This research is a discussion about the dance Kridha Manggala by Dwi Maryani which was created based on the Javanese dance tradition of Surakarta and Poco-Poco dance. The problem in this study was the form and creation of this work. To discuss the issue using the thought of choreography according to Sal Murgiyanto, the category of contemporary dance based on tradition according to Matheus Wasi Bantolo, the form of the dish using the analysis of Janet Adshead, and the process of creation using thinking of Alma M Hawkins. The methods in this study are descriptive analytic with qualitative data, and use a choreographed approach.The results showed that this work is a work Dwi Maryani showed that there is a combination of two elements that are Java elements and the Poco-Poco. The second combination of this element makes a fierce idea for Dwi Maryani in creating the work of Kridha Manggala. The combination of these two elements can be seen in terms of motion, music, and costumes. The process of creating this work through stages, viewing, sensing, interning, imagining or imagination, tilling, and forming. Live through the exploration, improvisation, and composition stages. Keywords: Kridha Manggala, Dwi Maryani, choreography.
{"title":"KOREOGRAFI KRIDHA MANGGALA KARYA DWI MARYANI","authors":"Debita Emy Rachmawati, Matheus Wasi Bantolo","doi":"10.33153/GRT.V19I2.3457","DOIUrl":"https://doi.org/10.33153/GRT.V19I2.3457","url":null,"abstract":"This research is a discussion about the dance Kridha Manggala by Dwi Maryani which was created based on the Javanese dance tradition of Surakarta and Poco-Poco dance. The problem in this study was the form and creation of this work. To discuss the issue using the thought of choreography according to Sal Murgiyanto, the category of contemporary dance based on tradition according to Matheus Wasi Bantolo, the form of the dish using the analysis of Janet Adshead, and the process of creation using thinking of Alma M Hawkins. The methods in this study are descriptive analytic with qualitative data, and use a choreographed approach.The results showed that this work is a work Dwi Maryani showed that there is a combination of two elements that are Java elements and the Poco-Poco. The second combination of this element makes a fierce idea for Dwi Maryani in creating the work of Kridha Manggala. The combination of these two elements can be seen in terms of motion, music, and costumes. The process of creating this work through stages, viewing, sensing, interning, imagining or imagination, tilling, and forming. Live through the exploration, improvisation, and composition stages. Keywords: Kridha Manggala, Dwi Maryani, choreography.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117056464","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}
Essay of this artwork present an analysis dizziness of Gulu’s in a Srimpi Ludiramadu dance Surakarta sytle covers problem 1). How was the dizziness of Gulu’s in the Srimpi Ludiramadu dance?, 2). How does the garap fillings and shapes of Srimpi Ludiramadu dance the dizziness of the Gulu’s?, 3). How was Gulu’s role in Srimpi Ludiramadu dance?. The three issues are discussed of the normatical concept of the Javanese Hasta Sawanda and the consept of garap fillings and shapes. The methods of art were conducted through library studies, observation, and interviews. Research has shown that the dizziness Gulu’s in a Srimpi Ludiramadu dance is required a process whish is countinue and intensive. Dancing a group dance must be supported by personal and group consciousness. The dizziness of the Gulu’s on this Srimpi Ludiramadu was taste of mrabu, kenes, and meneb supported with makeup and karawitan to keep up the impression of grace. Keywords: Dizziness, garap, Srimpi Ludiramadu.
{"title":"KEPENARIAN GULU DALAM TARI SRIMPI LUDIRAMADU GAYA SURAKARTA","authors":"Aqueenes Forsa Putri Setiawan, Dwi Rahmani","doi":"10.33153/GRT.V19I2.3456","DOIUrl":"https://doi.org/10.33153/GRT.V19I2.3456","url":null,"abstract":"Essay of this artwork present an analysis dizziness of Gulu’s in a Srimpi Ludiramadu dance Surakarta sytle covers problem 1). How was the dizziness of Gulu’s in the Srimpi Ludiramadu dance?, 2). How does the garap fillings and shapes of Srimpi Ludiramadu dance the dizziness of the Gulu’s?, 3). How was Gulu’s role in Srimpi Ludiramadu dance?. The three issues are discussed of the normatical concept of the Javanese Hasta Sawanda and the consept of garap fillings and shapes. The methods of art were conducted through library studies, observation, and interviews. Research has shown that the dizziness Gulu’s in a Srimpi Ludiramadu dance is required a process whish is countinue and intensive. Dancing a group dance must be supported by personal and group consciousness. The dizziness of the Gulu’s on this Srimpi Ludiramadu was taste of mrabu, kenes, and meneb supported with makeup and karawitan to keep up the impression of grace. Keywords: Dizziness, garap, Srimpi Ludiramadu.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127146278","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}
The article entitled Development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency is trying to uncover two problems, namely: (1) how the form of the show Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency today.; and (2) how is the development of Reog Cing Po Ling Ponco Manunggal Jati Group in Jatirejo Village, Kaligesing District, Purworejo Regency from 2016-2019. The first problem was examined based on the form theory which explained that the form of the performance consists of interconnected elements including dance moves, floor patterns, dance music, makeup and clothing, property, time and place of performance. Meanwhile, to examine the second problem used development theory that the development is a process of re-processing based on elements of tradition and expansion of the introduction area in the form of a new look without reducing or eliminating the values of existing traditions so that it can be enjoyed by the wider community. This research is qualitative. The techniques or steps in this study include the stage of data collection, the stage of data analysis, and the stage of preparing the report. The results of this study showed that Reog Cing Po Ling Ponco Manunggal Jati was carried out communally with elements of the show arranged neatly. The development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati lies in the elements of the show and the expansion of the stage area. The development occurred due to the influence of factors both from inside and outside the reog Cing Po Ling art group. Internal factors that influence the development of Reog Cing Po Ling include creativity of art actors, management of organizational systems, and spirit of togetherness among art actors. While external factors such as local government, artists from outside, and the development of technology Keywords: Reog Cing Po Ling Paguyuban Ponco Manunggal Jati, Form, Development.
本文的题目是《在普沃雷霍县卡里格赛兴区加蒂雷霍村的热清宝陵Paguyuban Ponco Manunggal Jati的发展》，试图揭示两个问题，即:(1)今天在普沃雷霍县卡里格赛兴区加蒂雷霍村的热清宝陵Paguyuban Ponco Manunggal Jati的表现形式是怎样的;(2) 2016-2019年，在Purworejo县Kaligesing区Jatirejo村，Reog ching Po Ling Ponco Manunggal Jati集团的发展情况。第一个问题是基于形式理论来研究的，该理论解释了表演的形式由相互关联的元素组成，包括舞蹈动作，地板图案，舞蹈音乐，化妆和服装，属性，表演的时间和地点。同时，研究第二个问题使用了发展理论，即发展是一个基于传统元素的再加工过程，在不减少或消除现有传统价值的情况下，以新面貌的形式扩大引进区，使其能够为更广泛的社区所享受。这项研究是定性的。本研究的技术或步骤包括数据收集阶段，数据分析阶段和准备报告阶段。研究结果表明，《Reog ching Po Ling Ponco Manunggal Jati》是集体进行的，节目元素排列整齐。Reog ching Po Ling Paguyuban Ponco Manunggal Jati的发展在于表演元素和舞台面积的扩大。这一发展是在清宝龄艺术团内外因素的影响下发生的。影响《热青宝陵》发展的内在因素包括演员的创造力、组织系统的管理、演员之间的团结精神。而外部因素如地方政府、外来艺术家、技术发展等关键词:Reog ching Po Ling Paguyuban Ponco Manunggal Jati，形式，发展。
{"title":"PERKEMBANGAN REOG CING PO LING PAGUYUBAN PONCO MANUNGGAL JATI DI DESA JATIREJO, KECAMATAN KALIGESING, KABUPATEN PURWOREJO","authors":"Sudrajat Dewandana, Katarina Indah Sulastuti","doi":"10.33153/GRT.V19I2.3454","DOIUrl":"https://doi.org/10.33153/GRT.V19I2.3454","url":null,"abstract":"The article entitled Development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency is trying to uncover two problems, namely: (1) how the form of the show Reog Cing Po Ling Paguyuban Ponco Manunggal Jati in Jatirejo Village, Kaligesing District, Purworejo Regency today.; and (2) how is the development of Reog Cing Po Ling Ponco Manunggal Jati Group in Jatirejo Village, Kaligesing District, Purworejo Regency from 2016-2019. The first problem was examined based on the form theory which explained that the form of the performance consists of interconnected elements including dance moves, floor patterns, dance music, makeup and clothing, property, time and place of performance. Meanwhile, to examine the second problem used development theory that the development is a process of re-processing based on elements of tradition and expansion of the introduction area in the form of a new look without reducing or eliminating the values of existing traditions so that it can be enjoyed by the wider community. This research is qualitative. The techniques or steps in this study include the stage of data collection, the stage of data analysis, and the stage of preparing the report. The results of this study showed that Reog Cing Po Ling Ponco Manunggal Jati was carried out communally with elements of the show arranged neatly. The development of Reog Cing Po Ling Paguyuban Ponco Manunggal Jati lies in the elements of the show and the expansion of the stage area. The development occurred due to the influence of factors both from inside and outside the reog Cing Po Ling art group. Internal factors that influence the development of Reog Cing Po Ling include creativity of art actors, management of organizational systems, and spirit of togetherness among art actors. While external factors such as local government, artists from outside, and the development of technology Keywords: Reog Cing Po Ling Paguyuban Ponco Manunggal Jati, Form, Development. ","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125308347","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}
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.
{"title":"ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA","authors":"Endra Sabekti, D. Wahyudi","doi":"10.33153/GRT.V19I2.3455","DOIUrl":"https://doi.org/10.33153/GRT.V19I2.3455","url":null,"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.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124491118","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}
Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How to work on Anoman Cakil dance by Didik Bambang Wahyudi (2) How to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the concept of cultivation by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the then spread hand arm and keris shell. Beksan retreat is the last part of the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.
在ASKI舞蹈系的要求下，于1986年创立了阿诺曼·卡基尔舞蹈。外在因素是阿诺舞创作的主要因素，而内在因素是阿诺舞创作的支撑。本文的题目是《Anoman Cakil dance》，作者是Didik Bambang Wahyudi，主要研究舞蹈作品和对Anoman Cakil dance的结构分析。在本研究中需要解释的问题是(1)如何对Didik Bambang Wahyudi的Anoman Cakil舞蹈进行工作(2)如何呈现Anoman Cakil舞蹈的结构。本研究采用定性研究方法，通过文献研究法、访谈法和观察法获得数据。然后对数据处理的结果进行描述。为了回答这个问题，本研究以修炼的概念为刀进行分析，即罗哈玉素邦迦的修炼概念。以《苏曼迪约·哈迪》的结构分析为理论，考察阿诺曼·卡吉尔舞蹈呈现的结构问题。栽培要素的形式有物质劳动、设施劳动、家具劳动和决定劳动。以舞蹈形式的修炼应用为创作背景，以迪迪克·班邦·瓦赫迪为修炼者，以阿诺曼·卡吉尔舞蹈为创作材料和手段。诺曼·卡基尔舞蹈包括与故事起源于罗摩衍那史诗的wirenpethilan舞蹈，由两个舞者成对呈现，人物是诺曼和卡基尔。还有，胜利就在卡吉尔的背影上。诺曼舞由三部分组成，以前贝克山结构的形式，贝克山部分由随后展开的手臂和keris壳组成。白山静修是安曼舞的最后一部分。阿曼舞的戏剧流分为多个圆锥形的戏剧槽，在走向主高潮之前有一个小高潮。关键词:Wireng, pethilan, Anoman, Work on, Structural
{"title":"GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI","authors":"N. Aini, Soemaryatmi Soemaryatmi","doi":"10.33153/GRT.V19I2.3453","DOIUrl":"https://doi.org/10.33153/GRT.V19I2.3453","url":null,"abstract":"Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How to work on Anoman Cakil dance by Didik Bambang Wahyudi (2) How to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the concept of cultivation by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the then spread hand arm and keris shell. Beksan retreat is the last part of the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121114912","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}
This study examines Silampari Kayangan Tinggi dance in Lubuklinggau. Its main focus is on the aspects of form and function in its prsentation. Using the theory of form by Suzanne K. Langer which is described using concept of Y. Sumandiyo Hadi and theory of function by M. Jazuli. This research is a type of qualitative research with an intersubjective approach that emphasize observation in the field by capturing information and illustrated in fact. This dance form is also a development of the Silampari dance which is the root of the welcoming dance in Lubuklinggau city and Musi Rawas district. This dance ia a guest welcoming dance perfomed by woman totaling four to ten dancers and two tepak bearers namely Bujang Dere (son and daughter of the city of Lubuklinggau). The result of this study indicate that the Silampari Kayangan Tinggi dance as form of respect to the guest of honor who visited Lubuklinggau.Keywords: Form, Function, Silampari Kayangan Tinggi Dance.
本研究考察了卢布克灵高的Silampari Kayangan Tinggi舞。它的主要重点是在其表现形式和功能方面。使用Suzanne K. Langer的形式理论，这是用Y. Sumandiyo Hadi的概念和M. Jazuli的功能理论来描述的。本研究是一种采用主体间性方法的定性研究，强调通过捕捉信息和事实说明来进行实地观察。这种舞蹈形式也是Silampari舞蹈的发展，Silampari舞蹈是Lubuklinggau市和Musi Rawas地区欢迎舞蹈的根源。这是一种欢迎客人的舞蹈，由四到十名舞蹈演员和两名tepak表演者表演，即Bujang Dere (Lubuklinggau市的儿子和女儿)。研究结果表明，Silampari Kayangan Tinggi舞是对到访卢巴克灵高的贵宾的一种尊重。关键词:形式、功能、西兰巴利卡扬干亭基舞
{"title":"BENTUK DAN FUNGSI TARI SILAMPARI KAYANGAN TINGGI DI LUBUKLINGGAU SUMATRA SELATAN","authors":"Hilaria Widia Ayuningtyas, S. Syahrial","doi":"10.33153/grt.v19i1.3183","DOIUrl":"https://doi.org/10.33153/grt.v19i1.3183","url":null,"abstract":"This study examines Silampari Kayangan Tinggi dance in Lubuklinggau. Its main focus is on the aspects of form and function in its prsentation. Using the theory of form by Suzanne K. Langer which is described using concept of Y. Sumandiyo Hadi and theory of function by M. Jazuli. This research is a type of qualitative research with an intersubjective approach that emphasize observation in the field by capturing information and illustrated in fact. This dance form is also a development of the Silampari dance which is the root of the welcoming dance in Lubuklinggau city and Musi Rawas district. This dance ia a guest welcoming dance perfomed by woman totaling four to ten dancers and two tepak bearers namely Bujang Dere (son and daughter of the city of Lubuklinggau). The result of this study indicate that the Silampari Kayangan Tinggi dance as form of respect to the guest of honor who visited Lubuklinggau.Keywords: Form, Function, Silampari Kayangan Tinggi Dance.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114418483","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}
The follow-up directive is a speech speaker with the intention that the partner speak or not perform the action in accordance with the intent of the speakers. The follow-up directive uses your substitute word as the perpetrator, although the word is not always present in every utterance. The follow-up directive is prospective, we are unlikely to have someone else do something in the past. As with some other types of greeting, the follow-up directive suspects a number of circumstances related to the person being called and the context of the situation (background). The backdrop depicts the place where events occur, the current atmosphere of the event, and the timing of events that include morning, noon, night or all time (time of day) and period of time, which will come, or that have been Then (time of period).Keywords: Speakers, speaking partners, speech, follow-up directive,
{"title":"TINDAK TUTUR DIREKTIF DALAM SENI PERTUNJUKAN JAWA","authors":"Sutarno Haryono","doi":"10.33153/grt.v18i1.2640","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2640","url":null,"abstract":"The follow-up directive is a speech speaker with the intention that the partner speak or not perform the action in accordance with the intent of the speakers. The follow-up directive uses your substitute word as the perpetrator, although the word is not always present in every utterance. The follow-up directive is prospective, we are unlikely to have someone else do something in the past. As with some other types of greeting, the follow-up directive suspects a number of circumstances related to the person being called and the context of the situation (background). The backdrop depicts the place where events occur, the current atmosphere of the event, and the timing of events that include morning, noon, night or all time (time of day) and period of time, which will come, or that have been Then (time of period).Keywords: Speakers, speaking partners, speech, follow-up directive,","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"12 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":"115383372","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}
AbstractMaeswara Swatantra Anjuk Ladang Dance is a new creation dance created by Didik Purwanto in Nganjuk regency. The dance was rushed by 7 female dancers using the Bokor property. This research will essentially reveal about the form and function of the Maeswara Swatantra Anjuk Ladang dance in Nganjuk district. The research uses foundations of theory to dissect Problem forms used Sri Rochana Widyastutieningrum concept about the physical form and the form of the reveal. To dissect function problems, this study uses function theory Soedarsono on the function of the show is divided into two namely function Primary and secondary functions. The primary function is divided into 3 namely (1) As a ritual means, (2) as a means of personal entertainment and (as Aesthetic presentation facilities. Secondary functions are such as education, propaganda, Legation, and Identity of an area. The methods used in this study Qualitative method with an ethnokoreological approach through various stages of observation, data collection and data writing. The results of this study showed that the Maeswara Swatantra Anjuk Ladang Dance is a themed group dance that serves as a welcome guest as well as the regional imaging of Nganjuk regency.Keywords: forms, functions, dance Maeswara Swatantra Anjuk Ladang.
{"title":"BENTUK DAN FUNGSI TARI MAESWARA SWATANTRA NJUK LADANG DI KABUPATEN NGANJUK","authors":"Delima Indra Prasta, F. H. Mulyatno","doi":"10.33153/grt.v18i1.2639","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2639","url":null,"abstract":"AbstractMaeswara Swatantra Anjuk Ladang Dance is a new creation dance created by Didik Purwanto in Nganjuk regency. The dance was rushed by 7 female dancers using the Bokor property. This research will essentially reveal about the form and function of the Maeswara Swatantra Anjuk Ladang dance in Nganjuk district. The research uses foundations of theory to dissect Problem forms used Sri Rochana Widyastutieningrum concept about the physical form and the form of the reveal. To dissect function problems, this study uses function theory Soedarsono on the function of the show is divided into two namely function Primary and secondary functions. The primary function is divided into 3 namely (1) As a ritual means, (2) as a means of personal entertainment and (as Aesthetic presentation facilities. Secondary functions are such as education, propaganda, Legation, and Identity of an area. The methods used in this study Qualitative method with an ethnokoreological approach through various stages of observation, data collection and data writing. The results of this study showed that the Maeswara Swatantra Anjuk Ladang Dance is a themed group dance that serves as a welcome guest as well as the regional imaging of Nganjuk regency.Keywords: forms, functions, dance Maeswara Swatantra Anjuk Ladang.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"39 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":"115280820","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}
Joged Danyang is the core dance in the village’s clean ritual ceremony held in Natah hamlet of Tirtomoyo district Wonogiri. Natah villagers believe that Natah Hamlet is guarded by Danyang named Gadhung Mlathi. People believe that if not implementing a clean ritual village then there will be catastrophe. The problems that will be discussed in this research are roles and forms. The method used is a qualitative method with a descriptive analytical approach displays the observation results based on the actual circumstances. A discussion on the form of Joged Danyang using the theory of Suzane K. Langer includes: Dancers, motion, makeup, dance music, time and place, and offerings. To discuss the role of Joged Danyang using the theory of Sumandiyo Hadi as worship or adoration to the spirit of ancestors and communication with God or the Almighty, as a means of influencing the power of nature and as a means for legitimacy. Results of this study showed that the form of a Joged Danyang very simple, movement experiencing repetition and view of dancers focus on Danyang furniture. Joged Danyang role respect and communication to the community. Joged Danyang from the clean ritual of the village. Some impacts of entertainment, economic aspects, and aspects of the Social. Thus Joged Danyang has an important role in Natah community of Tirtomoyo Sub-district and surrounding areas.Keywords: Joged Danyang, form, and role.
{"title":"PERAN JOGED DANYANG DALAM RITUAL BERSIH DESA DI DUSUN NATAH","authors":"Siti Khasanah, Katarina Indah Sulastuti","doi":"10.33153/grt.v18i1.2645","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2645","url":null,"abstract":"Joged Danyang is the core dance in the village’s clean ritual ceremony held in Natah hamlet of Tirtomoyo district Wonogiri. Natah villagers believe that Natah Hamlet is guarded by Danyang named Gadhung Mlathi. People believe that if not implementing a clean ritual village then there will be catastrophe. The problems that will be discussed in this research are roles and forms. The method used is a qualitative method with a descriptive analytical approach displays the observation results based on the actual circumstances. A discussion on the form of Joged Danyang using the theory of Suzane K. Langer includes: Dancers, motion, makeup, dance music, time and place, and offerings. To discuss the role of Joged Danyang using the theory of Sumandiyo Hadi as worship or adoration to the spirit of ancestors and communication with God or the Almighty, as a means of influencing the power of nature and as a means for legitimacy. Results of this study showed that the form of a Joged Danyang very simple, movement experiencing repetition and view of dancers focus on Danyang furniture. Joged Danyang role respect and communication to the community. Joged Danyang from the clean ritual of the village. Some impacts of entertainment, economic aspects, and aspects of the Social. Thus Joged Danyang has an important role in Natah community of Tirtomoyo Sub-district and surrounding areas.Keywords: Joged Danyang, form, and role.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"16 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":"134096380","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}
This research focuses on Dwiyasmono’s creativity in creating Harjuna–Keratarupo Dance. Harjuna–Keratarupo Dance is a phetilan dance two adult males. Issues raised in the research is about the form of Harjuna–Keratarupo Dance. And about Dwiyasmono’s creativity in the Creations of Harjuna–Keratarupo Dance. This research is a Qualitative research using descriptive methods of analysis and the technical collection of observations, interviews, bibliography studies and Documents. To analyse the shape of the dish using form concepts expressed by Suzane K. Langer and its elements the constituent was outlined using Soedarsono’s theory. To Explain Dwiyasmono’s creativity analyzed using theory Rhodes that creativity there are four elements, namely person, press, process, product. The results of the research known as Harjuna-Keratarupo Dance in the form of a divided into three parts, namely the Maju Beksan, Beksan and Mundur Beksan. This dance has the merging of two styles of dance motion. Dwiyasmono’s creativity in the cupping section of the Surakarta movement is combined with the movement of Yogyakarta style. The dance music in the dance is colored with a leather puppet pack. The development of the garage is influenced by external factors and internal factors, especially for its withdrawal.Keywords: Harjuna Keratarupo, form, Dwiyasmono, creativity.
本研究主要关注Dwiyasmono在创作Harjuna-Keratarupo Dance时的创造力。Harjuna-Keratarupo舞蹈是两个成年男性的婚外情舞蹈。在研究中提出的问题是关于Harjuna-Keratarupo舞蹈的形式。以及Dwiyasmono在Harjuna-Keratarupo舞蹈创作中的创造力。本研究是一项定性研究，采用描述性分析方法和观察、访谈、书目研究和文献的技术收集。为了使用Suzane K. Langer表达的形式概念来分析盘子的形状及其元素，使用Soedarsono的理论概述了组成部分。运用罗德理论对德维亚斯莫诺的创造力进行了分析，认为创造力有四个要素，即人、媒介、过程、产品。研究结果将Harjuna-Keratarupo舞蹈的形式分为三个部分，即Maju Beksan, Beksan和Mundur Beksan。这种舞蹈是两种舞蹈动作的融合。Dwiyasmono在拔罐部分的创意与日惹风格的运动相结合。舞蹈中的舞蹈音乐是用皮制木偶包着色的。车库的发展受外部因素和内部因素的影响，尤其是其退出。关键词:Harjuna Keratarupo;形式;Dwiyasmono;
{"title":"KREATIVITAS DWIYASMONO DALAM KARYA TARI HARJUNA KERATARUPA","authors":"Fitri Monika Sari, Nani Prihatini","doi":"10.33153/grt.v18i1.2643","DOIUrl":"https://doi.org/10.33153/grt.v18i1.2643","url":null,"abstract":"This research focuses on Dwiyasmono’s creativity in creating Harjuna–Keratarupo Dance. Harjuna–Keratarupo Dance is a phetilan dance two adult males. Issues raised in the research is about the form of Harjuna–Keratarupo Dance. And about Dwiyasmono’s creativity in the Creations of Harjuna–Keratarupo Dance. This research is a Qualitative research using descriptive methods of analysis and the technical collection of observations, interviews, bibliography studies and Documents. To analyse the shape of the dish using form concepts expressed by Suzane K. Langer and its elements the constituent was outlined using Soedarsono’s theory. To Explain Dwiyasmono’s creativity analyzed using theory Rhodes that creativity there are four elements, namely person, press, process, product. The results of the research known as Harjuna-Keratarupo Dance in the form of a divided into three parts, namely the Maju Beksan, Beksan and Mundur Beksan. This dance has the merging of two styles of dance motion. Dwiyasmono’s creativity in the cupping section of the Surakarta movement is combined with the movement of Yogyakarta style. The dance music in the dance is colored with a leather puppet pack. The development of the garage is influenced by external factors and internal factors, especially for its withdrawal.Keywords: Harjuna Keratarupo, form, Dwiyasmono, creativity.","PeriodicalId":234292,"journal":{"name":"Greget: Jurnal Pengetahuan dan Penciptaan Tari","volume":"35 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":"125141778","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}
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