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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 291 Documents
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Pemadatan Tari Lagu Dhempel di STSI Surakarta Nur Rokhim
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2419.214 KB) | DOI: 10.33153/grt.v9i2.435

Abstract

The Srimpi Lagu Dhempel dance is a traditional dance which grew and developed inside the palace walls. Originally this dance was not allowed to be performed outside the palace walls because of its exclusive nature and the strong sense of ownership within the palace. However, after the establishment of a number of art colleges in the 1970s, this dance began to be performed outside the palace, including at STSI Surakarta, which uses the dance as lecture material. STSI Surakarta is an institution of higher education for the arts in Indonesia whose mission is to develop the life of Indonesian art and culture which is oriented to the future. As such, the tendency towards change must take place within a framework of creativity and possess a dynamic quality. In this case, one example of change is the endeavour to create an abridged version of the Srimpi Lagu Dhempel dance. The creation of shorter versions of existing dances at STSI Surakarta was pioneered by the late Gendhon Humardani, and subsequently continued by many of his students. The abridgment of the Srimpi Lagu Dhempel dance was based on the concept of “container” and “contents”. The orientation of the abridgment is not time and the fact that the time becomes shorter is a result rather than the goal of the abridged version.Keywords : Abridgement, Srimpi Lagu Dhempel dance.
GARAP GERAK TARI KIJANG KENCANA DALAM EPISODE HILANGNYA DEWI SINTA SENDRATARI RAMAYANA PRAMBANAN YAYASAN RARA JONGGRANG Kawuryansih Widowati
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1066.716 KB) | DOI: 10.33153/grt.v14i1.1661

Abstract

The aim of this research is to describe the treatment of the movements in the Kijang Kencanadance, including the form of the performance of the particular episode entitled Dewi Sinta’s Disappearance, the different elements of treatment of the dance movements in the Kijang Kencanadance, and an analysis of the movements. The method used in the research is a qualitative methodand the data obtained was descriptive in nature. The data obtained was processed and analyzed ina qualitative manner. The treatment of the movements in the Kijang Kencana dance is analyzedwith reference to the treatment of the dance movements found in the performance of the RamayanaDance-drama by the Rara Jonggrang Foundation in Prambanan. The analysis of these movementsuses a theory of treatment, or garap, and theories of distortion and stylization. The Kijang Kencanadance is a dance in which the patterns of movement imitate the patterns of movement in the dailylife of a deer (kijang). This imitation of the pattern of movements subsequently undergoes adistortion and stylization to become the movements that are seen in the Kijang Kencana dance inthe episode Dewi Sinta’s Disappearance in the Ramayana Dance-drama.Keywords: Episode DewiSinta’s Disappearance, Kijang Kencana, and treatment.
KREATIVITAS JONET SRI KUNCORO DALAM KARYA TARI AMBABAR BATIK R.Aj Roliska Kusumo Wardani; S Soemaryatmi
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (168.919 KB) | DOI: 10.33153/grt.v17i2.2305

Abstract

Abstrak Karya Tari Ambabar Batik merupakan koreografi kelompok yang terinspirasi dari corak – corak kain Batik. Peemasalahan yang diambil adalah elemen-elemen koreografi Karya Tari Ambabar Batik dan kreativiitas Jonet Sri Kuncoro dalam menciptakan karya tari Ambabar Batik. Konsep yang digunakan untuk menganalisis koreografi karya tari Ambabar Batik adalah konsep dari Sumandyo Hadi tentang elemen-elemen koreografi kelompok yang terbagi menjadi sebelas unsur yaitu: 1) gerak tari; 2) ruang tari; 3) iringan tari; 4) judul tari; 5) tema tari; 6) tipe/jenis/sifat tari; 7) mode penyajian; 8) jumlah penari dan jenis kelamin; 9) rias dan busana; 10) tata cahaya; 11) properti tari dan perlengkapan lainnya. Untuk mengupas kreativitas Jonet Sri Kuncoro dalam karya tari Ambabar Batik menggunakan teori 4P’s dari Rhodes yang diungkapkan oleh Utami Munandar yaitu pribadi kreatif, pendorong kreatif, proses kreatif, serta produk kreatif. Hasil menunjukan Ambabar Batik merupakan pengungkapan dari ide yang diambil dari fenomena yang ada di Indonesia sebagi koreografi kelompok yang ditarikan sembilan penari. Koreografi yang tidak lepas dari kreativitas koreografer meliputi pribadi, pendorong dan proses kerja koreografer. Penelitian ini bertujuan mendeskripsikan dan menjelaskan tentang koreografi dan kreativitas tari Ambabar Batik karya Jonet Sri Kuncoro. Penelitian ini menggunakan metode pemelitian kualitatif deskriptif analitis. Simpulan dari penelitian ini menunjukan bahwa pengungkapan bentuk koreografi tidak lepas dari kekuatan pengalaman koreografer sebagai sebuah bentuk kreativitas.Kata kunci: Ambabar Batik, Kreativitas, Koreografi, Jonet Sri Kuncoro.AbstractAmbabar Batik Dance is a group choreography that is inspired by Batik fabric. Problems taken are the elements of choreography Ambabar Batik Dance and the creativity of Jonet Sri Kuncoro in creating works of Ambabar Batik dance. The concept used to analyze the choreography of Ambabar Batik dance is the concept of SumandyoHadi, which is about the elements of group choreography which is divided into eleven elements, namely: 1) dance movement; 2) dance room; 3) dance accompaniment; 4) dance titles; 5) dance theme; 6) type / type / nature of dance; 7) presentation mode; 8) number of dancers and sexes; 9) dressing and dress; 10) lighting; 11) Dance properties and other equipment. To explore the creativity of Jonet Sri Kuncoro in Ambabar Batik dance work, using the 4P’s theory of Rhodes revealed by UtamiMunandar. That theory involves creative persons, creative booster, creative process, and creative product. The results show AmbabarBatik consists ideas taken from the phenomenon that exists in Indonesia as a choreographed group dance with nine dancers. There is choreography that cannot be separated from the creativity of the choreographer, including personal, choreographer and choreographer work process. This study aims to describe and explain about the choreography and creativity of Ambabar Batik dance by Jonet Sri Kuncoro. This research uses qualitative descriptive analytical method. The conclusion of this study shows that the disclosure of choreographic forms cannot be separated from the strength of the choreographer’s experience as a form of creativity.Keywords: Batik Ambabar, Creativity, Choreography, Jonet Sri Kuncoro.
KAYA TARI MANUKSMA SIKAP TANGGAP MEMBACA LINGKUNGAN Dwi Wahyudiarto
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2563.817 KB) | DOI: 10.33153/grt.v2i2.257

Abstract

Chronicle Wanamarta (is] the part of Wanaparwa episode which (is) human being kisah-kasih story with universe. Meruapakan Wanamarta a veiy forest (of] serious condition and is ghostlike, and laterthen.transform to become a big empire as linuwih satriya punjering. Understanding to forest meaning in fact can come near from various dimension. Forest from symbolic meaning dimension, from dimension life (of] universe, from dwelling place side [all] genie, natural ecology dimension, as forest human being dwelling place, as place work, as theft farm, as and asset properties (of] state, and St ill many again. How in fact (all] pandawa in face of various the problems, (is] to become the part of gegelisahan which finally have to take choice in forest attitude. Pendawa as excellent orderer, Bima have the spirit (of] remarkable (job/activity], DesignerArjuna offis beauty (of] reliable, Nakula very skilled in farming and developing crop, Observer animal Sadewa and Puntadewa very strong in idea in my me (of] pujabrata in base on spritual work (a II] pandawa Keyword: Puppet, Enviroment.
Eksistensi Pencak Silat dalam Penciptaan Tari Tradisi Gaya Surakarta Maryono Maryono
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3362.744 KB) | DOI: 10.33153/grt.v9i1.391

Abstract

The wide range of pencak silat movements used in traditional Surakarta style dance represents their importance in the formation and enrichment of the variety of dance movements in this dance style, especially in the Keprajuritan or Military dance genre. The basic pencak silat movements used for defence, dodging, and stabbing, as well as patterns of combat, have been absorbed and developed in the field of traditional dance to become movements with an expressive quality.Keywords:  Pencak silat, basic, enrichment, traditional dance, and military dance.
ESTETIKA TARI KUKILO GAYA SURAKARTA GUBAHAN S. MARIDI Resi, Laras Ambika; Maryono, Maryono
Greget : Jurnal Kreativitas dan Studi Tari Vol. 13 No. 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (438.881 KB) | DOI: 10.33153/grt.v13i1.533

Abstract

This research aims to uncover the aesthetic meaning of the Kukila dance through anaesthetical review in order to discover and describe: (1) the form of the Surakarta style Kukiladance which includes its theme, dancers, movements, make-up, costumes, music, and dance formation;(2) an explanation of the concept which symbolizes the form of the dance and the responseof the audience; and (3) an explanation of the aesthetic meaning of the Surakarta style Kukiladance. The form of the research is qualitative descriptive. The research uses a holistic approachwhich places the form of the dance or its sensation as the objective factor, the concept or idea whichsymbolizes as the genetic factor, and the response or emotion of the audience as the affective factorin an interactive communicative study. The research places each factor in an equal position as adata source and in the activity of the analysis.The theories used for researching the Kukila dance are: (1) Theories of Aesthetics; (2) Theoriesof Performing Arts; (3) Theories of Symbolism; and (4) Theories of Communication. Themethods used by the writer for collecting the data include: a library study, direct and indirect observation, and interviews with a number of informants. The conclusions drawn, based on theform, symbols, and emotions of the audience, are that aesthetically, the Kukila dance depicts afriendship between two kinds of birds which are agile, lively, and vivacious in character, while itfunctions as entertainment and can be interpreted as having content which is meaningful forcharacter building. In its implementation, the form of the Kukila dance is expressed through theperformance of presentative and representative movements which are agile, lively, and vivacious,and supported by make-up and costumes resembling the appearance of a bird, as well as dynamicmusic, creating a sense of harmony in a high quality work of art. The Kukila dance is essentiallya popular dance which is often learned by children in elementary school and junior high school.Keywords: Kukila dance, aesthetic, and character building.
NILAI ESTETIK TARI SRIMPI PANDHELORI DI PURA MANGKUNEGARAN S Sriyadi; Wahyu Santoso Prabowo
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1151.41 KB) | DOI: 10.33153/grt.v17i1.2295

Abstract

Penelitian Nilai Estetik Tari Srimpi Pandhelori di Pura Mangkunegaran bertujuan untuk mendeskripsikan koreografi dan nilai estetik tari Srimpi Pandhelori. Analisis koreografi Srimpi Pandhelori menggunakan konsep koreografi Sumandiyo Hadi. Analisis nilai estetik menggunakan konsep nilai estetik menurut The Liang Gie, yang didukung dengan konsep ciri-ciri sifat benda estetik oleh Monroe Beardsley, dan konsep pengungkapan nilai-nilai kehidupan dalam karya seni oleh De Witt H. Paker. Penulisan skripsi ini menggunakan metode penelitian kualitatif, dengan pendekatan estetik. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi pustaka. Hasil penelitian menunjukan bahwa tari Srimpi Pandhelori memiliki nilai estetik karena dari sudut pandang inderawi memiliki nilai bentuk dan dari isi mampu mengungkapkan nilai-nilai kehidupan.Kata kunci: Srimpi Pandhelori, koreografi, nilai estetik.AbstractResearch Value Aesthetic Srimpi Pandhelori Dance in Pura Mangkunegaran aims to describe the choreography and aesthetic value of Srimpi Pandhelori dance. Srimpi Pandhelori choreography analysis uses Sumandiyo Hadi’s choreography concept. Aesthetic value analysis uses the concept of aesthetic value according to The Liang Gie, supported by the concept of aesthetic properties by Monroe Beardsley, and the concept of life values in artwork by De Witt H. Paker. Writing this thesis using qualitative research methods, with an aesthetic approach. Data collection techniques used were observation, interview, and literature study. The results showed that the Srimpi Pandhelori dance has an aesthetic value because from the viewpoint of the senses have the value of the form and the content is able to express the values of life.Keywords: Srimpi Pandhelori, choreography, aesthetic value.
TARI BEGALAN DI TENGAH PERUBAHAN SOSIAL MASYARAKAT BANYUMAS. Karyono Karyono
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3421.292 KB) | DOI: 10.33153/grt.v8i1.341

Abstract

The Begalan tradition perfotming art Banyumas is sprit of life cultural Banyumas peole. Begalan is communal performing art in Banumas cultural not haven use people life in Gotong Royong. Begalan in people spirit to be change social process, because this Begalan develop changing is fungtional social cultural Keyword : Begalan, social change
MODEL PERTUNJUKAN BARONGAN ANAK SEBAGAI TRANSMISI BUDAYA DAERAH Karyono Karyono
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (271.741 KB) | DOI: 10.33153/grt.v12i2.503

Abstract

This study is in the form of “action research” which focuses on the result of the study byplacing data in the form of a children’s performance of Barongan as the material to be processed.Barongan is a folk art from Blora which has strong roots in the local community. In Blora, it is akind of communal art activity in which almost every neighbourhood has its own Barongan group.This is connected with the local belief that Barongan has the ability to protect the community, asreflected in the ritual ceremony Lamporan. In the past, Barongan has only been performed as aprocession, either as part of a ritual or to celebrate important national days. After seeing howchildren play with a toy Barongan and imitate its movements, the writer had the idea to carry outresearch and to design a model for a children’s Barongan performance. The model of a Baronganperformance for children needs to be introduced to the community as a means of regeneration andpreservation of a local culture. The method of research used was a method of experimentation andformation in which the method of experimentation was used to find an alternative performancemodel and the method of formation was used to create a performance model.
KAJIAN GERAK TARI SUNDA STUDI KASUS TARI JAIPONG Tubagus Mulyadi
Greget Vol 15, No 1 (2016)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1126.617 KB) | DOI: 10.33153/grt.v15i1.1721

Abstract

Metode interaktif dengan pendekatan teks tari didapat suatu hasil pembentukan motif dipola oleh gerak baku, gerak selingan, dan gerak variasi. Analisis ini diperlukan dalam upaya pembelajaran dan penciptaan tari Jaipong. Secara teknik pembentukan motif gerak Jaipong terpola dari gerak baku pencak silat dikembangkan dengan selingan gerak dan variasi membentuk motiv-motiv baru sebagai ragam gerak tari Jaipong. Metode yang digunakan dalam analisis motiv gerak adalahEfort-Shape sebagai proses pembentukan koreografi meliputi ketubuhan atau media, tema, dan dinamika serta bentuk meliputi lintasan gerak, level, dan volume gerak. Hasil yang dicapai dalan analisis ini secara teknik dapat digunakan dalam pencatatan sebuah tari maupun pembelajaran tari.Kata kunci: motif, gerak baku, gerak selingan, dan gerak variasi.

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