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Greget

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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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ESTETIKA ISLAM DALAM KONTEKS KEHIDUPAN SOSIAL Setyo Widyawati
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

The aim of this writing is to give commentary on Islamic Aesthetics In the frame of sicial life. The con.sequency of this is that islamic Aesthetics fixes two goals, worldly and heavenly goals. Moslems believe that heavenly goal is important than the worldly one, and to achieve this goal moslems need dzikrullah in any activity including working with arts. Dzikrullah means remembering A118h in an intense Consciousness with persistent intensity (istiqomah).Man needs art to express his feeling of beauty which is inherently born with him, while an expression of art becomes one of the manifestations of dzikruliah itself. Beauty is identified asÂ artÂ Islamic Aesthetics offers a concept of how to work with art in an Islamic way, and how to express beauty which contains truth and goodness. The supreme source of beauty is Allah Himself and He, too, the destination of beauty. The essence of art gets its reality in the brilliant brain of Allah. Consequently,Â artisticÂ creativity generating from Allahâ€™s beauty gives out spiritual values in broad spectrum.Islamic spirituality as an essence of islamic art has a close relation with the dimension of Islamic inner spirit, the dimension of inferiority of/slam. Al Quran and Al Hadits supply resources which inspire artists to get forms of Islamic inner dimension, the inspiration if which has the quality of supreme individual. Two examples of these forms are the calligraphy which is the art of writing Arabic characters and ten architecture of mosques.Calligraphy and the architecture of mosque are artistic works of supreme individual quality with the beauty reflected by Allahâ€™s inspiration. Calligraphy reflects two kinds of beauties, the aesthetic and the trancendental ones. Islamic artistic objects show the values of beauty in themselves as far kinds of nd the trancendental ones. Islamic alues of beauty in themselves as faras generated from perpetual source of inspiration which will never stop flowing. Islamic spiritual message is the presence of consciousness of The One God through the beauty of artistic expressions formed by the artists.Keywords:Islamic art, dzikrullah, lslamic spirituality

TOPENG BABAKAN Toto Sudarto
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Throughout the course of its journey, topeng babakan Cirebon has become a milestone, which has coloured the course of the history of dance in West Java. This research discovers the changes and developments in topeng babakan from 1900 to 1990. The study of the subject of this tesis uses a historical approach, with the aid of social and cultural studies. Topeng Babakan is a performing folk art, the performance of which is still related to traditional ceremony such as ngunjung, mapag sri, ngarot, and so on. It spread through West Java, begining as a a traveling show or bebarang (troupe of performing beggars) at the start of the 20th century. This drew the attention of the aristocrats or menak, to learn the art of Cirebon masked theater. In it subsequent development, this dance greatly infuenced other dance forms in the Priangan region and in West Java in general. The rise and fall of topeng babakan performance activities was largely infuenced by developments in siciety, ehich constantly changed with the developments of the age, and developments in information technology and communication.Keyword : topeng babakan, bebarang, changes, and developments

GARAP SUSUNAN TARI TRADISI SURAKARTA PADA TARI RETNA TAMTAMA Nanuk Rahayu
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

The writer is also the creator of the dance Retna Tamtama and the process of creation wasbased on a broad background. The crystallization of the writerâ€™s experience in working on â€œSrikandhiSenopatiâ€ had a strong impact on her soul. After much reading and contemplation, her imaginationwas stimulated and enriched by the reality of life today and even by her own personal experiences.Encouraged by these strong feelings, ideas emerged which were then transformed into atheme. In order to visualize the final work, stages were set to be used as a guideline. This wasfollowed by a process of creative work which involved preparation, formulation, and interpretation,based on the concept of treatment that was to be applied to the content and form of the danceand reflected in the dance movements, the musical accompaniment, or gending beksan, the costume,and the properties. The final stage of the creative process was the performance itself. Theidealism of the creator in performing her work meant that the dancers had to present a highquality of performance.

REKONSTRUKSI TARI BEDHAYA SUKOHARJO OLEH M. TH. SRI MULYANI Ika Ayu Kuncara Ningtyas; Slamet MD
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Artikel ini dimaksudkan untuk menjelaskan bahwa Rekonstruksi tari Bedhaya Sukoharjo oleh M.Th. Sri Mulyani yang fungsinya sebagai penyambutan tamu resmi, telah mengalami rekonstruksi melalui (1) penggalian tari, (2) pemadatan tari, (3) peningkatan karyakarya tari dan penyebarluasan. Rekonstruksi tari Bedhaya Sukoharjo mengalami sentuhan kreativitas oleh M.Th. Sri Mulyani salah satu seniman tari di Kraton Surakarta. Bentuk koreografinya dikemas lebih padat dan menarik dikarenakan tari Bedhaya Sukoharjo dalam konteks penyambutan tamu. Perubahan ini lebih ditata pada komponen gerak, tata rias dan busana, desain lantai dan musik tari. Kegiatan penggalian dimaksudkan untuk merekonstruksi tari yang bersumber dari masyarakat, melibatkan penari, pemusik dan penata busana serta seniman di daerah Surakarta. Penelitian ini menggunakan metode yang bersifat kualitatif dengan bentuk deskriptif analisis, sehingga ruang lingkup pembahasan meliputi 1) bagaimana proses rekonstruksi tari Bedhaya Sukoharjo oleh M.Th. Sri Mulyani, 2) bagaimana bentuk hasil rekonstruksi tari Bedhaya Sukoharjo oleh M.Th. Sri Mulyani, 3) bagaimana faktor-faktor yang mendukung rekonstruksi tari Bedhaya Sukoharjo oleh M.Th. Sri Mulyani. Analisis data dilakukan dari setiap bagian yang ditemukan. Data yang diperoleh dari observasi, wawancara dan studi pustaka dianalisis dengan menggunakan metode deskriptif analisis dan secara kualitatif sesuai dengan pokok bahasannya. Konsep yang digunakan dalam merekonstruksi tari Bedhaya Sukoharjo adalah konsep bentuk dalam kajian tari: teks dan konteks dengan memberi inovasi yaitu pertunjukan yang singkat, padat dan menarik. Maka berdasarkan konsep di atas, tari Bedhaya Sukoharjo dapat menjadi aset seni pertunjukan di Kota Surakarta. Dengan demikian, imajinasi dan realitas kebudayaan tidak dapat dipisahkan dari komunitas pemiliknya sehingga akan selalu muncul sebagai identitas baru sebagai jati diri personal melalui produksi karya tari visualisasi baru. Kata kunci: rekonstruksi, Tari Bedhaya Sukoharjo, koreografi.

Surono Seniman Serba Bisa Sriyadi Sriyadi
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

The process of an artistâ€™s journey through life is closely related to his or her social and cultural environment. Surono is an artist who is highly regarded, especially in the traditional art of wayang orang (a form of traditional Javanese stage show). He is not only skilled in the art of wayang orang but also as a dancer, singer, director, comedian, and Javanese gamelan musician, and is therefore often referred to as a â€œcompleteâ€ artist.Â Keywords: Artist, all-rounder, and creativity.

Wayang Wong Sebagai Pusaka Keraton Yogyakarta Supriyanto Supriyanto
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Soedarsono has written widely on the subject of Yogyakarta style wayang wong (a traditional Javanese stage show) as a dramaturgical state ritual in the Yogyakarta Palace. In general,Â wayang wong is a dramaturgy that can be described as a wayang performance presented by human actors. The term wayang wong may refer to all dramaturgies but its stories are usually taken from the Mahabharata and Ramayana epics. Wayang wong includes dialogue which is performed by the dancers and is based on the art of wayang kulit or shadow puppet theatre. Based on the evidence found in a number of sources, it can be said that the creator of wayangÂ wong in the Yogyakarta Palace was Sri Sultan Hamengku Buwono I who reigned from 1755 â€“ 1794. From the time of Hamengku Buwono V, wayang wong was nurtured and developed until it reached its peak of existence during the reign of Sultan Hamengku Buwono VIII (1921 â€“ 1939). During this period, wayang wong enjoyed its golden era, as could be seen from the number of wayang wong performances that were held, sometimes lasting for several days. However, after the death of Sultan Hamengku Buwono VIII, Yogyakarta style wayang wong experienced a decline in popularity. There were a number of different factors which led to the decline of this noble art form, including social and cultural factors, aesthetical factors, and the factor of patronage. Since its first appearance, traditional wayang wong was an important part of life, government, and state rituals in the Yogyakarta Palace. All of the Sultans from the Hamengku Buwono dynasty continued the tradition of wayang wong performances throughout their reign. In this sense, wayang wong as one of the noble cultures of the Yogyakarta court can also be understood to be a cultural heirloom. This has also been explained by Soedarsono in reference to the collection of serat kandha, or wayang wong story scripts that are kept in the Yogyakarta Palace. In addition, the position of wayang wong as a ritual performance was a blessing for the kawula dalem, or palace servants, who watched the performances. Performances of wayang wong in the Yogyakarta Palace were a form of state ritual which functioned as a ceremony to promote fertility and prosperity. The prayers surrounding this ritual were offered at the beginning and end of a performance and read by the pemaos kandha (narrator) of the wayang wong performance.Keywords : wayang wong, heirloom, court.

MAKNA â€œTUJUHâ€ DALAM TARI BEDHAYA DIRADHA META Nur Rokhim
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

TheBedhaya Dirada Metadance is performed by seven male dancersand is a symbol ofrespect to soldiers who have died in battle. The number seven in the Bedhaya Dirada Meta danceis closely related to the philosophy of Mankunegara Iâ€™s struggle. The basis of Mankunegara Iâ€™sstruggle in essence cannot be separated from the concept of leadership of the knights of Mataramwhich promotes three aspects, namely religion, morality, and culture. Of these three aspects, itsseems that the main philosophy used as a basis for Mankunegara Iâ€™s struggle is the concept ofreligious Islamic teachings in order to reach a level of perfection and to draw closer to God theCreator.Keywords: meaning, seven, bedhaya dirada meta.

Fungsi Ritual Tari Ngrengkau pada Masyarakat Dayak Benuak di Kalimantan Timur Muhammad Muttaqin
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

The performance of the Ngerangkau dance in the Kwangkai ritual is a re-actualization of the mystic relationship between the Dayak Benuaq community and the spirits of their deceased ancestors. This community becomes afraid if this ritual is not performed, since they believe that by performing the Ngrengkau dance ritual, they will be protected and kept away from any danger. For this reason, the ritual has been preserved, due to its close connection with various concerns of the Dayak Benuaq community, such as its function in escorting the souls of the dead to heaven, entertaining the spirits, keeping away evil spirits, ensuring fertility, and honouring the ancestors of the local community, in addition to other functions in the life of the community. Keywords : Ngrengkau dance, function, and ritual.

KEPENARIAN SUWITRI DALAM TARI TOPENG DI SLARANG LOR, DUKUHWARU, KABUPATEN TEGAL Fatkhudin Tri Nugroho
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

The research entitled The Artistry of Suwitri in Masked Dance in the Village of SlarangLor in the Dukuhwaru District of Tegal discusses the process of Suwitriâ€™s artistry as a maskeddancer in Slarang Lor and Suwitriâ€™s performance inTari Topeng Slarang Loror the Masked Danceof Slarang Lor. The method used in this research is qualitative interpretative. The techniques fordata collection include observation of recordings and direct observation, supported by a librarystudy and in-depth interviews. The theoretical foundation for uncovering the process of Suwitriâ€™sartistry uses the theories of Habitus and Pierre Bourdie while the study of Suwitriâ€™s performanceuses Janet Adsheadâ€™s dance analysis and the artistic demands for performing masked dance, whichinclude ngrungokena kendhang, gerakane kudu pas karo pakem, and ndelengna raineng topeng, or listening to the sound of the drum, making sure the movements follow the rules, andwatching the face of the mask. Suwitri is the only masked dance maestro who is able to perform 6different characters, as a result of her artistic background andthe process through which she learnedto dance to a level at which she has been affirmed as a maestro of Slarang Lor Masked Dance.Keywords: Artistry, Suwitri, Slarang Lor Masked Dance.

JARANAN POGOGAN TEGUH RAHAYU DESA SUGIHWARAS, PRAMBON, KABUPATEN NGANJUK (KAJIAN HOLISTIK) Marinda Lisa Anggraini; Sutarno Haryono
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Penelitian ini bertujuan untuk mendiskripsikan dan mengkaji secara anilitis tentang Jaranan Pogogan Teguh Rahayu. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan menggunakan pendekatan kritik seni holistik. Tahap penelitian yang digunakan adalah pengumpulan data dengan melakukan observasi, wawancara, dan studi pustaka. Seluruh data yang didapat kemudian di analisis dengan menggunakan pendekatan kritik holistik yang mencakup faktor genetik, faktor objektif serta faktor afektif. Hasil temuan bahwa Kesenian Jaranan Pogogan Teguh Rahayu merupakan kesenian yang diciptakan selain sebagai sarana hiburan juga sebagai sarana edukasi. Terdapat pesan-pesan moral dibalik setiap penyajiannya seperti semangat juang, kerja keras dan perintah-perintah untuk melakukan kebaikan.Kata kunci: Jaranan Pogogan Teguh Rahayu, Kritik Seni Holistik.AbstractThe goal of this research is to describe and carry out an analytical study of Jaranan Pogogan Teguh Rahayu. A qualitative research method is used with a holistic art criticism approach. The stages of the research include data collection through observation, interviews, and a library study. All the data obtained is then analyzed using a holistic art criticism approach which includes the genetic factors, objective factors, and affective factors. The research results show that the art of Jaranan Pogogan Teguh Rahayu was created as a form of entertainment and also as a medium for education. Every performance contains moral messages, such as the need for a fighting spirit, the importance of hard work, and instructions to perform good deeds.Keywords: Jaranan Pogogan Teguh Rahayu, Holistic Art Criticism.

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