cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
sutarno.haryono151@gmail.com
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
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 193 Documents
 1   2   3   4   5 
Kelembagaan Penari Keraton Yogyakarta Masa Sultan Hamengku Buwana V Supriyanto Supriyanto
Greget 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 Sisilia Dian Santika Dewi
Greget 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 lion’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.
BENTUK DAN FUNGSI TARI GATHOLOCO KELOMPOK SENI CIPTO BUDOYO KABUPATEN TEMANGGUNG Lenni Wulandari; Sri Rochana Widyastutieningrum
Greget Vol 17, No 2 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (171.662 KB) | DOI: 10.33153/grt.v17i2.2307

Abstract

AbstrakTari Gatholoco adalah tari kelompok berjenis tradisi rakyat dalam sebuah kelompok seni di Desa Kembangsari. Tari Gatholoco belum diketahui siapa penciptanya dan digarap oleh Badrun tahun 1965 kemudian digarap oleh Tono tahun 1980. Tari Gatholoco menarik karena pola lantai membentuk formasi huruf (terbalik dari arah depan) yang menyusun sebuah kata Temanggung. Juga terdapat gerak penghubung antar gerak satu ke gerak berikutnya dan gerak penghubung untuk perpindahan pola lantai dengan senggakan “sukseskan pembangunan”. Tari Gatholoco memiliki fungsi sosial dalam masyarakat Desa Kembangsari. Penelitian ini menggunakan landasan teori bentuk oleh Suzanne K. Langer dan Sri Rochana Widyastutieningrum dan teori fungsi oleh Raymond Firth. Penelitian ini menggunakan metode kualitatif, merupakan metode penelitian yang menekankan pada telaah mendalam suatu fenomena yang terjadi dengan melakukan wawancara, dokumentasi, pengamatan langsung, pengamatan tidak langsung, dan studi pustaka. Presentasi yang disajikan berupa data dan visual. Hasil dari penelitian ini dapat diperoleh gambaran yang berkaitan dengan bentuk sajian dan fungsi sosial tari Gatholoco yang hingga kini masih hidup dan berkembang di kalangan masyarakat Desa Kembangsari. Bentuk sajian tari Gatholoco terdapat gerak yang menggambarkan aktivitas masyarakat sehari hari. Fungsi sosial tari Gatholoco yaitu sebagai sarana kepuasan batin, sarana bersantai dan hiburan, sarana ungkapan jati diri, sarana integratif dan pemersatu, dan sarana pendidikan amat positif di kehidupan masyarakat Desa Kembangsari.Kata kunci: Gatholoco, Bentuk, FungsiAbstractGatholoco Dance is a group dance of the folk-type tradition in an art group in Kembangsari Village. Not yet known who the creator of Gatholoco dance it was cultivated by Badrun in 1965 then tilled by Tono in 1980. Gatholoco dance is very interesting, because pattern floor as like alfabet (upside down from the front) which composes the word means like Temanggung. That dance also relational between one of the movement to the next movement, and then the relational connecting the other movement of the pattern floor it is mean that “successful development”. Gatholoco dance has a sociocultural function in the Kembangsari Village. This research uses the foundation of form theory by Suzanne K. Langer and Sri Rochana Widyastutieningrum and function theory by Raymond Firth. This research uses qualitative method, is a research method that emphasizes in depth study of a phenomenon that occurs by conducting interviews, documentation, direct observation, indirect observation, and literature study. Presentation is presented in the form of data and visual. The results of this study can be obtained a picture relating to the form of course and social function of Gatholoco dance which until now is still alive and growing among the people of Kembangsari Village. There is a movement that describes the daily activities of society in the form of Gatholoco dance course. The social function of Gatholoco dance is as a mean of inner satisfaction, means of relaxation and entertainment, means of expression of identity, integrative means and unifier, means of educational, means of healing, symbolic means of meaning and power, and means of integration in chaotic times are very positive in the life of the community of Kembangsari Village.Keywords: Gatholoco, Form, Function.
PERANAN SANGGAR-SANGGAR TARI DALAM PERKEMBANGAN TARI GAYA SURAKARTA DI DAERAH ISTIMEWAYOGYAKARTA Sumaryatmi Sumaryatmi
Greget Vol 2, No 2 (2000)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4424.448 KB) | DOI: 10.33153/grt.v2i2.265

Abstract

Considering Yogyakarta society and Surakarta which is since breaking of Mataram (1755) always seen emulation, hence am awkwardness which [is) very draw if in this time (ml Yogyakarta in the reality dubbed (by] many Surakarta style dance, situation (017 sebaliknyapun sometime also just happened only its grol~’ith [dojnot as fast as Surakarta style dance (in] Yogyakarta.Attendance dance Surakarta style fin) Special Region Yogyakarta seems (do] not get out of Natural Sri Nail;Axis attitude (of) VII which (do] not shutting the door against brought Surakarta style dance it by its wife into its palace, and Natural Sri Nail;Axis attitude (of] VIII following its father, even [at) a period of/to hereinafter develop in the form of other him (Style Nail Alaman). Beside that Yogyakarta society attitude of[is including its governance institutes which [is) reseptif and also have more supple and free mind to accept new culture elements hence fairif Surakarta style dance can be accepted better by Yogyakarta society. But in its spreading (of) organizational perananan or grup-grup dance Surakarta style which start seen since independence pasca presumably also have big enough share. Keyword: Role, Organizational.
Penyutradaraan Wayang Orang oleh: Sardana Mlaya Wibaksa Sriyadi Sriyadi
Greget Vol 9, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4013.741 KB) | DOI: 10.33153/grt.v9i1.395

Abstract

A director is a person who gives directions, instructions, and guidance to the performers or actors in aspects of their acting, dialogue, movements, and the way the dancers walk in a performance of traditional Javanese dance-drama, or wayang orang. The director is responsible for the entire process of a work’s creation, up to the time of its performance. According to Sardana, a director must have the ability to cast actors or actresses in particular roles, according to their abilities as wayang orang performers.Keywords:  Director and wayang orang.
FUNGSI TARI KELANA GAYA SURAKARTA SUSUNAN S. NGALIMAN Risang Janur Wendo
Greget Vol 13, No 1 (2014)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (502.205 KB) | DOI: 10.33153/grt.v13i1.537

Abstract

This paper aims to discover the function of the Kelana Dance created by S. Ngaliman bydescribing and explaining: (1) The form of the Kelana dance by S. Ngaliman, which includes itstheme, movements, masks, costumes, and music, and (2) Explaining the function of the Kelanadance by S. Ngaliman. The theoretical foundation which is used to uncover the function of theKelana dance by S. Ngaliman includes: (1) Theories of Performing Arts and (2) Theories of Function.The methods used by the writer for collecting the data required for addressing the problemthat had been formulated included: a library study, observation, interviews, and a transcriptionof documents and archives. Based on the form and function of the Kelana dance by S. Ngaliman inthe life of the community, it can be concluded that the Kelana dance is a solo male dance with astrong bapang character and a gandrungan(romantic) theme in Surakarta style, the primary functionof which is of an aesthetical nature and the secondary function of which is as part of awedding ritual, entertainment, and an educational tool.Keywords: Kelana mask dance, form, primary function and secondary function.
EKSISTENSI PERTUNJUKAN CAN MACANAN KADDU’ PAGUYUBAN BINTANG TIMUR DI KABUPATEN JEMBER Eska Wiedyana; Nanik Sri Prihatini
Greget Vol 17, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1145.217 KB) | DOI: 10.33153/grt.v17i1.2297

Abstract

Can Macanan Kaddu’ adalah salah satu kesenian yang hidup di Kabupaten Jember. Salah satu kelompok yang masih bertahan dan eksis dengan pertunjukan Can Macanan Kaddu’ ialah Paguyuban Bintang Timur. Paguyuban Bintang Timur termasuk paguyuban Can Macanan Kaddu’ tertua di Kabupaten Jember. Pertunjukan Can Macanan Kaddu’ memiliki beberapa tari dalam sajiannya yaitu Tari Burung Garuda, Tari Ganong, Tari Leak, Tari Gandrung, Tari Jaranan, dan Pencak silat. Penelitian ini bertujuan untuk mengetahui bentuk pertunjukan dan eksistensi pertunjukan Can Macanan Kaddu’ paguyuban Bintang Timur di Kabupaten Jember. Penelitian bersifat kualititatif dengan menggunakan metode deskriptif analisis untuk menganalisis hasil lapangan. Beberapa teori yang digunakan yaitu teori bentuk dari Suzanne K. Langer untuk menganilisis tentang bentuk pertunjukan, pendapat Vincent Martin dan Loren Bagus tentang eksistensi serta pendapat Sri Rochana Widyastutieningrum mengenai faktor-faktor yang mempengaruhi eksistensi. Langkah penelitian yang dilakukan dalam pengumpulan data diperoleh melalui kepustakaan, observasi, dokumentasi dan wawancara. Hasil penelitian mengenai eksistensi pertunjukan Can Macanan Kaddu’ paguyuban Bintang Timur di Kabupaten Jember diketahui secara rinci melalui kehidupan dan perkembangan Paguyuban Bintang Timur, serta dijelaskan melalui faktor pendukung yaitu faktor Internal dan eksternal. Bentuk pertunjukan meliputi urutan sajian, elemen-elemen bentuk pertunjukan yang meliputi gerak, musik atau iringan, rias dan busana, serta tempat pertunjukan, dan deskripsi sajian diuraikan sebagai wujud sajian yang menarik sehingga kesenian tersebut disukai oleh masyarakat.Kata kunci: Can Macanan Kaddu’, Bintang Timur, Eksistensi.AbstractCan Macanan Kaddu’ is one of the living arts in Jember District. One of the groups that still survives and exists with the performance of Can Macanan Kaddu’ is Paguyuban Bintang Timur. Paguyuban Bintang Timur includes the oldest community of Can Macanan Kaddu’ in Jember District. Performances Can Macanan Kaddu’ has several dances in the dish that is Garuda dance, Ganong dance, Leak dance, Gandrung dance, Jaranan dance, and Pencak Silat this research aims to find out the form of performances and the performances of Can Macanan Kaddu’ Paguyuban Bintang Timur di Kabupaten Jember. The reserech is qualitative by using descriptive method of analysis to analyze the results of the field. Several theories used are the form theory of Suzanne K. Langer to nalyze the form of performance, the opinions of Vincent Martin and Loren Bagus on the existence and opinion of Sri Rochana Widyastutieningrum on foctors influencing exixtence. Steps of research conducted in collecting data obtained through literature, observation, documentation and interviews. The results of research on the existence of Can Macanan kaddu’ show of Bintang Timur group in Jember are known in detail through the life and development of Paguyuban Bintang Timur, also explained through the supporting factors of internal and external factors. Performing forms include the order od presentation, the elements of the form of performances that include motion, music or accompaniment, makeup and clothing, as well as the place of performances, and the the description of the dish is described as an interesting form of presentation so that the art is favored the public.Keywords: Can Macanan Kaddu’, Bintang Timur, Existence.
BARONG KUNTISRAYA (Sekilas Segi Estetisnya) I Nyoman Putra Adnyana
Greget Vol 1, No 2 (2002)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3671.396 KB) | DOI: 10.33153/grt.v1i2.207

Abstract

Barong Kuntisraya, a dancing-role play performance, is a traditional Balinese one that makes the use of theme related to the Rwa Bineda myth. Balinese truly put their belief upon Rwa Bineda that becomes the myth. They are sure that the two distinctive or opposite powers appear side by side in the human life in the world. In its on-stage performance, it presents two enormous powers through the Barong showing the good and Rangda representing the bad.The peifo~mance of Barong Kuntisraya is so interesting, either as the show or as the example on the ground that the reflected aesthetic expressions in the performance invites us to think and contemplate the various meanings behind the actions.Key Word: Aesthetic, Barong Kuntisraya.
REFLEKSI KEHIDUPAN ABDI DALEM BEDHAYA KERATON KASUNANAN SURAKARTA Teguh Sutrisno
Greget Vol 8, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5024.517 KB) | DOI: 10.33153/grt.v8i1.349

Abstract

Tulisan ini mengupas dikotomi kehidupan abdi dalem Keraton Kasunanan Surakarta pada level abdi dalem bedhaya yang merupakan laporan otobiografi yang direaktualisasi dalam bentuk seni pertunjukan berupa kompilasi antara tari dan teater. Satu sisi abdi dalem tersebut harus patuh dan taat pada pranatan dan penguasaan yang absolut ke “agungan binatharaan” raja yang tak terbatas, pantang berkata “tidak” yang ada hanyalah “sendika dawuh” dan ya, iya dan ya dengan “sumarahnya” tanpa bisa berbuat banyak meskipun hati kecilnya bergejolak. Sisi lain kemerdekaan diri terenggut ketika setiap saat harus di keraton dengan sepenuh hati, tanpa harus mempertimbangkan hak azasi manusia sebagai manusia yang berbudi “kamanungsan” terjajah oleh absolutisme kekuasaan tanpa batas sebagai bentuk penindasan yang terselubung. Bisa dikatakan tulisan ini semacam laporan eksklusif dalam menguak abdi dalem bedhaya dalam perjalanan kehidupan dengan segala bentuk aktifitas yang melingkupinya. Keyword : Abdi dalem, Uwa Sri
“POHACI” SEBUAH ABSTRAKSI KARYA DARI SERAT CARIOS DEWI SRI Hartanto Hartanto
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (403.907 KB) | DOI: 10.33153/grt.v12i2.509

Abstract

The 50 page study of the work of art entitled Pohaci by Hartanto, S. Sn., M. Sn., 2012, wassponsored by a grant from DIPA ISI Surakarta in 2012. Pohaci is a dance which was inspired bythe story of Dewi Sri or Nyai Pohaci Sanghyang Sri, a tale about the rice goddess, from West Java.This work takes the figure of Dewi Sri as a reflection of Javanese women with their characteristicsof elegance, beauty, gentleness, grace, kindness, and all the perfection of a woman. The dance lastsfor 27 minutes and is presented as a new dance form. The problem addressed in the study is howthe story of Pohaci Sanghyang Sri is treated with a new or different concept and how it is interpretedin the dance. The aim of this research is to present an abstraction of the figure of a womanand to provide substance for the new work in the form of a bedhayan. It also aims to increaseknowledge and add to the existing repertoire of dances that are based on literary works. Themethod used for answering the questions includes a method of interpretation and a method ofconstruction. The method of interpretation uses an approach which interprets various elements ofthe treatment such as the content and form, the movements, music, costumes and make-up, andalso the lighting. The method of construction is a way for implementing an activity of creating awork of art, beginning by planning the movements and continuing until the work is completed.The results of the study show that the dance Pohaci is not based on the actual storyline of DewiSri but rather on the figure of Dewi Sri herself who is likened to the figure of a Javanese woman.The work is presented in the form of a bedhayan and uses 7 female dancers, accompanied bymusic played on the Javanese gamelan.

Page 1 of 20 | Total Record : 193

 1   2   3   4   5 

Filter by Year

2000 2022


Reset
Filter By Issues
All Issue Vol 21, No 2 (2022) Vol 21, No 1 (2022) Vol 20, No 2 (2021) Vol 20, No 1 (2021) Vol 19, No 2 (2020) Vol 19, No 1 (2020) Vol 18, No 2 (2019) Vol 18, No 1 (2019) Vol 17, No 2 (2018) Vol 17, No 1 (2018) Vol 16, No 2 (2017) Vol 16, No 1 (2017) Vol 15, No 2 (2016) Vol 15, No 1 (2016) Vol 14, No 2 (2015) Vol 14, No 1 (2015) Vol 13, No 1 (2014) Vol 12, No 2 (2013) Vol 12, No 2 (2013) Vol 12, No 1 (2013) Vol 11, No 2 (2012) Vol 11, No 1 (2012) Vol 9, No 2 (2010) Vol 9, No 1 (2010) Vol 8, No 1 (2009) Vol 5, No 2 (2009) Vol 1, No 2 (2002) Vol 2, No 2 (2000) More Issue