urban social resilience. The study employed a participatory method consisting of direct observation, in-depth interviews with the facilitator and choreographer, and analysis of performance video documentation. The results demonstrate that the creative process was collaborative and reflective, emphasizing the body as a medium for healing and public space as a site for social dialogue. Through movement rooted in lived experiences, the work generated a collective cathartic mechanism and fostered ecological awareness within the community. In conclusion, Indung Braga Berjaga functions not only as an artistic representation of disaster but also as a socio-ecological strategy for community recovery. It is recommended that similar participatory practices be further developed as a model for disaster reflection and resilience building in urban Indonesia.
TEKNOLOGI KINETIK PENGGUNAAN PROPERTI FAN PADA KOMUNITAS MALANG FIRE DANCE Riza Andini; Robby Hidajat
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7889

Abstract

This study explores the application of kinetic technology through the use of fan properties in the Malang Fire Dance Community in Malang City. The purpose of this research is to analyze how body movement energy is applied in fire dance performances and how the integration between the body, space, and props creates performance aesthetics. This study employs a qualitative method with a phenomenological approach, in which the researcher was directly involved in observation, interviews, and documentation in the field. Data analysis was carried out using Laban Movement Analysis (LMA) theory, which consists of four main components: Body, Effort, Shape, and Space. The results show that the fan functions as the main medium to visualize kinetic energy through coordinated body movements, balanced use of force and timing, aesthetic fire visual forms, and the dancers’ spatial awareness within the performance space. Kinetic technology in fire dance serves not only to produce visual beauty but also as a synergy between science (motion energy) and art (body expression), resulting in performances that are safe, dynamic, and aesthetically engaging.
TARI PALANG YUDHO SEBAGAI REPRESENTASI TRANSFORMASI BUDAYA KABUPATEN MADIUN Rahma Raffi Aristawati; Arif Hidajad; Eko Wahyuni Rahayu
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7897

Abstract

This article examines the process transformation of local cultural traditions into a modern dance work titled Tari Palang Yudho, a choreography inspired by two major cultural identities of Madiun: the Dongkrek performance tradition and pencak silat. The study aims to analyze how these cultural sources are transformed into new artistic expressions through the processes of reinterpretation, stylization, and symbolic reconstruction. Using a qualitative descriptive approach, data were collected through observation, interviews with the choreographer Pipin Dwi Pangesti and cultural practitioners in Madiun, as well as documentation studies. The findings indicate that the creation of Palang Yudho demonstrates a multidimensional cultural transformation, including the transformation of form, function, and meaning. Dongkrek, traditionally functioning as a ritual to ward off calamity, is reconstructed into a theatrical dance form, while pencak silat is adapted into stylized movement vocabulary to strengthen the identity of Madiun as Indonesia’s Village of Fighters. The transformation also occurs in musical composition, costume, and narrative structure to produce a contemporary aesthetic that remains rooted in local cultural values. This study highlights that Palang Yudho serves not only as a creative work but also as a cultural strategy for preservation, revitalization, and cultural representation in the modern performing arts landscape.
MAKNA SIMBOLIK BUSANA TARI BARONGAN SODO INTERPRETASI ETNOKOREOLOGI TERHADAP NILAI TRADISI LOKAL Raditya Reyfa Erlangga; I Nengah Mariasa; Enie Wahyuning Handayani; Ni Luh N. Jeylita Paramacitha
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 2 (2025): KEBERAGAMAN KARYA TARI SEBAGAI EKSPRESI SIMBOLIK
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v24i2.7935

Abstract

In traditional dance performances, costume serves not merely as a visual complement but as a symbolic medium through which cultural values and collective worldviews are articulated. Tari Barongan Sodo emerges as a traditional performing art rooted in an agrarian and religious cultural setting, closely connected to local mythological and cosmological beliefs. The costume elements employed in Tari Barongan Sodo embody symbolic meanings that reflect the Sodo philosophy; nevertheless, interpretations of these symbols have predominantly remained oral and descriptive in nature. This research seeks to examine the symbolic meanings embedded in the Tari Barongan Sodo costume and to analyze their relationship with local traditional values using an ethnocoreological perspective. A qualitative descriptive approach is applied, with data gathered through performance observation, in-depth interviews with artists and cultural figures, and documentation. The data are analyzed inductively by contextualizing the visual characteristics of the costume within the socio-cultural and belief systems of the supporting community. The findings indicate that the Tari Barongan Sodo costume constitutes an integrated system of cultural symbols. The jamang pilis signifies power and the radiance of inner energy, the gimbalan symbolizes freedom and natural strength, the binding ropes and belt represent self-control, and the cawet trousers convey courage and honesty in expressing one’s true identity. Ultimately, the costume functions as a cultural text that conveys cosmological, ethical, and spiritual values and plays an essential role in transmitting local traditional values through performance practice.
BENTUK PERTUNJUKAN TARI NYI KABARIAH DALAM ACARA ARAK TUMPENG PANCA THUK Natasya Putri Ken Rosa; Anggono Kusumo Wibowo; Samsuri
Greget: Jurnal Kreativitas dan Studi Tari Vol. 25 No. 1 (2026): METODE KEKARYAAN TARI TERBUKA UNTUK PERUBAHAN
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7961

Abstract

This study aims to describe and analyze the form of the Nyi Kabariah Dance performance. The Kabariah Dance is a dance work created based on the history of the Kabariah puppet from Pakel Village, Jombang, and is performed in a traditional ceremonial procession called Arak Tumpeng Panca Thuk. This dance work was created by two choreographers, Merliani and Natasya Putri, in 2025. The dance is a group choreography inspired by the history of the Kabariah Puppet, which in the past served as a medium for conveying messages of soldiers victory. Thrpugh a qialitative approach with an analysis of performance elements, the results of the study indicate that the Nyi Kabariah Dance integrates visual aspects and philosophical values harmoniously. The structure of the dance presentation is divided into two acts that depict a character transition, beginning with the introduction of the Kabariah puppet’s form and culminating in expressions of grace and patriotism. The main appeal of thi dance lies in the stylized movements that show sharp and jerky dynamics, yet are still performed with full elegance. Supported by dynamic Javanese gamelan music and costume designs in shades of yellow, orange, maroon, and brown, the Nyi Kabariah Dance successfully represents the symbolism of joy and local strength. Overall, this form of performance is not merely a matter of stage aesthetics, but an effort to preserve history through the transformation of movement art that is communicative for modern society.
PROSES PELATIHAN TARI NGILO MENGGUNAKAN METODE “DEK, DEG, SER” PADA KELAS C DI SANGGAR PADMA GAYATRI DESA KESAMBEN KABUPATEN MALANG RismaAyu Susilowati; Ika Wahyu Widyawati
Greget: Jurnal Kreativitas dan Studi Tari Vol. 25 No. 1 (2026): METODE KEKARYAAN TARI TERBUKA UNTUK PERUBAHAN
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7971

Abstract

Dance training in studios as a form of non-formal education requires appropriate methods to ensure an effective learning process. Padma Gayatri Dance Studio applies a specific method in Ngilo Dance training for class C as an effort to improve training outcomes. This study aims to describe the process of Ngilo Dance training using the “Dek, Deg, Ser” method in Class C at Padma Gayatri Dance Studio. This research employs a descriptive qualitative approach. Data were collected through observation, intrerviews, and documentation involving instructors, Class C students, Peer tutors, parents, and dance experts. Data analysis used the interactive model Miles dan Huberman with source and rechnique triangulation. The results show that the training is conducted systematically through the stages of opening, material delivery, warm-up, core practice, evaluation, and reflection. The “Dek, Deg, Ser” method, combined with demonstration, Drill, peer tutoring, and open space training, effectiely improves technical mastery, movement memorization, focus, and students discipline. The findings contribute to training practice and serve as a reference for dance instructors.

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