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MAKNA HOLISTIK TARI KETHÈK OGLÈNG KARYA GUNTUR TRI KUNCORO Firdauzhi Nuzulla Mustika Prismadianto; Maryono Maryono
Greget Vol 20, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i2.4135

This writing aims to reveal the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro by examining the problems formulated, namely the concept of the emergence of the Kethek Ogleng dance, the form of the Kethek Ogleng dance, the audience's response, and the meaning of the Kethek Ogleng dance by Guntur Tri Kuncoro. The analysis uses a holistic art criticism approach that is based on three main factors, namely genetics related to the concept of the appearance of the work, objective in the form of works and affective as a response or emotional response of the audience who are all sources of value flow. The form of writing is qualitative with data collection strategies through: observation, interviews and literature study. The results show that holistically the Kethèk Oglèng dance is meaningful as an entertainment medium, as a promotional event for cultural tourism, and is expected to be used as a means of student education and as an icon or identity of the City of Kediri.

KONEKSITAS TARI DAN MUSIK PADA TARI KELANA GAYA SURAKARTA Maryono Maryono
Greget Vol 20, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v20i1.4030

Klana Dance Surakarta style there are at least three main versions that can be traced, namely Kelana dance version S. Ngaliman, version of S.Maridi, and Version Sunarno Purwo Lelono. The three versions of Kelana dance in the groove do not have a prominent difference, but there are quite strong differences and very principles, especially in pacak and wiled sustainability that I observed from 1979 to the 2010s. The connection of dance and music in Surakarta Style Kelana dance shows the existence of a blend and harmony formed from the role of music to dance that serves as a pointer of content, illustration/nglambari, membungkus/mungkus, and nyawiji so as to form a Kelana dance Surakarta Style that is dashing, sigrak, spirit, firm and authoritative. The basic principle that each element in Kelana dance is a visual form that is artistic has shown coherence between elements and total connection so that it can function as a means of expression of the artist steadily.Keywords: music and Kelana dance

STUDI KELAYAKAN TARI LEPAS REYOG PONOROGO SEBAGAI MODEL PENDIDIKAN DASAR DAN MENENGAH DI KABUPATEN PONOROGO M., Maryono
Greget Vol 14, No 2 (2015)
Publisher : Institut Seni Indonesia Surakarta

To day, the problem that we get is lower appreciation of youth as next generation towardtheir culture themselves. They very like, familiar and feel more as ancient tradition, out of dateand no prestige. Consequently, since people not be oriented any more to values of Javanese culture,costum, and leave the art containing adi luhung values, their attitude turn into brutal, emotional, do not have ashed culture ang less respect of older. Basically, our society life has experienced an apprehensive moral degradation. Therefore, we recently need art education to realizecharacter building among student, giving appreciation and understanding of art for them as nextgeneration. Using art education of reyog based on norms, values, ethics, and aesthetic of cultureenvironment containing adi luhung values, student character as leader generation with nationspirit and Indonesian characteristic will be built. Reyog is dance drama. To apply it to be art local subject matter, it needs for sufficientpackage that devide into some independent dance: Warok, Jathilan, Bujangganong, Kelana Sewandana, and dhadhak Merak. These dances are adapted with curricula guidance from National Education of Ponorogo. Elementery student are demanded to recognize and understandabout basic manner of reyog, however, high shool student are hoped know about basic manner andpresent independent dance of reyog based on valid rule in evaluation creteria of reyog.Keywords: education, local subject matter, reyog, and sufficiency.

FRAGMEN TARI SUGRIWA SUBALI KARYA DIDIK BAMBANG WAHYUDI (TINJAUAN ESTETIK) Annisa Ayu Cahyani; Maryono Maryono
Greget Vol 19, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v19i1.3181

Research entitled Sugriwa Subali Dance Fragment by Didik Bambang Wahyudi (Aesthetic Review) is aim to uncover the meaning beauty of Sugriwa Subali Dance Fragment by describes and explains abaout: (1) the shape or sensation of Sugriwa Subali Dance Fragment which cover: theme, motion, expression, floor patterns, make-up, clothing, property and dance music/musical instruments, (2) to explain the concepts or ideas in the Sugriwa Subali Dance Fragment, (3) to explain the aestetic symbols in the Sugriwa Subali Dance Fragment, and (4)audience responses include: the responses of experts, dancers, and spectator. The four problems are examined with aestetic theory De Witt H Parker. In its application to analyze shapes as sensation expressed in the work using performance art theory according to Maryono. Analysis of consepts or idea in the work uses a pragmatic approach with Kreidler’s speech act theory. The research is qualitatively by collecting data or information through the stage of presentingdance work (re-production), literature study, interviews with selected speakers, and observation of the Sugriwa Subali Dance Fragment. The result was: the dance work is based on sensations, concepts or ideas, symbols, and the responses of experts, dancers, and spectator aestetically. Sugriwa Subali Dance Fragement is the masterpiece of the battle between Sugriwa and Subali fight over to Dewi Tara and the funcions as an aesthetic entertainment and as a symbol of strunggle in obtaining a happiness.Keywords: Fragment of Sugriwa Subali Dance, aesthetic.

SITUS PURBAKALA SANGIRAN SEBAGAI SUMBER IDE PENGEMBANGAN MOTIF BATIK DALAM UPAYA PENINGKATAN PEREKONOMIAN DAN MEDIA PENGUATAN KEARIFAN MUATAN LOKAL DI KABUPATEN SRAGEN M., Maryono; S., Sunardi; Veronika Kristanti Putri Laksmi; Basnendar Herry Prilosadoso
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Penelitian yang berjudul â€œSitus Purbakala Sangiran Sebagai Sumber Ide Pengembangan Motif Batik DalamUpaya Peningkatan Perekonomian Dan Media Penguatan Kearifan Muatan Lokal Di Kabupaten Sragenâ€merupakan usaha untuk memberikan penguatan terhadap norma kearifan lokal yang terkandung pada situspurbakala Sangiran sebagai sumber ide pengembangan motif batik ciri khas Sragen. Saat ini industrikerajinan batik tulis mulai berkembang dan dipusatkan di desa Kliwonan dan Pilang Kecamatan Masaran,Kabupaten Sragen. Potensi industri kerajinan batik tulis perlu dikembangkan secara maksimalproduktivitasnya, baik yang mencakup kualitas maupun kuantitas, sehingga mampu mendorong peningkatanperekonomian masyarakat Sragen. Penelitian ini bersifat kualitatif dengan menggunakan teori ActionResearch. Terdapat empat tahapan penelitian, yaitu: select a focus, collect data, analyze and interpret data,dan take action. Bentuk aplikasinya dengan metode: pengkajian, perancangan, sosialisasi, pendampingandan pelatihan, produksi dan tahap akhir launching. Hasil dari penelitian ini bertujuan untuk peningkatanproduktivitas dan pengembangan batik yang dilakukan dengan mengembangkan desain motif batik yangbersumber pada situs purbakala Sangiran sebagai ciri khas batik Sragen. Selain itu perlu dipadukan denganekowisata Kampung Batik yang telah dirancang Pemerintah Daerah serta beragam potensi wisata, baikwisata Alam, Budaya dan Religi, wisata Buatan, wisata Minat Khusus dan wisata Kuliner, sehingga mampumeningkatkan perekonomian dan kesejahteraan masyarakat Kabupaten Sragen.Kata Kunci: Sangiran, batik, ekonomi

Makna Pragmatik Tindak Tutur Direktif Pada Tari Gathutkaca Gandrung Maryono - -
PANGGUNG Vol 25, No 3 (2015): Ekspresi, Makna dan Fungsi Seni
Publisher : LP2M ISBI Bandung

Penelitian ini adalah untuk mengungkap makna pragmatik tindak tutur direktifÂ pada Tari Gathutkaca Gandrung dalam resepsi perkawinan adat Jawa. Penelitian ini menggunakan metode kualitatif deskriptif dengan perspektif teori pragmatik ParkerÂ dan Charles Morris tentang relasi tanda. Adapun hasil penelitian ini menggambarkan dominasi tindak tutur direktif dalam pertunjukan Tari Gathutkaca Gandrung pada resepsiÂ perkawinan adat budaya Jawa yang dimaknai sebagai bentuk perintah bersifat tidakÂ langsung. Penanggap (orang tua) menghendaki agar sepasang pengantin berkenan menikmati nilai estetis, supayaÂ jiwanya menjadiÂ lebih halus, lebih santun, peka terhadap lingkungan sehingga sikap, perilaku, dan tindakannya menjadi lebih baik. Makna perintah berikutnya agar sepasang pengantin dapat menyerap nilai-nilai pendidikan tentang usaha yang keras, semangat, dan perjuangan yang berat seperti yang digambarkan pada Tari Gathutkaca Gandrung agar dicontoh sebagai bekal untuk membina keluarga yang harmonis dan bahagia.Kata kunci: Tarian, Gathutkaca Gandrung, resepsi perkawinan adat Jawa, tindak tutur direktif.

Makna Tindakan Pragmatik Bedhaya Tejaningsih pada Jumenengan K.G.P.H Tejawulan Sebagai Raja Paku Buwana XIII di Surakarta Maryono Maryono
PANGGUNG Vol 27, No 1 (2017): Pergeseran Dimensi Estetik dalam Teknik, Pragmatik, Filsafat, dan Imagi
Publisher : LP2M ISBI Bandung

AbstractThe presence of Bedhaya Tejaningsih in the inauguration or jumenengan ritual of K.G.P.H Tejawulan is evidently not only a form of entertainment but also contains a symbolic meaning. In this pragmatic study of Bedhaya Tejaningsih, the writer uses a pragmatic linguistic approach. The research is qualitative interpretative in nature and uses as a basic reference pragmatic theories and performing art theories. The methods used for collecting data include a library study, observation, and interviews. The results of the study show that the meaning of the presence of the dance Bedhaya Tejaningsih in the jumenengan ritual of K.G.P.H Tejawulan is a form of entertainment, exemplification, and credibility. As a form of entertainment, the presence of the dance Bedhaya Tejaningsih at the king coronation provides an aesthetical presentation for the audience. The meaning of its exemplification is seen in the request it makes to the general public to follow the example of a good and wise leader who always prioritizes his love for the people in the way he provides them with protection, peace, and security. The meaning of credibility is K.G.P.H Tejawulan is request that the people will give their support and recognition of his inauguration to become king so that he gains legitimacy based on the cultural tradition of the Kasunanan Palace in Surakarta.Keywords: Bedhaya Tejaningsih dance, meaning of pragmatic action, and jumenengan.AbstrakKehadiran Bedhaya Tejaningsih pada ritual jumenengan K.G.P.H Tejawulan rupanya tidak sekadar bentuk hiburan, namun mengandung makna simbolis. Pada Penelitian pragmatik Bedhaya Tejaningsih, peneliti menggunakan pendekatan linguistik pragmatik. Bentuk penelitiannya bersifat kualitatif interpretatif dengan dasar rujukan teori-teori pragmatik dan seni pertunjukan. Metode pengumpulan datanya dengan cara: studi pustaka, observasi dan wawancara. Hasil kajian menunjukkan bahwa makna kehadiran tari Bedhaya Tejaningsih pada ritual jumenengan K.G.P.H Tejawulan merupakan bentuk hiburan, keteladanan dan kredibilitas. Sebagai bentuk hiburan kehadiran tari Bedhaya Tejaningsih pada penobatan raja secara keseluruhan sajiannya memberikan santapan estetis bagi penonton. Makna keteladanan yang ditemukan adalah bentuk permintaan terhadap masyarakat untuk meneladani figur pemimpin yang baik dan bijak yang selalu mengutamakan cinta kasih dalam mengayomi masyarakat, menciptakan ketentraman dan kedamaian. Makna kredibilitas adalah permohonan K.G.P.H Tejawulan terhadap masyarakat untuk memberi dukungan dan pengakuan atas penobatannya sebagai raja supaya memiliki legitimasi berdasar adat budaya Karaton Kasunanan Surakarta.Kata kunci: tari Bedhaya Tejaningsih, makna tindakan pragmatik, dan jumenengan.

Pragmatic Expression of Bedhaya Sukma Raras: a Reactualization of Holisticity in Life Maryono Maryono; Midiyanto Midiyanto
Gelar : Jurnal Seni Budaya Vol 20, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v20i1.4365

The Bedhaya Sukma Raras dance by Hadawiyah Endah Utami, presented at a gathering of choreographers, was inspired by the journey of human life as it moves towards death. The complementary forms of verbal and nonverbal components in Bedhaya Sukma Raras implicitly offer a concept encased in the aesthetic expression of the dance about human awareness of doing good throughout the transient life in this world, in order to welcome an afterlife that is immortal and full of joy. This research uses a qualitative methodology. The data collection strategies include a library study, interviews, a visual study of dance recordings, an audio study of music recordings, documentation and study of archives of verbal transcripts of literature about songs and vocabulary of dance movements. The results show that in principle human life must seek to preserve a balance between the world and the hereafter. This means that microcosmically, in fulfilling their daily needs, human beings must work hard, prioritize virtue, and pray for God’s guidance so that macrocosmically, in the afterlife their sins will be forgiven and they will enter the heaven of the Creator.

HOLISTIK TARI SINGO JOWO LASKAR KARYA UMI USWAHTUN KHASANAH Novia Nur Nurul Amintamah; Maryono Maryono
Greget Vol 21, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i1.4440

This study aims to reveal the meaning contained in the Singo Jowo Laskar Yudho Dance by Umi Uswahtun Khasanah. The meaning of dance can be revealed by paying attention to three problems including: (1) What is the Genetics of Singo Jowo Laskar Dance by Umi Uswahtun Khasanah, (2) What is the objective of the Singo Jowo Laskar Yudho Dance by Umi Uswahtun Khasanah, (3) How Affective is the Singo Jowo Dance of Laskar Yudho by Umi Uswahtun Khasanah. This research was examined by means of a holistic art criticism approach that places three factors: genetic, objective, and affective as a single unit as the source of the flow of meaning. This research is qualitative research with data collection techniques including interviews, observation, reviewing archival documents, and recording. The research findings based on the analysis of genetic, objective, and affective factors in the Singo Jowo Laskar Yudho Dance by Umi Uswahtun Khasanah can reveal that the dance work has a function as entertainment and elevates the historical value of the region, the value of fighting spirit, the value of patriotism and nationalism that is beneficial to the younger generation and society.

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