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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 305 Documents
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DINAMIKA ESTETIK TARI TOPENG KLANA GANDRUNG: TRANSFORMASI GAYA MIMI RASINAH SEBAGAI UPAYA REGENERASI Nanan Supriyatna; Farah Nurul Azizah
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.v25i1.8384

Abstract

The Klana Gandrung Mask Dance is an integral part of the Indramayu Mask Dance repertoire, which persists today due to the role of dalang topeng as cultural agents. In the context of Indramayu Mask Dance, Mimi Rasinah, a maestro of the Pekandangan style, has had a fundamental influence on the characteristics of this dance. Currently, the artistic mantle has been passed down to her granddaughter, Aerli, as a strategic step in maintaining the continuity of the tradition. Despite being within the same lineage, there are choreographic discrepancies in the Klana Gandrung Mask Dance between the eras of Mimi Rasinah and Aerli. This phenomenon indicates an aesthetic transformation influenced by the dancer's personal style and adaptation to contemporary demands within its supporting environment. This study aims to analyze the transformation of the Klana Gandrung dance structure, which characterizes each dancer, while documenting the efforts toward artistic regeneration in Indramayu. The findings are expected to contribute to the development of arts teaching materials, choreographic innovation, and cultural archiving. This research employs a qualitative method with an ethnographic approach. Data were collected through field observations in Pekandangan, in-depth interviews, and documentation studies. The analysis of choreographic structural transformation is examined through Anthony Giddens’ Structuration Theory, focusing on the agent's actions in modifying pre-existing dance structures. Additionally, Laban Movement Analysis (LMA) is utilized as a technical analytical tool to identify detailed changes in movement forms across the two generations of dancers. The research findings suggest that the heir's creative treatment represents a negotiation between tradition and contemporary stage demands, ultimately enriching the aesthetic treasury of the Pekandangan Mask Dance.
KONSTRUKSI POLA GERAK TARI PRAJURITAN DI PAGUYUBAN LESTARI BUDI TAMTAMA SALATIGA Michael Albert Octavian; S. Sriyadi
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.v25i1.8394

Abstract

This study is grounded in the significance of movement pattern construction as a conceptual foundation in creating a coherent and meaningful dance performance. Previous studies on the Prajuritan dance have primarily focused on performance form and socio-cultural values, while analyses of movement pattern construction remain limited. Therefore, this research aims to examine the construction of movement patterns within a choreographic framework in the Prajuritan dance performed by the Lestari Budi Tamtama community, emphasizing formative elements, compositional principles, and structural integration. This study employed a qualitative method with a choreological approach. Data were collected through observations of rehearsals and performances, in-depth interviews, and literature reviews to strengthen the theoretical framework. Data analysis was conducted systematically through data reduction, data presentation, and conclusion drawing. The findings indicate that movement pattern construction is based on the integration of posture and movement elements involving the head, torso, arms, and legs as fundamental structural units. The choreographic structure is developed through motifs, repetition, variation, climax, transition, proportion, logical development, and unity as an integrated compositional framework. Motifs function as the basis for developing movement sequences, while transitions ensure continuity between sections. Repetition and variation enrich movement dynamics, whereas climax serves as the dramatic peak of the performance. Proportion and logical development maintain structural balance and continuity. Overall, these principles create choreographic unity capable of effectively conveying artistic meaning and representing the distinctive character of the dance performance.
DRAMATARI SEBAGAI RUANG GUGATAN NARASI: IMPLEMENTASI PENDEKATAN 4R DALAM PENCIPTAAN DRUHYARING SATYA Tyoba Armey Astyandro Putra; Deri Al Badri; Eti Mulyati
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.v25i1.8466

Abstract

Learning dramatari in higher arts education can no longer be understood merely as a process of transferring movement techniques and reproducing traditional performance forms. This study aims to (1) describe the transformation of dramatari learning at the Dance Department of Institut Seni Budaya Indonesia (ISBI) Bandung through the 4R approach—revisiting, requestioning, reinterpretating, and recreating—developed by Eko Supriyanto; (2) analyze the implementation of this approach in the dramatari performance Druhyaring Satya; and (3) identify its impact on students' creativity and artistic awareness. This research employed a qualitative descriptive method with a practice-based research approach, involving 27 students in a sixth-semester dramatari course during the 2025/2026 academic year. Data were collected through participatory observation, performance documentation, script analysis, and reflective writings from 27 students using a structured reflection guide. The findings indicate that the 4R approach successfully shifted the learning process from reproductive to exploratory, collaborative, and reflective. The performance Druhyaring Satya—60 minutes in duration, involving 27 dancers including double casting performers, staged at the Sunan Ambu Arts Building of ISBI Bandung on 19 May 2026—served as concrete implementation of this transformation through the reinterpretation of the Perang Bubat historical narrative as a critical interrogation of collective memory shaped by colonial historiography. Thematic analysis of 27 students' reflective writing identified five transformation themes: novelty of form, courage to leave familiar artistic zones, process intensity as bodily experience, collective work and artistic negotiation, and critical questioning of tradition and history.
HIBRIDITAS GERAK DAN BUNYI: TRANSFORMASI METODOLOGI PENGKARYAAN TARI KONTEMPORER FLS3N BERBASIS DIGITAL AUDIO WORKSTATION Vereki Martiano; Intania Ananada Jonisa; Susandra Jaya
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.v25i1.8606

Abstract

This study aims to comprehensively analyze the methodological transformation in creating contemporary dance by utilizing Digital Audio Workstation (DAW) Studio One 6 in the FLS3N competition, focusing on the work "Ratapan Bumi". The central problem highlights how digital technology functions not merely as a recording device, but rather as an integrated methodological environment bridging kinetic hybridity (Riau Malay Silat movements) and sonic spectrums (traditional-electronic instruments). Employing a qualitative approach with an interpretive case study design, empirical data were gathered through in-depth interviews with Composer Vic Art, systematic observation of the DAW project workflow, and contextual choreography document analysis. The results establish three digital methodology pillars with a prioritized emphasis on choreographic reconstruction and digital audio integration: (1) Converting the ecological narrative of Riau's forest crisis into a structured arrangement timeline using markers, (2) Generating timbral hybridity via third-party VST layering (Native Instruments Kontakt) to blend authentic traditional Malay resonances with software synthesis, and (3) Optimizing Automation Tracks as a direct translation tool for kinetic silat energy demanding high synchronization accuracy. This study confirms that DAW integration within contemporary dance choreography fosters an interdisciplinary paradigm where physical movement structures and digital sound design inherently co-construct one another.
DARI RITUAL KE KOREOGRAFI PARTISIPATORIS: NILAI PENDIDIKAN DALAM KARYA BAKAR BATU INDONESIA ART MOVEMENT Muhammad Ilham Mustain Murda; Suwarjiya; Rahmani; Dewi Rukmini Sulistyawati
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.v25i1.8634

Abstract

Bakar Batu is widely known as a communal cooking ritual in the Papuan Highlands. In the work created by Indonesia Art Movement, this ritual was reworked into a participatory performance involving bodies, sound, material objects, food, narration, and audience engagement. This article examines how Bakar Batu was transformed from ritual practice into participatory choreography and what educational values emerged from that process. The study focuses on the performance held on March 23, 2024, at KedIAMan Indonesia Art Movement, Jayapura, involving 32 performers and approximately 150 spectators. This research uses a qualitative approach through practice-based research and choreographic autoethnography. Data were collected from the creative proposal, audiovisual documentation, the artist’s reflective notes, and semi-structured interviews with performers, a Hubula youth figure, and spectators. The findings show that the work generated five layers of educational value: bodily education, ecological-material education, social-hospitality education, musical-aesthetic education, and cultural-intergenerational education. The performance demonstrates that learning about tradition can occur not only through verbal explanation, but also through participation, sensory experience, communal eating, and direct encounter with local knowledge. This article argues that participatory choreography can function as a living space for cultural education rooted in Papuan embodied knowledge.

Page 31 of 31 | Total Record : 305

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