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Greget
ISSN : 1412551X     EISSN : 2716067X     DOI : -
Core Subject : Humanities, Art,
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.
Articles 160 Documents
KEPENARIAN TOKOH KEN DEDES DALAM KEN DEDES: THE SOLILOQUY KARYA MATHEUS WASI BANTOLO Komala Sari, Dea Putri; Bantolo, Matheus Wasi
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (414.732 KB) | DOI: 10.33153/grt.v18i2.2867

Abstract

The fullness of the work of Ken Dedes: The Soliloquy is an interpretation of a female character named Ken Dedes from the work of Arok The Godfather’s Soliloquy of Matheus Wasi Bantolo. The study discusses the process and forms of fullness from Ken Dedes: the Soliloquy. To describe this, several concepts were used: In reviewing the fullness of matter using the concept of Alma Hawkins, to describe the form of opera using the concept of Peter Sellars and Matheus Wasi Bantolo, while describing the form of In the works using the Suzane K Langer concept is reinforced by the concept of dance analysis according to Janet Adshead. Writing and reviewing using qualitative methods that are descriptive interpretative, with the observation process participant action research. Results of this study showed that the fullness process conducted based on the process of exploration, improvisation and composition as a stage of the work of the fullness of Ken Dedes: the Soliloquy. The present form of presentation is a new interpretation of the character Ken Dedes in the work of Arok The Godfather’s Soliloquy. The fullness of Ken Dedes: The Soliloquy has a form of dish with an opera concept that uses five dancers who each have dual roles as dancers and musicians. Many movements adopted the movement of Javanese traditions in Surakarta style by combining the elements of Latin dance motion in them. It is based on the thought of choreographer to elaborate on The character Ken Dedes as a woman in the past with female figures in The Godfather film and female figures at present. The fullness of the work of Ken Dedes: The Soliloquy has a perspective on how Ken Dedes as women with the various problems faced can be aligned with women today. Keywords: fullness, character Ken Dedes, Opera.
TARI BANTENGAN DI DUSUN RANDEGAN, DESA JATIREJO, KABUPATEN MOJOKERTO Anam, Mohammad Choerul; Mulyatno, F. Hari
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v18i2.2872

Abstract

Bantengan Dance is a dance depicting bull animals at war. The name of the Bantengan is taken because it adjusts to the bull animal as the main character in the Bantengan presentation. Based on the explanation above, the issue is formulated Related to the following problems: 1. How is the development of Bantengan dance at Dususn Randegan, Jatirejo village, Mojokerto Regency?, 2. How to form a Bantengan dance in the hamlet of Randegan, Jatirejo village in Mojokerto Regency?. This writing uses Sri Rochana’s opinion Widyastutieningrum that the development is an effort to package and make renewal of better direction and give new breath to the existing arts. The target of research is the issues related to the problems formulated above. This writing uses qualitative research methods that focus on the peculiarities and specificity of the object. This writing data is gathered with library studies, field observations, interviews, documentation, data analysis techniques. Results showed that the development of the form of dance presentation Bantengan want to show the presentation becomes more interesting and still enthused by the supporting community. The development of the Bantengan dance form is influenced by internal factors and external factors. Internal factors are the creativity of artists and leaders. External factors are government, technological developments, people’s outreach, social conditions and other performing arts competition. Keywords: Bantengan dance, development.
KUDA-KUDA PENCAK SILAT DALAM PENCIPTAAN TARI JI KARYA GALUH PUSPITA SARI PADA TAHUN 2018 DI GEDUNG TEATER BESAR ISI SURAKARTA Sari, Galuh Puspita; Bantolo, Matheus Wasi
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v18i2.2869

Abstract

JI Dance Works is a new choreography work that departs with the basic motion of horses on the Pencak Silat as well as the phenomenon of binary opposition in life in which two things both have the meaning of balance in his achievements. The problem that will be discussed in this research is how the concept of binary opposition and Pencak Silat in the creation and how to form the dance works. To outline the creation problem using the concept of Alma M. Hawkins strengthened by the creation of contemporary dance according to Matheus Wasi Bantolo and the cultivation of Pencak Silat moves to dance according to Mathias Supriyanto. This writing and assessment use practice based research method with qualitative basis of interpertative destriptif, with participant action research process. The process of creation in JI dance Works is based on Observation, improvisation, composition and evaluation techniques. JI Dance works in a pair of choreography with a fighting theme As the concept of binary opposition in the life and the design of the basic motion of horses in the Pencak Silat as a source of the idea of creation and combined with the concept of binary opposition as inspiration by taking the essence of balance of both things t Telecast. The motion developed through the basic motion of horses, styles, and also the Kembangan (art of fighting) is found in the PSHT Pencak Silat College. Developing the basic motion of Pencak Silat into the dance by searching for similarities, from the shape of horses to Pencak Silat with the shape of the climb on the dance that was given the science of choreography such as levelgiving, volume, and the creation of the atmosphere in the dish Combined with the possibility of dance music and the Nglambari. Keywords: kuda-kuda Pencak Silat, JI dance, binary opposition.
KOREOGRAFI TARI SUFI KOMUNITAS DZIKIR ZHAUWIYAH KECAMATAN KARTOSURO KABUPATEN SUKOHARJO Rusmalla, Safran; Widyawati, Setya
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (415.193 KB) | DOI: 10.33153/grt.v18i2.2875

Abstract

This research is a discussion on Sufi dance on Dzikir Zhauwiyah community. The problem in this study is the form of presentation, function and existence of Sufi dance. To discuss the issue using Sumandyo Hadi’s thoughts on dance elements consisting of elements combined into one, the staple elements of dance consist of 1) motion dance, explaining the motion used for example dance traditions or Kerakyatan, modern or creations, 2) floor patterns/Dance room, 3) dance music, 4) dance titles, 5) dance themes, 6) dancers (number and sex), 7) makeup costumes. To discuss about the function of Sufi dance using the thought of S. D Humardani which mentions that the dance function consists of primary and secondary functions. The results showed that Sufi dance choreography has meaning about the particles in the universe rotating around the sun in a direction to the left. Sufi Dance has a primary function namely as an aesthetic expression while its secondary function is as a means of ritual, meditation, therapy and media dhikr and da’wah function of the function shows that Sufi dance has a existence in the wider community. Keywords: dance, Sufi, Dzikir Zhauwiyah community.
BENTUK TARI MEGATRUH KARYA DARYONO Nabiella, Mutiara; Pramutomo, Pramutomo
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (406.598 KB) | DOI: 10.33153/grt.v18i2.2873

Abstract

The Megatruh dance is one of the traditional dance performed by a single man based on contemporary style, created by Daryono. This is one of the works which is applied Surakarta style (Kasunanan and Mangkunagaran) and Yogyakarta. This work was born from a creativity possessed by Daryono, enriched by many improvised patterns in the performance. Therefore, it can be concluded from this study that the objective of the study was to examine the form and development of creative elements in the Megatruh dance. Studying the problem of the dance’s form used the concept of Alma M. Hawkins which was highlighted by Suzane K. Langer’s thought. Meanwhile, to discuss the problem of developing the creative elements, this study used the concept of Sandra Cerny Minton. The writing process and review of the study used qualitative methods with descriptive analysis models to explain the form. The results of this study was that the form of this work is a structured improvisation carried out directly on the stage. It was totally relied on how Daryono used his body and applied his dance experience on his work, Megatruh Dance. Keywords: Megatruh Dance, Development of Creative Elements, Forms.
GERAK DAN KARAKTER TARI PADA TOKOH WIBISANA DALAM LAKON SMARATAPA WAYANG ORANG KAUTAMAN Ariyani, Dwi; Sulastuti, Katarina Indah
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (410.198 KB) | DOI: 10.33153/grt.v18i2.2868

Abstract

Motion research and characters dance on the character Wibisana in the Lakon Smaratapa Wayang Orang Kautaman is reviewing the issues of the form of Wibisana character, motion and character dance in the Wibisana figures in the Lakon Smaratapa on October 19, 2018 at the Teater Besar ISI Surakarta. These two problems are examined using several concepts. Analysis tool to examine the form of Wibisana figures, using the verbal and nonverbal concepts by Maryono. Dance and character discussion on Wibisana figures using the concept of motion arrangement by Dorris Humprey, as well as the concept of character in Wayang Kulit, there are three types of characters: typology, temperanment, and character. The research also seeks to examine the sense of taste from the cast of the characters outlined in the concept of sengguh, lungguh, and mungguh. This research is qualitative, data collected through observations, interviews, library studies, and data analysis. The result of the study was first, Wibisana was one of the characters of Wayang Kulit Purwa in Ramayana Epic, the presentation of the form refers to Wayang kulit which is seen from Antawecana, motion, makeup, and fashion. Secondly, it is known that the cultivation of motion and the character of the dance is based on the motion of the alus banyu mili and is given an emphasis on the motion that brings out the character of the dance figure Wibisana that Alus Lanyap Wibisana characters are also supported by vocals in the form of tembang and antawecana. The discussion of Wibisana’s character is seen from the background, known that his character is authority, defending truth, good, and willingly sacrificing. Keywords: forms of servings, motion, dance characters.
ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA Sabekti, Endra; Wahyudi, Didik Bambang
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 19, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i2.3455

Abstract

The research titled "Analysis of Merak Subal Dance Movement by S. Maridi at Soeryo Soemirat Gallery in Surakarta", was created by S. Maridi in the 1969s. Merak Subal Dance is a dance that represents the life (behavior) of peacocks. S. Maridi's Merak Subal dance was inspired by sundanese peacock dance.This study aims to describe and analyze the movements in The Merak Subal Dance. The research method used is descriptive analytics with qualitative data properties, namely collecting data through observations, interviews, subsequent library studies analyzed descriptively. The research problems were analyzed using conceptual foundations from Soedarsono on dance forms and Agus Tasman on the analysis of dance moves and characters.The results of Merak Subal Dance research in Soeryo Soemirat gallery showed that the dance was presented in the form of a group dance drawn by three dancers with a duration of about eight minutes. Elements that make up The Merak Subal Dance are motion, floor design(floor pattern), top design, dramatic design, theme, makeup and fashion, dance music, property, lighting, venue and performance time. Then the analysis of motion includes materials, energy, space, time, organization, aggregation, character, description. Keywords: Merak Subal Dance, choreography, Soeryo Soemirat gallery.
UPACARA RITUAL BELIENT SENTIU DAYAK BENUAQ DI KAMPUNG PONAK KECAMATAN SILUQ NGURAI KABUPATEN KUTAI BARAT, KALIMANTAN TIMUR Nessy, Nessy; Rokhim, Nur
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 18, No 2 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (495.351 KB) | DOI: 10.33153/grt.v18i2.2874

Abstract

This paper describes the Ritual Belient Dayak Benuaq Ritual Ceremony in Kampung Ponak, Siluq Ngurai District, West Kutai Regency. This writing originated from the writer’s attention to the arts in East Kalimantan, especially in the village of Ponak, especially in the Benuaq Dayak tribe which still holds close to customs amidst the advancing era and rapidly developing medical science. BelientSentiu ritual ceremony in Ponak village is held when there are people who experience pain outside the medical. Rituals are carried out at night before midnight, according to the community if the ritual is carried out before midnight, the presence of ancestral spirits is more easily felt, and allows ritual performers to be able to communicate well with the spirits of the ruler of the upper world and the ruling spirit of the underworld. has a function that can meet the needs of the Benuaq Dayak community. In this ritual there is the Belient Sentiu dance which is a description of ceremonial activities related to the prevailing customary norms and belief in ancestral spirits. Tonyoi Dayak tribe and Benuaq Dayak tribe.ȱ Keywords:ȱ›’žŠ•ǰȱŽ•’Ž—ȱŠ¢Š”ȱŽ—žŠšǰȱŠ—ŒŽœ›Š•ȱœ™’›’œǯ
KELEMBAGAAN PENARI KERATON YOGYAKARTA MASA SULTAN HAMENGKU BUWANA V Supriyanto, Supriyanto
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 9, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3728.751 KB) | DOI: 10.33153/grt.v9i2.441

Abstract

In the Yogyakarta palace, during the reign of Sultan Hamengku Buwana V (1823-1855), there was an interesting phenomenon surrounding the classification of Wayang Wong (a form of traditional Javanese dance drama) dancers as human actors who replaced the role of puppets. The naming of such groups, who were referred to as classes of dancers, was like the certification of different social levels, according to their race, within the administrative laws governing foreigners in the Sultanate. The first class was known as Ringgit Gupermen, the group to which the best dancers belonged. The second class was given the name Ringgit Encik and consisted of the middle level dancers. The final class was Ringgit Cina which was for the beginners. The existence of such characteristics meant that the awareness of the different classes of Wayang Wong dancers during the reign of Hamengku Buwana V had multiple tendencies. On the one hand, the existence of such classes was a bureaucratic framework with political tendencies; while on the other hand, class was an artistic framework with cultural tendencies. In the pursuit of political tendencies, classes of dancers formed a structural balance, which in turn created a balance in civilization. Keywords : Ringgit Gupermen 
TARI BARONGAN KUCINGAN PADA PERTUNJUKAN JARANAN KELOMPOK SENI GUYUBING BUDAYA DI KOTA BLITAR Dewi, Sisilia Dian Santika
Greget: Jurnal Pengetahuan dan Penciptaan Tari Vol 14, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1101.06 KB) | DOI: 10.33153/grt.v14i1.1665

Abstract

The Barongan Kucingan dance is a dance which imitates the movements of a cat and issupported by properties in the form of a barongan(a lionâ??s head) that covers the face of the dancer.The Barongan Kucing dance is believed to depict the King Singo Barong. This research aims tofind out more about the form and role of the Barongan Kucing dance as performed by the GuyubingBudaya Art Group at a Jaranan art performance in the town of Blitar. The research is qualitativein nature and uses an analytical descriptive method which analyzes the results of the observationin the field and describes them in written form. One of the stages of the research is data collection,obtained through a library study, observation, documentation, and interviews. The results of theresearch about the form of the Barongan Kucing danceas performed by the Guyubing Budaya ArtGroup show in detail various aspects or elements of its choreography, including the dancer, themovements, the floor patterns, the music, the costumes, and the properties. The role of the BaronganKucing dance in the Jaranan art performance by the Guyubing Budaya Art Group is to attract theattention of the audience at the start of the performance and again at the end of the performance toprovide a climax which is marked by a trance dance.Keywords: Form of Performance, Barongan Kucingan Dance, and Role.

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