Articles
291 Documents
<![CDATA[Seni, Gerbang Cakrawala Munculnya Postmodernisme ]]>
<![CDATA[I Nyoman Chaya]]>
<![CDATA[ Greget Vol 11, No 2 (2012) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2231.22 KB)
|
DOI: 10.33153/grt.v11i2.465
<![CDATA[Post-modernism appears as a critique of the worldview splendor which is more modernism with an open horizon and critical thinking in order to find a new meaning of a “truth†that scrutinized from the phenomena of human life. The horizon boundary of post-modernism, which emerges the natural limits of modernist thoughts, makes the post-modern thinking that beyond the region denies the rationality. Regard to this, the art world long before had built a discourse about the meaning of life entrenched struggle involving taste and feeling that goes through the edge of imaginary territory. Art, then, inspires and opens the gate so that it establishes the horizon of philosophical dictum of postmodernism. Keywords : arts, modern, postmodern]]>
<![CDATA[FUNGSI DAN MAKNA PERTUNJUKAN TARI SINTRÈN DI KABUPATEN PEKALONGAN JAWA TENGAH ]]>
<![CDATA[Hadi Subagyo]]>
<![CDATA[ Greget Vol 14, No 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (979.188 KB)
|
DOI: 10.33153/grt.v14i2.1703
<![CDATA[The Sintren dance is a form of folk dance that can be found on the north coast of CentralJava. It is performed by an unmarried female dancer who is in a trancelike state after being possessed by a spirit. It is a highly unique form of performance which has a complex meaning andfunction but its existence is currently a cause for concern since only a small number of groupscontinue to perform this art today. In Pekalongan in particular, the art of Sintren continues to bemulti-functional, and in addition to being a form of entertainment and used for social purposes,it is also closely associated with a ritual function. The meaning contained in the art of Sintrenprimarily describes the life journey of a person from the time he is still inside his mother’s wombto his birth, growth and development, and ultimately his death. The other meaning contained inthe art of Sintren is the poetry which accompanies the performance, describing the beauty of thenatural surroundings, animal and plant life, and things associated with spirits, angels, and goddesses. The poetry is largely in the form of advice or guidance which is reflected in the form offigures of speech.Keywords:Sintren Dance, function, and meaning.]]>
<![CDATA[Perempuan dalam Seni Pertunjukan Tari Kelompok “Sahita†]]>
<![CDATA[Dewi Kristiyanti]]>
<![CDATA[ Greget Vol 5, No 2 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (6129.276 KB)
|
DOI: 10.33153/grt.v5i2.289
<![CDATA[“Sahita†first appeared in 2001, and is a group of activists who work on women’s issues. Sahita has to date succeeded in creating six dances, namely Srimpi Srimpet, Srimpi Ketawang Lima Ganep, Iber-iber Tledek Barangan, Pangkur Brujul, Seba Sewaka, and Gathik Glindhing. These works are viewed by the community as the reformation of women’s roles in a broader life context. The dancers’ movements originate from traditional Javanese dances, and are performed with free, natural, and expressive movements which reflect women’s struggle to attain gender equality.Keywords: Women’s concept, dance performance, and friendship.]]>
<![CDATA[Visualisasi Garap Gerak dan Karakter dalam Tari Wireng di Mangkunegaran ]]>
<![CDATA[Hadi Subagyo]]>
<![CDATA[ Greget Vol 9, No 2 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2678.147 KB)
|
DOI: 10.33153/grt.v9i2.419
<![CDATA[The performance of the wireng dance genre is the manifestation of the entirety of a system which is a complexity of treatment of various visual components. The visual treatment of movement and character is the main component of the wireng genre. The treatment of movement and character, which includes the qualities of the movement and character of the strong male dance, refined male dance, and female dance styles in the wireng dance, displays a wealth of vocabulary, technique, and form. In addition, the aesthetical values contained in the dance create an impression which enriches the spiritual experience of the audience. The visual treatment of movement and character also contains an important and serious message for the life and developmentof the wireng dance in the Mangkunegaran Palace. Keywords : Wireng dance, treatment, movement and character.]]>
<![CDATA[PENCIPTAAN KARYA TARI “ANAKKU BERMAIN†]]>
<![CDATA[Silvi Fitriah Diana]]>
<![CDATA[ Greget Vol 13, No 1 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (2415.461 KB)
|
DOI: 10.33153/grt.v13i1.545
<![CDATA[The reason for this research was the lack of development of creativity and the poor learningspirit among school children. This is due to the fact that educators still tend to use conventionalteaching methods in the teaching and learning process. The question addressed in the research iswhether the creativity and learning spirit of children in the first and second years of the An-NurKindergarten in the District of Jember, in which a play-based learning model is implemented,will develop to an optimal level. The goal of this research is to discover the results of implementinga play-based learning model on the creativity and learning spirit of children at school. Thebenefits of the research are: (1) for the children, to increase their learning spirit and develop theircreativity; (2) for the educator, to implement play-based learning in the teaching and learningprocess in the classroom; and (3) for the school, to create an innovation in the learning processwhich is suitable for the world of children while at the same time remaining relevant to thenuance of learning that is required according to the curriculum. The nature of the research is aclassroom action study which includes planning, implementation, and evaluation. The researchdata includes the data of the activities and the results of the development of the children’s creativitywith the implementation of a play-based learning model. The data was obtained through demonstrations, observation, discussions, and field notes. The results of the research show thatthere is an increase in learning, evident both in the activities of the teachers in the teaching andlearning process and also in the results of the observation and demonstrations. This increase canbe seen in every study inside the classroom which uses personal notes, firstly with adequate development(c) and secondly with very good development (SB). The conclusions of the research arethat using a play-based learning model can increase the creativity and learning spirit of childrenin the An-Nur Kindergarten in the Sub-District of Kaliwates in the District of Jember.Keywords: Play-Based Learning Model, Creativity, Children’s Learning Spirit ]]>
<![CDATA[MAKNA TEKS DRAMA TARI LANGEN CARITA JAKA TINGKIR ]]>
<![CDATA[Nanda Isa Fajarina]]>;
<![CDATA[Sutarno Haryono]]>
<![CDATA[ Greget Vol 17, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (185.197 KB)
|
DOI: 10.33153/grt.v17i2.2301
<![CDATA[AbstrakPenelitian DramaTari Langen Carita Jaka Tingkir bertujuan untuk mendiskripsikan makna Teks dan bentuk Drama Tari Langen Carita Jaka Tingkir. Penelitian inimenggunakan Konsep Pragmatik menurut Maryono dan konsep seni pertunjukan menurut maryono. Penulisan skripsi ini menggunakan metode penelitian kualitatif dimanadi dalam metodeini bertujuan untuk memperoleh data sebanyak-banyaknya kemudian dianalisis dan dideskripsikan secara mendalam, sehingga dapat memberikan gambaran dan pemaparan mengenai Mana Teks Drama Tari Langen Carita Jaka Tingkir. Tehnik pengumpulan data yang digunakan adalah observasi, wawancara dan studi pustaka. Hasil penelitian menunjukan bahwa Drama Tari langen Carita Jaka tingkir memiliki sebuah mana teks karena didalamnya memiliki sebuah cerita yang mengandung makna nilai-nilai kehidupan. Nilai-nilai kehidupan tersebut diwujudkan dalam bentuk gerak, ekspresi, tembang dan juga dialog.nilai-nilai tersebut mampu diwujudkan dengan rasa melaui bentuk sajian Drama Tari langen Carita Jaka Tingkir. Drama Tari Langen Carita Jaka Tingir mampu mengungapkan sebuah rasa kegembiraan seorang anak yang sedang bermain dan menggelar langen Cerita dismping itu anak-anak tersebut mampu memberikan rasa gagah, berani dan berwibawa. Rasa tersebut dituang dalam sebuah tokoh Jaka tingkir, buaya dan juga prajurit. Dengan adanya sebuah makna teks Drama Tari Langen Carita Jaka tingkir diharapkan mampu memberikan sebuah pengajaran kepadapara generasi muda untuk lebih mencintai kebudayaan local atau cerita pahlawan local yang sekarang ini posisinya mulai tergantikan oleh perkembangan jaman.Kata kunci: Drama tari langen Carita Jaka Tingkir, Makna teks, bentuk.AbstractResearch DramaTari LangeJaka Tingkir aims to describe the meaning of the text and the form of dance Drama Langen Carita Jaka Tingkir. This research uses the Pragmatic Concept according to Maryono and the concept of performing arts according to maryono. Writing this thesis using qualitative research methods where in this method aims to obtain data as much as possible then analyzed and described in depth, so as to provide description and exposure of Mana Text Drama Dance Langen Carita Jaka Tingkir. Data collection techniques used are observation, interview and literaturestudy.The result of the research shows that the Dance Drama of Carita Jaka Tingkir has a text where because it has a story that contains the meaning of life values. Values of life is manifested in the form of motion, expression, song and also dialog. These values can be realized with a taste through the form of dish Dance Drama Dance Carita Jaka Tingkir. The Langen Carita Jaka Tingir Dance Drama is able to express a sense of joy of a child who is playing and deploying. The story of dismping children is able to give a sense of dashing, courage and dignity.The taste is poured in a character Jaka tingkir, crocodile and also the soldier. With the existence of a text meaning of Dance Drama Langen Carita Jaka tingkir is expected to give a teaching to the young generation to better love local culture or local hero story which is now its position began to be replaced by the development of the era.Top of FormKeywords: Drama Tari Langen Carita Jaka Tingkir, the meaning of text, form.]]>
<![CDATA[NILAI-NILAI ESTETIS TARI GAMBYONG ]]>
<![CDATA[Sri Rochana Widyastutiningrum]]>
<![CDATA[ Greget Vol 1, No 2 (2002) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (7922.109 KB)
|
DOI: 10.33153/grt.v1i2.229
<![CDATA[The performance of Gambyong Dance has a relationship with aesthetic value. This dance expresses the feminineness, softness, and liveliness of a woman. The aesthetic values of Gambyong Dance especially of the harmony between the movement of the dancer and the rhythm of the melody of the drumming. To present the dance, the choreographer and the emotion of the dancer have a great influence in determining the aesthetic of Gambyong Dance. So, if the dancer have a good emotion and is able to express It perfectly, the aesthetic values will exist and might become the expression of the erotic and sensual Gambyong Dance. This expression will fulfill if the Gambyong Dance danced by the dancer who meet the criteria of Jogèd Mataram and Hastha Sawanda dances.Key word: Aesthetic value, Joged Mataram, and Hastha Sawanda.]]>
<![CDATA[SISINGAAN SENI KEMASAN WISATA DI KABUPATEN SUBANG ]]>
<![CDATA[Tubagus Mulyadi]]>
<![CDATA[ Greget Vol 8, No 1 (2009) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (5050.383 KB)
|
DOI: 10.33153/grt.v8i1.367
<![CDATA[Artistry [of] Sisingaan represent Earing people resistance representasi symbol first to colonial practice a period of/to power [of] Dutch. Symbol Power grinding this implied in the form of appearance [of] lion idol which [is] stretcher. While resistance form depicted in moppet figure riding lion, please implies that grind will fail by the rising generation. Artistic [of] this tidiness [of] lebeih focussed [by] [at] show estetik facet, without eliminating meaning which consist in itKeyword : Sisingaan, artistic [of] tidiness]]>
<![CDATA[POPULARITAS KESENIAN JARANAN SENTHEREWE DI KABUPATEN TULUNGAGUNG ]]>
<![CDATA[Rokhim, Nur]]>
<![CDATA[ Greget Jurnal Pengetahuan dan Penciptaan Tari Vol 12, No 2 (2013) ]]>
Publisher : <![CDATA[Greget Jurnal Pengetahuan dan Penciptaan Tari ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Jaranan Sentherewe is a folk art from the Tulungagung regency which continues to existand thrive to the present day. This art form was created in the 1980s to replace the arts of jarananJawa and jaranan Pegon which had existed since 1949. Originally Jaranan Sentherewe was dancedby ludruk artists and as such, the movements were taken from the vocabulary of remo movementsfrom East Java. The presence of Jaranan Sentherewe provided a new spirit for theTulungagung community, as seen in their enthusiasm and the form of dynamic movements used.Its popularity has increased with the new developments in technology that have accompanied it.As a form of folk art, Jaranan Sentherewe cannot escape its function as a form of entertainment,catering to the taste of the community which is increasingly inclined towards the pop culture.Several innovations have been made to ensure that Jaranan Sentherewe continues to exist and itsperformances are still enjoyed by audiences. Performances aim to satisfy audiences by means ofactive interaction. The proof of such interaction can be seen when the dancers experience what isknown as ndadi. Some member of the audience also experience ndadi when listening to the monotonousjaranan music. This ndadi scene is awaited eagerly by the audience who are keen towitness the dancers’ movements when they experience a state of ndadi. In this way, the art ofJaranan Sentherewe cannot be separated from its supporting community, in terms of its existenceand also its form of performance which is always integrated with the audience. ]]>
<![CDATA[KESENIAN CÈPÈTAN DALAM UPACARA KHITANAN DI DESA WATUAGUNG KECAMATAN TAMBAK KABUPATEN BANYUMAS ]]>
<![CDATA[Sastri Yuniarsih]]>
<![CDATA[ Greget Vol 15, No 1 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
Full PDF (970.716 KB)
|
DOI: 10.33153/grt.v15i1.1731
<![CDATA[Permasalahan yang dibahas dalam penelitian ini adalah bentuk dan arti kesenian Cèpètan dalam upacara khitanan bagi masyarakat Desa Watuagung Kecamatan Tambak Kabupaten Banyumas. Penelitian ini bersifat kualitatif, data yang digunakan meliputi data tertulis dan lapangan. Pendekatan yang digunakan adalah pendekatan etnokoreologi. Pengumpulan datanya dilakukan dengan cara-cara: observasi lapangan, wawancara, dan studi pustaka. Hasilnya diantaranya, bentuk penyajian dari kesenian Cèpètan meliputi: gerak, rias busana, ruang dan waktu serta kelengkapannya, dimana secara bersama-sama elemenelemen itu saling terkait antara satu sama lain. Kesenian Cèpètan oleh sebagian besar masyarakat Watuagung masih dilestarikan karena keberadaannya masih memiliki arti yang penting bagi kehidupan masyarakat yaitu sebagai sarana dalam upacara khitanan untuk membuang sukerta atau keburukan dalam diri seseorang serta meminta keselamatan.Kata kunci: kesenian cèpètan, khitanan, dan masyarakat Watuagung]]>
