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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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Penggunaan Metode Penelitian dalam Skripsi Mahasiswa STSI Surakarta Tahun 2000-2005 Anhar Widodo
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4539.179 KB) | DOI: 10.33153/grt.v8i1.327

Abstract

Anhar Widodo, 132311657 METODE PENELITIAN SKRIPSI MAHASISWA STSI SURAKARTA (Analisis Deskriptif Penggunaan Metode Penelitian dalam Skripsi Mahasiswa STSI Surakarta Tahun 2000-2005). Penelitian ini mencoba memetakan secara kualitatif, relasi antara judul, rumusan masalah, pemilihan metode penelitian dan susunan penulisan laporan hasil penelitian yang tertuang dalam laporan skripsi mahasiswa STSI –sekarang ISI—Surakarta tahun 2000-2005. Kesimpulan dari penelitian ini mengungkapkan bahwa penguasaan metode penelitian mahasiswa STSI masih rendah –jauh dari kompetensi utama sebagai seorang peneliti. Hal tersebut menjadikan kualitas skripsi, sebagai salah satu parameter kualitas akademik seorang mahasiswa masih perlu dipertanyakan. Kenyataannya, skripsi hanya dijadikan sebuah prasyarat, bukan sebuah karya yang pantas dijadikan monumen kebanggaan penulisnya. Rendahnya kualitas metode dalam skripsi mahasiswa STSI 2000-2005, berbanding lurus dengan rendahnya minat baca mahasiswa STSI. Saran, perlu adanya evaluasi kurikulum –khususnya untuk matakuliah-matakuliah sosial, teoritik dan metode. Kemudian perlu diperbanyak forum-forum diskusi, kajian yang membahas fenomena sosial di sekitar mahasiswa. Perlu adanya latihan melakukan analisis sosial sebagai pendukung kompetensi utama seorang peneliti seni –sebagai bagian dari rumpun ilmu humaniora. Perlu adanya pembudayaan membaca secara rutin di kalangan mahasiswa.Keyword : Metode, kualitatif, mahasiswa STSI Surakarta 
Bentuk Pertunjukan Jaipongan Dalam Budaya Populer Tubagus Mulyadi
Greget Vol 12, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2103.792 KB) | DOI: 10.33153/grt.v12i1.483

Abstract

Jaipongan has become a part of the popular culture due to its dynamic movements, and its wide popularity has turned it into a consumptive culture which has the ability to make money. The presence of Jaipongan outside its own community is marked by its spread to a number of different areas, and also its merging or acculturation with other local art forms. Outside its own community, Jaipongan not only exists as a form of traditional dance or background dance but has also influenced other art forms, including music which now uses Jaipongan drum patterns.Keywords : Jaipongan, Popular Culture, and Consumptive. 
PAREWA SEBAGAI PROFIL SENIMAN TRADISI MINANGKABAU S., Syahrial
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (617.812 KB) | DOI: 10.33153/grt.v14i2.1713

Abstract

This paper will discuss one of the traditional Minangkabau community groups namelyParewa class as the profile of traditional artists. The author will explain about the “artist profiletradition” and its relationship with the arts, particularly dance (Minangkabau traditional dance).To uncover these problems, the authors use qualitative methods and techniques of data collectionby observation, interview, and literature study. Furthermore, perform data analysis, verification,and conclude. The result of observation and discussion shows that Parewa is a class of people whohave a good martial arts skills and an expert in the art. This can be seen in the movements of thedance, which is dominated by movements of martial arts with agile character, sharp and definite.The conclusion is Parewa is a class of traditional community in Minangkabau that very intensively involve in the arts, it is seen on every activity in the life of society such as traditionalceremonies. This involvement is not just attending traditional ceremonies that there was onlyart, but also involved as a perpetrator of the arts.Keywords: Parewa, Profile, Pencak Silat.
Analisis Struktur dan Bentuk Tari Pasihan Bondhan Sayuk: Sebuah Kajian Makna Teks Slamet Slamet
Greget Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1945.88 KB) | DOI: 10.33153/grt.v9i2.439

Abstract

This study on the meaning of the text in the pasihan dance Bondhan Sayuk aims to discover and understand the text of the Bondhan Sayuk dance as a whole by studying the meaning of the song used in the musical accompaniment which is the text for the dance music. The research uses a descriptive qualitative method with a multi-disciplinary approach. The techniques used for collecting data include a bibliographical study, observation, and interviews. The creation of the Bondhan Sayuk dance was inspired by the existing Enggar-enggar dance. Sunarno, the choreographer of the Bondhan Sayuk dance, was aware that this dance was originally accompanied by a gamelan composition written by Marto Pangrawit, which was motivated by his desire to have a son. By studying Bondhan Sayuk, it can be seen whether there are any different variations of movement among the dancers. This may occur if there is a different interpretation of the musical text, in particular in the tembang tengahan section. This research focuses more on how the dancers and the audience understand the song text used in the musical accompaniment in relation to the expression of the dance movements. The text used in a performance of Bondhan Sayuk, which exists within a musical context that is filled with meaning, is subsequently manifested in the form of a dance performance and provides a framework of thought for the dancers which they express in the form of dance, while the audience gains an understanding of the meaning of a performance of Bondhan Sayuk, through its song text and through the dance which create a complete performance, at the time the performance takes place. Keywords : Pasihan, Bondhan Sayuk, and Meaning of the text
TOPENG JOKO BLUWO DALAM PERTUNJUKAN WAYANG TOPENG JENGGLONG JOYO, MOJOSONGO, SURAKARTA Kristian Mulyaningtyas
Greget Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1014.893 KB) | DOI: 10.33153/grt.v14i1.1663

Abstract

The object of this research is the masked dance Joko Bluwo, or topengJoko Bluwo, which isfound in Padepokan Jengglong Joyo, Mojosongo, Surakarta, and is a form of folk dance that hasgrown and developed in Surakarta, in particular in the Mojosongo area. The research aims tolearn more about the existence of the arts that are found in Padepokan Jengglong Joyo, Mojosongo,Surakarta, focusing specifically on the movements in the choreography of topeng Joko Bluwo andthe movements of the character of Joko Bluwo. A qualitative method is used to explain the information that was obtained in the field through an ethnochoreological approach. The data wascollected using an interactive method and then analyzed descriptively. The results of the researchshow that topeng Joko Bluwo has a unique character which can be recognized from the shape of themask, the voice, and the movements, in which the arms stretch no higher than the shoulders andthe legs are opened no wider than the width of the body.Keywords: Topeng Joko Bluwo, Padepokan Jengglong Joyo, Choreography, Unique Movements.
KREATIVITAS SUSIATI DALAM KARYA TARI LENGGASOR Fajar Sari, Putri Maylandani; Adnyana, I Nyoman Putra
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (167.784 KB) | DOI: 10.33153/grt.v17i2.2306

Abstract

Tari Lenggasor merupakan karya tari kreasi Banyumasan yang berpijak pada Lengger Banyumasan dan tari Baladewa yang sudah dikembangkan. Penelitian ini menggunakan penelitian kualitatif dengan pendekatan deskriptif analisis yaitu memberikan deskripsi atau gambaran dengan cara memaparkan data yang diperoleh dari lapangan mengenai koreografi tari Lenggasor, serta kreativitas Susiati dalam menyusun tari Lenggasor. Untuk menjawab permasalahan mengenai koreografi tari Lenggasor, dijelaskan menggunakan elemen-elemen dasar koreografi berdasarkan pendapat Sumandiyo Hadi. Selain itu untuk Kreativitas Susiati dijelaskan menggunakan konsep 4P yang dikemukakan Rhodes dikutip oleh Utami Munandar yaitu (1) Pribadi (person) (2) Pendorong (press) (3) Proses (process) (4) Produk (product). Pada kreativitas Susiati ini terdapat pembentukan gerak tari Lenggasor yang didalamnya menggunakan konsep effort-shape yang dilakukan penari. Hasil penelitian yang diperoleh yaitu kreativitas Susiati dalam karya tari Lenggasor banyak dipengaruhi oleh pengalamannya sebagai penari maupun koreografer. Kreativitas tersebut diwujudkan dalam motif gerak yang terinspirasi dari gerak Lengger Banyumasan dan tari Baladewa yang sudah dikembangkan. Kemudian digarap menggunakan musik tari bernuansa Banyumas, sehingga muncul rasa Banyumasan yang khas. Kesimpulan dari penelitian ini yaitu hasil kreativitas Susiati yang mengadopsi dari beberapa vokabuler gerak Lengger dan gerak tari Baladewa yang sudah dikembangkan.Kata kunci: Kreativitas, Lenggasor, Susiati.AbstractThe Lenggasor dance is a new creation of Banyumas style dance which is founded on and developed from Lengger Banyumasan and the Baladewa dance. This research uses a qualitative research approach with an analytical descriptive approach which presents a description of the data collected in the field about the choreography of the Lenggasor dance, and Susiati’s creativity in composing this new dance. In order to address the questions about the choreography of the Lenggasor dance, the basic elements of the choreography are explained using a concept introduced by Sumandiyo Hadi. In addition, Susiati’s creativity is explained using Rhodes’ 4P concept, quoted by Utami Munandar, which is (1) Person (2) Press (3) Process and (4) Product. Susiati’s creativity includes shaping the movements of the Lenggasor dance using the effort-shape concept performed by the dancers. The research results show that Susiati’s creativity in the Lenggasor dance is greatly influenced by her experience as a dancer and choreographer. Her creativity is realized in the motifs of movement that are inspired by the movements of Lengger Banyumasan and the Baladewa dance which she then develops further. These movements are accompanied by dance music with a Banyumas nuance, thus giving rise to a characteristic Banyumas flavour. The conclusion of the research is that Susiati’s creativity is the result of her adoption of a variety of vocabulary of movement from the Lengger and Baladewa dances which she develops further in this new dance.Keywords: Creativity, Lenggasor, Susiati.
NDALEM PADMASUSASTRO SEBAGAI RUANG PERTUNJUKAN ALAM NATURAL (Ndalem Padmasusastro as a natural performing stage) Efrida Efrida
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2129.487 KB) | DOI: 10.33153/grt.v2i2.259

Abstract

Space (is) esensial element in a(n show. Space become the place of to artistic expression blaze outburst explosion of feeling. Natural space (of) natural with strong column value and character have potency to become a show space. This matter (is) determined by sensitivity (of) choreographer to catch strength (of] potency and space a space so that can mengekplorasinya maximally to ajang afn show. Ndalem Padmasusastro with joglo house building and wide [of] background representing air-gap which consist of some space where each space have different space value and characterIts existence as natural show space [of) natural at the same time as public space make Nda!em Padmasusastro as space capable to accommodate incoming public importance and give freedom (at] public to determine (by] xself focus their attention and express artistic (soul! head] (of) them to show which look on is the Keyword: Ndalem Padmasusastra, natural show space (of) natural, space.
Karya “Lorong” Sebuah Eksperimentasi Penataan Ruang Pentas Saryuni Padminingsih
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5321.227 KB) | DOI: 10.33153/grt.v9i1.393

Abstract

In its beginning, Indonesian dance was born out of a variety of spaces, ranging from communal areas to one occupied by royalty. Communal spaces as according to Ashadi Siregar (1991) forms an integral and import part of the basic conventions of communicative art. In the context of Javanese areas itself. Unmistakenly, the highly populated Kemlayan village is made accessible through narrow roads called lorong, The narrow lorong(s) of Kemlayan then forms the basis of a new dance choreography. Placed in an open area, the work begins with the belief that spatial settings should be able to stand on its own as a piece of visual art. Due to this nature, the work seeks to manifest itself as an alternative work in the global development of dance.The concept is approached through observational means as well as through direct involvement with the environment in order to have a phenomenal experience of the society.On the same page, the spatial setting is approached through various theoretical and practical studies to the point of the actualization of the project.In tandem with such a notion, bodily movements are explored through various movement experiments and exploration that are backed by a sense of aesthetics developed through theoretical approaches and temporal experiences.The work’s development undergoes a process that involves imagination, interpretation, and creativity which can be further understood through : 1. The soul of the work is engendered through the choreographer’s experience with the complexity, grind, guts, and gumption of life as well as the problems that affects one’s inner being, 2. The form of the work takes upon the tugs of visual aesthetics that is experienced on a daily basis by viewers such as the acts of sitting, walking, jumping, climbing, shivering and many others. Along with such a notion, the music is built unto each dancer’s everyday auditory experiences such as talking and shouting as well as media derived sounds such as the radio or bamboo being struck. Staged on an open plane, the spatial setting is composed of narrow lorong(s) made of bamboo, glass, and pellucid plastic arranged in such a manner that it can be seen through from various viewpoints. The artistic lighting concept then summarizes the presence of visual aesthetics and displays a myriad of effects through 7 different performances, namely, Lorong Kemlayan, Lorong Anyaman, Lorong Kerumunan, Lorong Transparan, Lorong Lumpur, Lorong Jalan Setapak, Lorong Gelap.Keywords:  Lorong, passage, experimental, form, Kemlayan
MAKNA SIMBOLIK TARI PENGUTON DI KECAMATAN KAYUAGUNG KABUPATEN OGAN KOMERING ILIR SUMATRA SELATAN Retna Susanti
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1199.817 KB) | DOI: 10.33153/grt.v13i1.535

Abstract

The research entitled “The Symbolic Meaning of the Penguton Dance in the KayuagungSub-District of the Ogan Komering Ilir District in South Sumatera”is intended as a form ofpreservation and a source of information about traditional dance, specifically in South Sumatera.A number of semiotic approaches are used to analyze the problems addressed in the research, inorder to investigate the facts and phenomena related to the Penguton dance in the Kayuagungsub-district of the Ogan Komering Ilir district. Based on the existing phenomena, the researchaims to discover the background to the existence of the Penguton dance, the process of developmentof the Penguton dance up to the present day, and the symbolic meaning contained in thePenguton dance. In order to find the answers to these questions, a qualitative method was usedtogether with semiotic theories, while the techniques for collecting data included observation,interviews, and a study of written data and documents. This was followed by an analysis of thedata, verification, documentation, and conclusions. The results of the research show that the symbolization contained in the Penguton dance isan expression of the hearts and minds of the local community as a structure for their society.Tradition refers to the habits of a community which become rules in its supporting environment.The supporting community for the Penguton dance is of a sacred nature and as such, not allmembers of the general public are able to enjoy a performance of the Penguton dance and themeaning it contains. This rule contains an understanding which becomes a strength of symbolizationand thus forms a social strata.Keywords: Penguton Dance, Meaning, Symbolic.
PERTUNJUKAN WAYANG TOPENG DUSUN KEDUNGPANJANG, SONEYAN, MARGOYOSO KABUPATEN PATI (Kajian Holistik) Lailatul Qodriyah; Dwi Wahyudiarto
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1131.335 KB) | DOI: 10.33153/grt.v17i1.2296

Abstract

AbstrakPertunjukan Wayang Topeng di Dukuh Kedungpanjang Desa Soneyan Kecamatan Margoyoso Kabupaten Pati Jawa Tengah merupakan bentuk seni pertunjukan drama tari dengan menggunakan topeng. Pertunjukan ini ada sejak tahun 1896. Cerita yang digunakan di dalam pertunjukan pertunjukan Wayang Topeng ialah Among Tani. Pertunjukan Wayang Topeng digunakan untuk ritual bersih desa pada bulan Besar (penanggalan bulan jawa) hari sabtu kliwon. Permasalahan yang akan diteliti dalam penelitian ini antara lain bagaimana latar belakang penyusunan Pertunjukan Wayang Topeng, bagaimana bentuk Pertunjukan Wayang Topeng, dan tanggapan masyarakat terhadap Pertunjukan Wayang Topeng. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan kritik holistik. Untuk mengkaji faktor genetik dan faktor afektif menggunakan pemikiran dari H. B Sutopo. Sedangkan dalam mengupas hal-hal yang berkaitan dengan bentuk Pertunjukan Wayang Topeng menggunakan teori bentuk dari Maryono. Adapun Tahap penelitian yang dilakukan dengan cara studi pustaka, wawancara, dan observasi.Kata kunci: Wayang Topeng, Dukuh Kedungpanjang, Kritik Holistik.AbstractWayang Topeng performance in Kedungpanjang subvillage Soneyan Village, Margoyoso Subdistrict, Pati Regency, Central Java. Constitut the performance of theater dance with use the mask this performance since in 1896. The story that to used on the Wayang Topeng Performance is Among Tani. The Wayang Topeng Performance to used to bersih desa ritual on Besar month at Kliwon Saturday. The problem of this research it is how is Wayang Topeng compose background, how is Wayang Topeng Performance form, and how is society reaction about Wayang Topeng. This research use qualitative research method with critic holistic approach. To review the genetic factor and afective factor use thought of H. B Sutopo. To describe the things that related with Wayang Topeng Performance form use theory from Maryono. The step of research did with literature review, interview and observation.Keywords: Wayang Topeng, Kedungpanjang subvillage, critic holistic.

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