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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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Paradigma Penelitian Sutarno Haryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Research is an attempt to understand facts in a rational empirical way, using a certain procedure in accordance with the method chosen by the researcher. There are two kinds of research, namely quantitative and qualitative. In the research of a particular work, program, or event, using a holistic critical approach, its quality should be viewed from the perspective of its background, its objective formal conditions, and its impact.Â Keywords: Research, quantitative, qualitative, holistic critical.

ASPEK HUKUM PENDAFTARAN HAK CIPTA DAN PATEN Syahrial Syahrial
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Intellectual Property Rights is related to the protection of the application of ideas andinformation that has commercial value, For owners of ideas and information that has commercialvalue, Intellectual Property Rights is a personal wealth that can be owned and treated as same asother forms of wealth. That same treatment is like reselling or renting it. So that ideas andinformation that has commercial value is not used by another person who is not responsible, thenthere must be protection from a legal perspective. This paper briefly discusses about the two categoriesthat are protected under intellectual property rights, namely copyrights and patents. Onthe other side, this paper aims to provide an understanding of the legal aspects of copyright andpatent registration.Keywords: Intellectual Property, Copyright, Patents, Law, Registration

INOVASI KESENIAN RAKYAT KUDA LUMPING DI DESA GANDU, KECAMATAN TEMBARAK, KABUPATEN TEMANGGUNG Nur Rokhim
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Demam kesenian rakyat kolaborasi Leakan di Temanggung rupanya sudah tidak dapat dibendung lagi. Para seniman senior rata-rata menolak kehadiran kolaborasi tersebut, mereka merasa risih dengan pengembangan seni pertunjukan yang demikian. Akhirnya Dinas melarang pertunjukan kolaborasi Kuda Lumping dengan tari Leak, Pendet dan Barong Bali. Hal ini dimaksudkan untuk mengembalikan eksistensi pertunjukan Kuda Lumping seperti semula sebagai seni yang mempunyai ciri khas Temanggung. Kesenian Kuda Lumping Sri Budoyo berada pada situasi yang rumit, di tengah-tengah tuntutan selera masyarakat yang semakin beraneka ragam. Tekad masyarakat pendukung kesenian sudah bulat untuk menjaga dan melestarikan kesenian Kuda Lumping supaya tetap eksis dengan ciri khasnya. Berbagai permasalahan mitra sebagi akibat masuknya kesenian luar daerah yang mengusik eksistensi kesenian lokal sebagai ciri khas daerah, maka akan ditawarkan solusi untuk mengatasi permasalahan yang dihadapi. Inovasi adalah sebuah cara yang akan dilakukan sebagai solusinya. Inovasi yang dilakukan adalah pemberdayaan anak-anak sebagai generasi penerus kesenian Kuda Lumping di desa Gandu II, yang nantikan akan memegang kendali kesenian di desa tersebut. Anak-anak diberi pelatihan tari Geculan sebagai dasar kepenarian mereka, gerak-gerak yang disusun disesuaikan dengan usianya.Kata kunci: Inovasi, Kesenian rakyat, Kuda Lumping.Abstract The folk art fever of the Leakan collaboration in Temanggung apparently cannot be stopped anymore. The average senior artists reject the presence of the collaboration, they feel uncomfortable with the development of such performing arts. Finally the Office banned the performance of the Kuda Lumping collaboration with the Leak, Pendet and Barong Bali dances. This is intended to restore the existence of the Kuda Lumping performance as originally as an art that has a characteristic Temanggung. Sri Budoyoâ€™s Kuda Lumping Art is in a complicated situation, amidst the increasingly diverse demands of the peopleâ€™s tastes. The determination of the people supporting the arts has been unanimous to maintain and preserve the Kuda Lumping art in order to continue to exist with its trademark. Various partner problems as a result of the entry of arts outside the region that disturb the existence of local arts as a regional characteristic, will be offered a solution to overcome the problems faced. Innovation is a method that will be carried out as a solution. The innovation carried out was the empowerment of children as the next generation of Kuda Lumping art in the village of Gandu II, who were looking forward to taking control of the arts in the village. The children were given Geculan dance training as a basis for their dance, the movements arranged according to their age. Keywords: Innovation, Folk art, Kuda Lumping.

KONSEP BIWANWISALUS DALAM TARI KURSUS Toto Sudarto
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

West Java, dance in recognized by Sudanese dance, one kind of Sudanese in Tan Kursus (Course Dance). Tan Kursus developsÂ fromÂ Tayub dance which co//aborted Topeng Cirebon. With in developing of Tan Kursus seems performing art for mans. There are five matters of criteria must be attended for rich of perfectly level for the dancers in Sudanese dance.I would like to study as specially the criteria of danser in kind of Tan Kursus. The criteria are acronym of Biwanwisalus (bisa, wanda, wirahma, sari~ alus). A/us/body coordination: in general skillÂ usesÂ all the body parts, othe,wise to run up the movement of the dance. Wanda/suitable of realizer: the dance structure of reaching of types suitable by the dance with runing up. The type are including costume, make up and dancer body. Wirahma/rasa irama: in on time to cuny of movements rhythm 0/though on time how to understand to ward dance music. Sari/penghayatan: deep understanding of thema and impression for etting energy will accure for the dance to the trough out to became impression wich effected by outsiderhnterpretation ability. Alus/aliran gerak: is throwing down of movement from level to following level withuot accunng difficulty.Key word: Biwanwisalus, Kursus Dance, changes, andÂ developments.

Karya Seni â€œWayang Orang Rahwana Wirodhaâ€: Kualitas Kepenarian pada Sosok Rahwana Samsuri Samsuri
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

As we know, dance have a strong energy just for who capable to deepen and exploit the strength inside with the media moving and body. Existing ability in every motion, able to build up a strong individual appearance. Javanese dance has own typical movement. This matter relied on body possibilities formed by tradition, in interaction and dialoguing with the situation outside. With the properties of manner of expression and its essence value, tradition appropriately able to give the possibilities to be entered, to be explored, to create of new tradition among growth various artistic form of dance performance. Many styles and approaches, in the end become the way of how to mean dance from different side where exploration use body can attend to fluctuate according to its context. This work try to elaborated spirit of exploration to get knowing deeper about the character or Rahwana, subject presentation of gagahan in Javanese dance. Keyword : Rahwana, gagahan, character

TARI TRADISI GAYA SURAKARTA Sriyadi Sriyadi
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Traditional Surakarta style dance is a cultural heritage that must not be changed. It hasbeen passed down over many generations as a legacy that still adheres to the rules and regulationsthat were first determined by early dancers. The presence of Surakarta style dance in the royalpalace is an example of an important cultural heirloom that belongs to the king and is also aconcept for the kingâ€™s power or legitimacy.Â

KARYA SASTRA AKSARA JAWA SEBAGAI EKSPEKTASI TARI AKSARA TUBUH KARYA BOBY ARI SETIAWAN Fani Dwi Hapsari
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Penelitian ini berjudul aksara Jawa sebagai inspirasi tari karya Boby ini berjudul karya sastra aksara Jawa sebagai inspirasi boby. Memfokuskan pada karya tari aksara tubuh sebagai bentuk transformasi aksara Jawa ke dalam bentuk sebuah karya tari. Permasalahan dalam tari ini bagaimana daya tarik karya sastra aksara Jawa sehingga menginspirasi Boby untuk melahirkan karya baru. Karya tari aksara Jawa ditransformasikan ke bentuk tari. Metode yang digunakan adalah metode penelitian kualitatif, dengan menggunakan teori kreativitas dari umar kayam tentang kreativitas dan keberbakatan. Hasil yang didapatkan dalam penelitian ini sastra aksara Jawaditransformasikan ke dalam gerak-gerak yang berupa simbolsimbol yang berbentuk aksara Jawa.Kata kunci: Sastra, Aksara Jawa, Aksara Tubuh.

Implementasi Konsep Kesantunan Budaya Jawa pada Seni Pertunjukan Langendriya Mandraswara Mangkunegaran Sutarno Haryono
Greget Vol 5, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

When Mangkunegara IV was in power in the Mangkunegaran (1853-1881), he created several new art forms, one of which was Langendriya Mandraswara, which uses as its media both verbal and non-verbal components. The verbal component, traditional Javanese singing, or tembang macapat, is adapted to suit the social strata and takes into consideration the principle of politeness. The non-verbal component expresses a particular character. The integration of the two components creates a clearer, more communicative, and more aesthetic meaning.Keywords: Politeness, verbal and non-verbal components

Topeng Cirebon Dalam Teori Fungsionalisme Toto Sudarto
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

The word â€˜functionâ€™ has been elaborated in many aspects. In every single context it also has a different meaning. Despite having a specific meaning, the meaning of the word â€˜functionâ€™ differs from one discipline to another. A.R. Redcliffe Brown and Bronislow K. Malinowski are the pioneers of the theory of function amongst anthropologists. Their assumption, which is based on their theoretical constructs related to social and cultural integration, has an independent system andÂ consists of every single part or element, since every element or part is not autonomous but rather is connected to and even dependent on each other. On the other hand, every element or part of the system can exist because it is needed, or experiences an interdependency or inherence not by accident,Â and its whole appearance belongs entirely to the orientation of a living system. The changing of each element will have an impact on other elements. The Cirebonese masked dance can be studied from several disciplines. In this article, the Cirebonese masked dance is examined using a theory of function, especially functionalism of anthropology. In addition the dance is assumed to be a system of performance which consists of various elements that are related to each other. This article on the Cirebonese masked dance will explore its dance symbols through the mask, in relation to its religious, educational, socio-political, economic, bureaucratic, and aesthetical elements.Keywords : function, theory of function, Cirebonese masked dance, functionalism.Â

SENI PERTUNJUKAN WAYANG TOPENG GAYA YOGYAKARTA S., Supriyanto
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Wayang Topeng Pedalangan is one of the links in the chain of history of the performing arts in Java and is believed to have been in existence since the 7th century. The art oftopeng Panji, or the Panji masked dance, first emerged after the appearance of the Panji stories inthe middle of the 13th century during the era of the Singasari Dynasty. During the era of theDemak Dynasty, in the 15th century, topeng Panji was developed by a number of religious leaders,including Sunan Kalijaga. The 16th century marked the beginning of the masked dance beingpreserved and developed by traditional puppet masters, or dalang, and their relatives. These dalangpassed on the art of topeng from generation to generation through their network of relatives whoare referred to as Trah Dalang. The role and function of the dalang is connected with the style ofthe performance which is known as Pedalangan style. The influence of the dalang in topengPanji is still evident today in the areas of Yogyakarta, Klaten, Malang, and Cirebon, each of whichis of course adapted to suit its own regional style. Around the middle of the 20th century, the artof topeng pedalangan was revived and reinterpreted by Krida Beksa Wirama to become a classicalversion of topeng in Yogyakarta style. A number of refinements were made to the techniques andform of the dance which adopted the style of classical Yogyakarta dance. Over time, and with thegrowth of various dance groups which performed classical Yogyakarta style dance, such as YayasanSiswa Among Beksa, Mardawa Budaya, Pamulangan Beksa Ngayogyakarta, and Suryokencana,the classical style of masked dance was perfected by the artists of Yogyakarta.Keywords: Topeng, Dalang, Classical.

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