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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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IDE UNTUK MENYUSUN PROPOSAL PENELITIAN SENI TARI R.M. Pramutomo
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1476.401 KB) | DOI: 10.33153/grt.v2i2.253

Abstract

Dance studies have been establishing by inspecting its abilities to some new perspectives in the research’s field. Indeed, research isa confusing term as Henstein said. The previous curiousities has been inspected by Henstein in orderto arrange a research proposal. Based on a term a research is scholarly, through this article I am going to examine a basic element of previous curiousities called systematic of inquiry By inspecting systematic of inquiry, it will be supporting a new perspective in the research proposal as welL This article is also going to strive the difficulies of finding idea, and hopefully helping to understand precisely what we mean when we speak about research in a scholarly sense.Keywords: idea of research, research’s scholarly, research proposal.
Visualisasi Garap Cerita dan Struktur dalam Tari Wireng di Mangkunegaran Hadi Subagyo
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3134.891 KB) | DOI: 10.33153/grt.v9i1.389

Abstract

Broadly speaking, the Wireng dance genre from the Mangkunegaran can be divided into three groups or categories according to the source of the story presented, namely Wireng Purwa, Wireng Madya, and Wireng Panji or Gedhog. From a visual point of view, the costumes characterize each of these categories of performance. The visualization of the particular style of Wireng dance uses structures known as Maju Beksan, Beksan, and Mundur Beksan. In addition, the structure of the wireng dance is formed through the composition of the music and the arrangement of the dance patterns.Keywords: Wireng, story, and structure.
PERUBAHAN BENTUK TARI PENYAJIAN TARI BEDANA BANDAR LAMPUNG Arini Sofia
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1875.746 KB) | DOI: 10.33153/grt.v13i1.531

Abstract

Bedana dance creation is dance creation Bedana tradition. The dance is a social dance thatcan be served single, in pairs, or groups using the property fan used in a variety of events. Bedanadance that was danced in pairs at the presents time only danced in group with additional propertiesfan, this makes bedana dance become more interesting and more free no bound by traditionalvalues. Previously, this dance is a dance that only served for only be displayed in certain place.Bedana dance is the only sacred dance held at the hatam quran, but at the present time Bedanadance can be displayed anywhere, anytime without having to be bound by customary norms.Keywords: Bedana dance tradition to be Bedana dance creation
TARI OPAK ABANG SEBAGAI SIMBOL IDENTITAS MASYARAKAT KABUPATEN KENDAL Putri Novalita; 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 (885.171 KB) | DOI: 10.33153/grt.v17i1.2294

Abstract

AbstrakTari Opak Abang berasal dari Desa Pasigitan, Kecamatan Boja, Kabupaten Kendal. Opak Abang adalah akronim kata Opak yang diambil dari kata kethoprak dan Abang merupakan alat musik pengiringnya yaitu terbang atau rebana. Gerakan pada tari Opak Abang sederhana dan banyak yang diulang-ulang. Ragam gerak dan musik pada tari Opak Abang yang khas dengan menggunakan gerak-gerak kerakyatan yang rampak dan diiringi alat musik rebana. Tari Opak Abang diresmikan dan diakui oleh Pemerintah Kabupaten Kendal sekitar tahun 1970-an. Tari Opak Abang dianggap oleh masyarakat Kabupaten Kendal sebagai salah satu tarian yang menjadi identitas Kabupaten Kendal. Permasalahan penelitian ini adalah bagaimana bentuk pertunjukan tari Opak Abang dan mengapa tari Opak Abang menjadi simbol identitas masyarakat Kabupaten Kendal. Metode penelitian yang akan digunakan untuk melaksanakan penelitian menggunakan pendekatan etnokoreologi. Jenis penelitian ini menggunakan metode penelitian kualitatif deskriptif analitis. Penelitian kualitatif menggunakan teknik pengumpulan data antara lain dengan studi pustaka, observasi, wawancara, dokumentasi dan analisis data.Kata kunci: Opak Abang, Simbol, Identitas, Kendal.AbstractOpak Abang dance come from, Pasigitan Village, Boja Subdistrict, Kendal Regency. Opak Abang is an acronim, Opak is come from kethoprak and Abang is one of music escort it is terbang or rebana. The motion of Opak Abang is simple and a lot of repetitive motion. The typical Range of motion and music in Opak Abang using populist motions that dense and the music rebana is escorted. Opak abang dance inagurated and recognized by Kendal Regency Goverment about 1970’s. Opak Abang dance reputed by Kendal Regency society as one of dance that to be the identity of Kendal Regency. The problem of this research is How is the performance form of Opak Abang dance and Why is Opak Abang dance is to be an identity of Kendal Regency society. The method of this reseach is using ethocoreology approach. This type of the research is using qualitative research methods descriptive anaysis. Qualitative research using data collecting technique it is with literature review, observation, interview, documentation and data analysis.Keywords : Opak Abang, Symbol, Identity, Kendal.
Karya Tari “Sebuah Catatan Harian”: Seni sebagai Media Pembelajaran bagi Anak-anak Tuna Rungu Jonet Sri Kuncoro
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7140.275 KB) | DOI: 10.33153/grt.v8i1.335

Abstract

This work try to become a reflection, that we are not alone in this world. In this globalization era where communications expand at full speed, there’s still the human being which "live alone" in their own world. Of course it’s not things which they wish for, however, that circumstance was a disability they suffered. Everyone has their own world. But children’s world of deaf people is a world require to get sympathy, empathy, attention as well as heartfelt intention to assist them. At meanwhile art "telling a story" to us through channel of verbal and nonverbal. Because of its sensitivity and because its way give form to experience, art can jar wire in our soul and reach and also activate the parts of from our own experience which cannot be reached and activated by ordinary information. Art was a representative actualization media, grow self confidence up. Art also the therapy applicable for child suffering concentration trouble, co-ordinate body function, even bounce. Others also as medium of forming of ethic kindness, from values which consisted in art itself, and also in its learning process. For the reason, this work try to a little bit flicking away human side of ourself: is there any of us will share and have the empathy with them, disability children or deaf people which live in their own world? This work try to be a reflection for us about that thingKeyword : dance, therapy, education.
ANALISIS BAHASA PRAGMATIK ADEGAN MENAKJINGGA GANDRUNG DALAM LANGENDRIYAN RANGGALAWE GUGUR Maryono Maryono
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (438.883 KB) | DOI: 10.33153/grt.v12i2.499

Abstract

This paper aims to discover the meaning of the Menakjingga Gandrung scene inLangendriyan Ranggalawe Gugur through a study of the pragmatic language used. The researchuses a descriptive qualitative methodology. The theoretical basis used for analyzing the object ofthe study is a combination of pragmatic theories and performing arts theories. The target of thepragmatic theories is the types of linguistic texts while the performing arts theories are directedtowards physical elements of a non-linguistic nature.Based on a study of the verbal and non-verbal components in the Menakjingga Gandrungscene in Langendriyan Ranggalawe Gugur, it is evident that its theme is that of gandrungan orunrequited love. The story portrays the love of Adipati Menakjingga for Queen AyuKencanawungu. His love remains unrequited despite his power and supernatural abilities. Thereality of this situation is also contained in the words of the song Asmarandana which states“gegarané wong akrami dudu bandha dudu rupa among ati pawitané” (the main asset for aperson to love is not wealth, nor is it good looks, but rather comes from the heart). Therefore, a loveaffair is truly determined by the compatibility and harmony between two people’s hearts whenthey are sincere in sharing their love for one another. 
PRAGMATIK TARI KIONGKONG SABUK JANUR DUSUN PLAWAN, NGARGOYOSO, KARANGANYAR Ria Fitriani
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1027.611 KB) | DOI: 10.33153/grt.v15i1.1719

Abstract

enelitian ini bertujuan untuk mengungkap Pragmatik tari Kiongkong Sabuk Janur dari perspektif linguistik pragmatik untuk menemukan dan mendeskripsikan tentang: (1) Bentuk komponen verbal tari Kiongkong Sabuk Janur yang mencakup: teks bagian narasi, teks bagian pertama: tembang maskumambang, teks bagian kedua: janturan dansenggakan, teks bagian ketiga: senggakan, teks bagian keempat:tembang pangkur, teks doa, teks kegembiraan, dan teks senggakan, Rekapitulasi jenis-jenis tindak tutur komponen verbal pada tari Kiongkong Sabuk Janur; (2) Bentuk komponen nonverbal tari Kiongkong Sabuk Janur yang mencakup: tema, gerak, penari, ekspresi wajah, kostum, iringan, Panggung dan pola lantai, properti; (3) Analisis komplementer komponen verbal dan nonverbal. Bentuk penelitian adalah penelitian kualitatif deskriptif. Penelitian ini menggunakan pendekatan linguistik. Teori yang digunakan untuk mengkaji tari Kiongkong Sabuk Janur adalah: (1) Teori pragmatik dan (2) Teori seni pertunjukan. Simpulannya berdasarkan analisis komplementer komponen verbal dan nonverbal secara kontekstual bahwa tari Kiongkong Sabuk Janur merupakan jenis tarian binatang yang digarap dalam bentuk drama kehidupan sosial yang difungsikan sebagai bentuk hiburan dan memberikan pesan moral untuk meningkatkan semangat kehidupan gotong royong. Makna tari Kiongkong Sabuk Janur adalah mengajarkan betapa pentingnya rasa kebersamaan, gotong royong dalam kehidupan bermasyarakat. Kata kunci: Tari Kiongkong Sabuk Janur, pragmatik, komponen verbal dan nonverbal.
Konsep Dasar Bagi Seorang Penari Sutarno Haryono
Greget Vol 11, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (144.578 KB) | DOI: 10.33153/grt.v11i1.459

Abstract

There are two aspects which place emphasis on creativity as one of the main motivations of a dancer to increase his or her ability to project a creative interpretation, create empathy, and possess a social perspective. This emphasis includes the meaning of an idea which is reinforced through creative activity by looking at something with a broader perspective. The creative discovery of a dancer is essentially as important as developing ideas, and also the final result. As such, it is hoped that a dancer will determine and react to changes and developments in the art community by producing a personal interpretation in the form of a dance performance. Keywords : Basic concepts, Basic skills, and Dancer. 
SUMINI LEDHEK BARANGAN DARI SUKOREJO, KEDUNG JERUK, MOJOGEDANG, KABUPATEN KARANGANYAR S., Sudarno
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1004.32 KB) | DOI: 10.33153/grt.v14i1.1669

Abstract

The object of this research is Sumini, a woman from the village of Sukorejo, in the KedungJeruk, sub-district of Mojogedang, in the district of Karanganyar, whose profession is a Ledhek barangan artist. The research aims to discover Sumini’s journey to become a Ledhek baranganartist and her style of movements when performing, or “mbarang Ledhek”. It is a qualitativeresearch study which uses a choreographic approach. In order to analyze Sumini’s journey to become a Ledhek barangan artist, T. Inrahim Alfian’s theory of history is used. In order to analyzeSumini’s style of movements, the writer uses Desmond Morris’s theory, as quoted and presentedby Soedarsono. Due to her skill and perseverance, Sumini has managed to create a unique style ofmovement in her performance of Ledhek barangan, such as movements that are performed witha large volume and a technique in which the left foot is positioned on tiptoe(gejuk)behind theright foot.Keywords: Ledhek barangan, Sumber Laras, Sumini.
TARI KERAWUHAN DI BALI : SANGHYANG DEDARI SEBUAH KAJIAN SOSIAL Nanik Sri Prihatini
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3394.849 KB) | DOI: 10.33153/grt.v2i2.271

Abstract

Dance kerawuhan (trance dance) is one of permorming art for the ritual event who stile a life in Bali. Sanghyang Dedari dance for its example, and used by Balinese society to ritual dance. Now that ritual art changed to be performance for tourisme.Key word: trance, wali, Sanghyang Dedari.

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