Greget: Jurnal Pengetahuan dan Penciptaan Tari最新文献

{"title":"MAKNA SIMBOLIS TARI MAYANG RONTEK DI KABUPATEN MOJOKERTO","authors":"Windi Dwi Setya Agustin, S. Hadi","doi":"10.33153/grt.v18i1.2646","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2646","url":null,"abstract":"This research focuses on the symbolic meaning contained in the Mayang Rontek dance. Mayang Rontek Dance is an entertainment dance that was rushed by the young women. The problem in this research is how the idea of Mayang Rontek dance in Mojokerto Regency?. How to form Mayang Rontek dance performances in Mojokerto?. And how the symbolic meaning of Mayang Rontek dance in Mojokerto Regency?. The research was conducted with qualitative research with using a descriptive analysis method used to and analyzing the dance and technique of Mayang Rontek Library, observation and interview data collection. Analyzing the line using the concept of Rahayu Supanggah stating that the garrison involved several elements of mutual such as: Garap, penggarap, facility, furniture or dear and a crisp consideration. To analyse the shape with the concept of a form of Suzanne K With the theories of elements in the dance expressed by the Sumandiyo Hadi. To explain the symbolic meaning of dance Mayang Rontek. The theory of Roland Barthes states that symbols on Objects not only carry information, but also conjugation Structured system of the mark. The results of the research are known to working on idea originated from Manten Mojoputri composed by Setu den other Mojokerto artists. Mayang Rontek Dance contains symbolic significance about the values life. It is included in elements such as: motion, Accompaniment/poetry, dancer, fashion and title. Moreover motion in dance Mayang Rontek is a new style taken from a variety of movements Remo Jombang, Remo Surabaya and Beskalan.Keywords: Mayang Rontek, Garap, form, Setu, symbolic meaning.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121092982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MAKNA GERAK TARI TANGGAI DI KOTA PALEMBANG SUMATERA SELATAN","authors":"gabriella Saras Katungga, S. Syahrial","doi":"10.33153/GRT.V18I1.2644","DOIUrl":"https://doi.org/10.33153/GRT.V18I1.2644","url":null,"abstract":"Tanggai Dance is a welcome guest dance in the city of Palembang. Tanggai Dance is one of the dance that until now continues to exist and become a dance that must be known and studied by young people especially women. It is not recklessly to dance the Tanggai dance, but dancers should also know the contents of the dance, because there is a value to be conveyed to the people who appreciate the Tanggai dance. There are two focus problems that will be researched and formulated in the research question which is how the form of Tanggai dance and what is the meaning of the movement of Tanggai dance in the city of Palembang. This research uses qualitative research methods. The research aims to discuss the shape and meaning of the dance movements of Tanggai. The discussion of the form uses the concept of Suzzane K. Langer and Soedarsono about the form which means the structure of a relationship of various factors that are intertwined. Discussion of the meaning of motion using the concept expressed by Anya Peterson Roice about the three things of use is, mimetic, abstract, and metaphoric. The result of this research is Tanggai dance in Palembang city is a packaging dance form for welcome guests. Related to the meaning of the whole movement of Tanggai dance that has the meaning of surrender to the Lord Almighty.Keywords: dance form and motion meaning.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121038135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BENTUK PERTUNJUKAN OPERA TIMUN EMAS KARYA JONET SRI KUNCORO","authors":"Etika Sari, Nanuk Rahayu","doi":"10.33153/grt.v18i1.2642","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2642","url":null,"abstract":"The Opera Timun Emas is an Opera-shaped dance work in Directed by Jonet Sri Kuncoro on birthday Soeryo Soemirat Dance Workshop to 34 in 2016. Problem in this research is how the process of scrattering and how Opera Timun Emas performances. Based on the object examined this research uses qualitative methods with a process approach to and shape. To know about the process of using the the thought of Rahayu Supanggah about the garrison covering the material, facilities, and furniture, and a garage, and a Working on. Discussing form issues using form concepts Suzane K. Langer which is explained by the opinion of R. M Soedarsono Discussing elements that include dance movements, formations, makeup, fashion, Dance music, dramatic design, theme, choreography group of places Staging, lighting, and arrangement of events. The results showed that the Opera Timun Emas includes in the genre of opera dance dramas, which are directed by In consideration of the garap, penggarap, facilities, furniture, and a line of Opera Timun Emas takes the basic idea of concern for a child’s world Folklore. Portrayed by the students of the Soeryo Soemirat. The Opera Timun Emas form can be seen from the existing elements Dance, formations, makeup, fashion, dance music, dramatic design, themes, the choreography of a group of staging, lighting, and The event was directed into a intact unity.Keywords: Opera, Garap, shape.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114309456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PEMBENTUKAN GERAK TARI DILA PANGETO KARYA INDRA JAYA DI KABUPATEN SUMBAWA BARAT NUSA TENGGARA BARAT","authors":"A. Azizah, Matheus Wasi Bantolo","doi":"10.33153/grt.v18i1.2638","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2638","url":null,"abstract":"AbstractDila Pangeto Dance is a work created by Indra Jaya in 2016. This research will emphasize the choreography which includes Indra Jaya as the creator, the idea of creation about the world and education, the process of creation that there is exploration, improvisation, and composition, as well as the formation of dance motion Dila Pangeto. To discuss the above problems using the foundation of Theory: Choreography using Seymour theory, the form of servings using the theory of Suzanne K. Langer, and formation of motion using the theory of Doris Humphrey. This dance research uses a descriptive method of analytic with qualitative data types through the data collection stage i.e. observation, interviews, library studies, as well as data analysis stage. The results of the study were the choreography Dila Pangeto which discusses the creators, ideas of creation, and the process of creation and the form of dance in which there is a serving structure divided into five parts, and the dance elements of Dila Pangeto include two female dancers, a parallel floor pattern, and zigzag, the stage space that has been provided by the organizing committee, dressing and clothing using West Sumbawa costumes, Dila and shawl properties, West Sumbawa Music and the addition of violin instruments, as well as Motion derived from the motion of West Sumbawa Dance and Gentao or Pencak Silat. The formation of Dila Pangeto Dance uses the motion of West Sumbawa Dance and Gentao. The formation of the dance movements of Dila Pangeto in the movement patterns such as Ngengke ‘, Palangan Telas, Nyempung, Bagerik, plump besai ‘, Bolang sweep ‘, Juluk Betak, Pio Ngibar, remove Pengkenang, Betak Jala, Sempanang, Telnyak ninting, Pusuk nyer, puntal yarn, Nesek , ninting Seleng, ente Dila, swivel dila, Jonyong, Basalunte ‘, Tanak, Ngijik, and Bajempit contains more designs using a unidirectional line design, the dynamics of gentle motion, functional rhythm or rhythm, mechanisms, and emotional The motivation of the life of West Sumbawa. Characters and character in each motion pattern the Dila Pangeto dance has a gentle, polite, and graceful character.Keywords: Dila Pangeto dance, Indra Jaya, choreography, and formation Motion.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134461914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BENTUK DAN FUNGSI TARI GATHOLOCO KELOMPOK SENI CIPTO BUDOYO KABUPATEN TEMANGGUNG","authors":"Lenni Wulandari, Sri Rochana Widyastutieningrum","doi":"10.33153/GRT.V17I2.2307","DOIUrl":"https://doi.org/10.33153/GRT.V17I2.2307","url":null,"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. ","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129957622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PEMADATAN SRIMPI SANGUPATI OLEH AGUS TASMAN RONOATMODJO","authors":"Sonia Margarita, Dwi Wahyudiarto","doi":"10.33153/grt.v17i2.2303","DOIUrl":"https://doi.org/10.33153/grt.v17i2.2303","url":null,"abstract":"AbstrakSrimpi Sangupati merupakan salah satu tarian yang berasal dari Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta disebut juga dengan Srimpi Sangupati “utuh” karena pada tari Srimpi ini berdurasikan ±1 jam dan menggunakan properti lengkap yaitu meja kecil, kenthi, sloki, dan juga pistol. Srimpi Sangupati dipadatkan oleh Agus Tasman menjadi ±16 menit dan juga tidak menggunakan properti seperti yang ada di Srimpi Sangupati Keraton Kasunanan Surakarta. Pemadatan yang dilakukan oleh Agus Tasman bertujuan untuk menjaga agar kelestarian, eksistensi, dan kontinuitas seni pertunjukan tradisi keraton terjaga. Penelitian pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman merupakan penelitan kualitatif dengan menggunakan pendekatan deskriptif analisis. Penelitian ini menggunakan teori perubahan menurut Giddens yang diperkuat oleh Douglas dan Goodmans mengenai faktor yang mempengaruhi perubahan yaitu agen dan struktur. Untuk membahas bentuk pertunjukan menggunakan teori Soedarsono, yang menyatakan bahwa elemen-elemen pendukung pertunjukan tari antara lain gerak, musik tari, rias busana, desain lantai, dan pendukung tari lainnya (properti dan lighting). Hasil penelitian menunjukan bahwa Pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman dilakukan dengan menggarap dan menyusun kembali materi yang telah ada meliputi pemadatan waktu, mengurangi pengulangan gerak, menggarap gendhing, variasi pola lantai, menghilangkan properti dan juga mengubah rasa yang ditimbulkan pada Tari Srimpi Sangupati. Dampak dari perubahan itu menjadikan Srimpi Sangupati menjadi lebih akrab dengan masyarakat luas baik dari dalam keraton maupun luar keraton. Tari Srimpi Sangupati menjadi lebih menarik, tidak monoton, dan laris.Kata kunci: Srimpi Sangupati, Keraton Kasunanan Surakarta, pemadatan, Agus Tasman.AbstractSrimpi Sangupati is one of the dances that come from Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta is also called Srimpi Sangupati “intact” because in this Srimpi dance is ± 1 hour duration and use complete property that is small table, kenthi, sloki, and also pistol. Srimpi Sangupati compacted by Agus Tasman to ± 16 minutes and also do not use the property as in Srimpi Sangupati Keraton Kasunanan Surakarta. Compaction conducted by Agus Tasman aims to maintain the sustainability, existence, and continuity of performing arts tradition awakened. Research compaction Srimpi Sangupati Keraton Kasunanan Surakarta by Agus Tasman is a qualitative research using descriptive analysis approach. This study uses the theory of change according to Giddens reinforced by Douglas and Goodmans about the factors that affect the change of agents and structures. To discuss the form of performances using Soedarsono’s theory, which states that the supporting elements of dance performances include motion, dance music, dress makeup, floor design, and other dance supporters (property and ligh","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128237148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KESENIAN KOBRO SISWO KOMUNITAS SINAR MUDA DESA SALAKAN KABUPATEN TEMANGGUNG (Kajian Holistik)","authors":"Kiki Fatmawati, Sutarno Haryono","doi":"10.33153/GRT.V17I2.2302","DOIUrl":"https://doi.org/10.33153/GRT.V17I2.2302","url":null,"abstract":"AbstrakPenulisan Skripsi ini bertujuan untuk mengungkap kesenian Kobro Siswo komunitas Sinar Muda dari segi kritik seni holistik untuk mendeskripsikan dan menganalisa tentang : (1) faktor genetik, membahas mengenai latar belakang terbentuknya kesenian Kobro Siswo komunitas Sinar Muda (2) faktor objektif, membahas komponen verbal dan komponen non-verbal, mendeskripsikan menjelaskan hubungan komponen non-verbal dan verbal (3) faktor afektif, menjelaskan respon atau tanggapan penghayat (4) menjelaskan makna kesenian Kobro Siswo komunitas Sinar Muda. Bentuk penelitian adalah penelitian kualitatif deskriptif, dengan menggunakan pendekatan kritik seni holistik. Teori yang digunakan untuk mengakaji kesenian Kobro Siswo komunitas Sinar Muda adalah : (1) Teori pragmatik untuk mengkaji komponen verbal dan koneksitas komponen verbal dan non-verbal, (2) Teori seni pertunjukan untuk mengkaji komponen non-verbal dan verbal. Simpulan didapat berdasarkan analisis koneksitas faktor genetik, objektif, afektif. Kesenian Kobro Siswo komunitas Sinar Muda merupakan kesenian yang berfungsi sebagai hiburan dan media dakwah. Kesenian Kobro Siswo komunitas Sinar Muda memberikan pesan moral yaitu mengajarkan pentingnya menjadi manusia yang memiliki semangat pantang menyerah dan selalu ingat kepada Tuhan Yang Maha Esa.Kata kunci: Kobro Siswo komunitas Sinar Muda, kritik seni holistik, pragmatik.AbstractThe aim of this thesis is to uncover the art of Kobro Siswo in the Sinar Muda community from a holistic art criticism perspective in order to describe and analyze: (1) the genetic factors, including a discussion of the background to the formation of the art of Kobro Siswo in the Sinar Muda community; (2) the objective factors, including a discussion of the verbal and non-verbal components and a description of the relationship between the verbal and non-verbal components; (3) the affective factors, including an explanation of the response or reaction of the audience; and (4) an explanation of the meaning of the art of Kobro Siswo in the Sinar Muda community. The form of the research is descriptive qualitative with a holistic art criticism approach. The theories used to study the art of Kobro Siswo in the Sinar Muda community are: (1) The theory of pragmatics to study the verbal component and the connection between the verbal and non-verbal components. (2) The theory of performing arts to study the verbal and non-verbal components. The conclusion is obtained based on an analysis of the connection between the genetic, objective, and affective factors, and shows that the art of Kobro Siswo in the Sinar Muda community is an art that functions both as entertainment and as a medium for religious proselytization. The art of Kobro Siswo in the Sinar Muda community present moral messages which teach about the importance of becoming a human being with a spirit that never gives up and always remembers Almighty God.Keywords: Kobro Siswo Sinar Muda community, holistic art criticism, pragma","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114370254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"JARANAN POGOGAN TEGUH RAHAYU DESA SUGIHWARAS, PRAMBON, KABUPATEN NGANJUK (KAJIAN HOLISTIK)","authors":"Marinda Lisa Anggraini, Sutarno Haryono","doi":"10.33153/GRT.V17I2.2304","DOIUrl":"https://doi.org/10.33153/GRT.V17I2.2304","url":null,"abstract":"Penelitian ini bertujuan untuk mendiskripsikan dan mengkaji secara anilitis tentang Jaranan Pogogan Teguh Rahayu. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan menggunakan pendekatan kritik seni holistik. Tahap penelitian yang digunakan adalah pengumpulan data dengan melakukan observasi, wawancara, dan studi pustaka. Seluruh data yang didapat kemudian di analisis dengan menggunakan pendekatan kritik holistik yang mencakup faktor genetik, faktor objektif serta faktor afektif. Hasil temuan bahwa Kesenian Jaranan Pogogan Teguh Rahayu merupakan kesenian yang diciptakan selain sebagai sarana hiburan juga sebagai sarana edukasi. Terdapat pesan-pesan moral dibalik setiap penyajiannya seperti semangat juang, kerja keras dan perintah-perintah untuk melakukan kebaikan.Kata kunci: Jaranan Pogogan Teguh Rahayu, Kritik Seni Holistik.AbstractThe goal of this research is to describe and carry out an analytical study of Jaranan Pogogan Teguh Rahayu. A qualitative research method is used with a holistic art criticism approach. The stages of the research include data collection through observation, interviews, and a library study. All the data obtained is then analyzed using a holistic art criticism approach which includes the genetic factors, objective factors, and affective factors. The research results show that the art of Jaranan Pogogan Teguh Rahayu was created as a form of entertainment and also as a medium for education. Every performance contains moral messages, such as the need for a fighting spirit, the importance of hard work, and instructions to perform good deeds.Keywords: Jaranan Pogogan Teguh Rahayu, Holistic Art Criticism.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130136343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"KREATIVITAS KAHARUDDIN DEA IMOK DALAM KARYA TARI KEMANG PASIKI KECAMATAN ALAS KABUPATEN SUMBAWA","authors":"E. Nurhayati","doi":"10.33153/grt.v18i1.2641","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2641","url":null,"abstract":"The Kemang Pasiki Dance was created in 2016 by Kaharuddin Dea Imok, who originated from his interest in seeing the skills of Sumbawa women. The problem is formulated in this research the first how to form Kemang Pasiki dance second how to creativity Kaharuddin Dea Imok in creating the Kemang Pasiki dance. Based on the object examined, this research uses a qualitative method describing the research object according to the data in the field in the form of real data. To know about the form of dance Kemang Pasiki researchers use the concept of Suzanne K, the writer that is made clear by the opinions of Soedarsono discussing about dance elements that include motion, floor patterns, music, fashion makeup and place Show. Next to discuss about the creativity of Kaharuddin Dea Imok use the thought concept of Mel Rodes, and for the process used 4P namely pribadi (person), pendorong (press), Proses (prosess) and produk (product). The results of the study gained that creativity Kaharuddin Dea Imok can be seen from the experience as a choreographer in creating dance works. Kemang Pasiki Dance forms can be seen Composition of the elements of the movement, the floor pattern, and the Music, fashion makeup and a place of performances that become one unit In the Kemang Pasiki dance performance. Creativity Imok can be seen from the development of the basic movements of Sumbawa dance, and movements that are calculated with the Rdat motion and the Zapin motion and the skills movement of Sumbawa women.Keyword: Kemang Pasiki dance, dance form, and creativity.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122194162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"NILAI ESTETIK TARI SRIMPI PANDHELORI DI PURA MANGKUNEGARAN","authors":"S. Sriyadi, Wahyu Santoso Prabowo","doi":"10.33153/grt.v17i1.2295","DOIUrl":"https://doi.org/10.33153/grt.v17i1.2295","url":null,"abstract":"Penelitian Nilai Estetik Tari Srimpi Pandhelori di Pura Mangkunegaran bertujuan untuk mendeskripsikan koreografi dan nilai estetik tari Srimpi Pandhelori. Analisis koreografi Srimpi Pandhelori menggunakan konsep koreografi Sumandiyo Hadi. Analisis nilai estetik menggunakan konsep nilai estetik menurut The Liang Gie, yang didukung dengan konsep ciri-ciri sifat benda estetik oleh Monroe Beardsley, dan konsep pengungkapan nilai-nilai kehidupan dalam karya seni oleh De Witt H. Paker. Penulisan skripsi ini menggunakan metode penelitian kualitatif, dengan pendekatan estetik. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dan studi pustaka. Hasil penelitian menunjukan bahwa tari Srimpi Pandhelori memiliki nilai estetik karena dari sudut pandang inderawi memiliki nilai bentuk dan dari isi mampu mengungkapkan nilai-nilai kehidupan.Kata kunci: Srimpi Pandhelori, koreografi, nilai estetik.AbstractResearch Value Aesthetic Srimpi Pandhelori Dance in Pura Mangkunegaran aims to describe the choreography and aesthetic value of Srimpi Pandhelori dance. Srimpi Pandhelori choreography analysis uses Sumandiyo Hadi’s choreography concept. Aesthetic value analysis uses the concept of aesthetic value according to The Liang Gie, supported by the concept of aesthetic properties by Monroe Beardsley, and the concept of life values in artwork by De Witt H. Paker. Writing this thesis using qualitative research methods, with an aesthetic approach. Data collection techniques used were observation, interview, and literature study. The results showed that the Srimpi Pandhelori dance has an aesthetic value because from the viewpoint of the senses have the value of the form and the content is able to express the values of life.Keywords: Srimpi Pandhelori, choreography, aesthetic value.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131944542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}