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.
{"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}
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.
唐盖舞是巨港市的一种欢迎客人的舞蹈。唐盖舞是一种至今仍在继续存在的舞蹈，成为年轻人特别是女性必须了解和学习的舞蹈。跳汤盖舞不能莽撞，但舞者也要知道舞蹈的内容，因为有一种价值要传达给欣赏汤盖舞的人。在研究问题中，将研究和制定两个重点问题，即巨港市唐盖舞的形式如何以及唐盖舞的运动意义是什么。本研究采用定性研究方法。本研究旨在探讨汤改舞蹈动作的形态和意义。形式的讨论使用了suzane K. Langer和Soedarsono关于形式的概念，即各种因素相互交织的关系的结构。运用Anya Peterson Roice所表达的“拟态、抽象、隐喻”的概念来讨论运动的意义。研究结果表明，巨港市的唐盖舞是一种迎宾包装舞形式。与唐盖舞整个动作的含义有关，具有向全能的主降服的意思。关键词:舞蹈形式与动作意义。
{"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}
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.
歌剧《Timun Emas》是Jonet Sri Kuncoro在2016年Soeryo Soemirat舞蹈工作坊至34岁生日时执导的歌剧形式的舞蹈作品。本研究的问题是如何在刮擦的过程中以及歌剧蒂蒙·埃马斯是如何表演的。在考察对象的基础上，本研究采用定性的方法和过程的方法来研究和塑造。了解使用拉哈玉苏邦加思想的过程，包括驻军的材料，设施，家具，车库和工作。Suzane K. Langer用R. M . Soedarsono的观点来讨论形式问题。讨论的元素包括舞蹈动作、造型、化妆、时尚、舞蹈音乐、戏剧设计、主题、编舞、场地组合、舞台、灯光和活动安排。结果表明，歌剧《蒂门·埃玛斯》包含了歌剧舞剧的类型，其导演考虑到剧场、剧场、设施、家具等，而歌剧《蒂门·埃玛斯》的一行基本思路是关注一个孩子的世界民俗。由Soeryo Soemirat的学生描绘。歌剧蒂蒙·埃玛斯的形式可以从现有的舞蹈元素中看出，造型、化妆、服装、舞蹈音乐、戏剧设计、主题、舞美、舞台、灯光、活动导演等一组完整的统一体。关键词:歌剧，Garap，造型。
{"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}
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.
{"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}
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 pembangunanâ€. 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 developmentâ€. 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.
gathotari是一个民间舞蹈团体，在Kembangsari村的一个艺术团体中。盖托乐克的原作者是谁，1965年由巴丁种植，1980年由托诺种植。Gatholoco舞蹈很有趣，因为它是一种地板形状，形成了一个字母，构成了一个新词。运动也有一个运动之间的桥梁连接到下一个运动和运动的位移模式和senggakan楼a€œpembangunana有成€。Gatholoco舞蹈在Kembangsari农村社区有社会功能。该研究采用苏珊·K·兰格和斯里罗查纳·维迪亚斯图宁，雷蒙德·弗斯的功能理论基础。该研究采用定性方法，是一种研究方法，通过采访、文档、直接观察、间接观察和文献研究所涉及的现象。以数据和视觉形式呈现的演示。这项研究的结果可能是对Gatholoco舞蹈体的形式和社会功能的一种描述，这种舞蹈至今仍在发展中国家的发展中。Gatholoco有运动的舞蹈形式的文案描述日常社会活动。Gatholoco舞蹈的社会功能,即作为内心的满足,自我放松和娱乐的手段,表达手段,手段整合和统一,村民Kembangsari生活上非常积极的教育手段。关键词:Gatholoco、形状FungsiAbstractGatholoco folk-type传统舞蹈是集团舞》在艺术集团里Kembangsari村。还不知道谁之造物主Gatholoco舞蹈是cultivated由巴德朗在1965年然后tilled由Tono 1980年。Gatholoco跳舞很有趣,因为美国模式楼像字母表(倒立从《word)哪种composes阵线意味着像天堂岗。发展到这种运动舞蹈也关系之间一号》《next运动,然后其他运动》关系连结模式楼是卑鄙的那个a€œ成功developmenta€。Gatholoco舞在热闹的村庄有社会文化活动。这个研究uses的基础论文作者:Suzanne K. Langer and Sri Rochana widyastudrrum and function of theory by Raymond Firth。这一研究的标准方法，是一种研究方法，它强调了通过控制采访、文档、直接观察、深入观察和文学研究而发生的现象。正在以数据和可视形式呈现。这项研究的结果可以使一幅画与跳天鹅舞的课程和社会功能相关联，直到现在还活着，在发展中国家的人们中间生长。有一种运动描述了社区日常活动的姿势。Gatholoco舞蹈之社会功能是美国内satisfaction的平均值,意味着relaxation娱乐,意味着表达式的著作百科全书》之身份,integrative意味着unifier著作百科全书》,意味着教育的,治疗的意思,象征着意味着积分的意义和力量,意味着在混乱的时代是非常积极、社区》《life of Kembangsari村。弦乐:
{"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 pembangunanâ€. 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 developmentâ€. 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}
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
abstrasrimpi Sangupati是来自日惹Kasunanan的舞蹈之一。朝臣Srimpi Sangupati Kasunanan日惹市也被称为与Srimpi Sangupati a€œutuha€因为在这个舞蹈Srimpi berdurasikan a±1小时,使用完整的小桌子、kenthi杯的财产,还有枪。夯实Srimpi Sangupati由Agus purnomo Tasman成为A±16分钟,也不使用这样的物业在Srimpi朝臣Sangupati Kasunanan日惹。塔斯曼阿古斯的固化是为了保持克莱顿传统艺术表演的持久性、存在和延续。研究气态Srimpi朝臣Sangupati Kasunanan日惹由Agus purnomo Tasman用描述性分析方法是定性研究。这项研究使用增强的变化理论根据Giddens道格拉斯和Goodmans关于变化的因素就是特工和结构。节目里的讨论形式使用Soedarsono的理论,指出,运动元素的舞蹈表演的支持者包括时装、音乐舞蹈、梳妆楼设计,和其他舞蹈的支持者(财产和照明)。研究结果显示,气态Srimpi Agus Tasman由朝臣Sangupati Kasunanan日惹市种植和重组现有的材料包括气态时间,减少重复运动地板、耕种gendhing模式的变化,消除财产和舞蹈也改变造成的感觉Srimpi Sangupati。这一变化的影响使斯里皮桑吉提在克莱顿和克莱顿之外的广大人民更加熟悉。Srimpi - ciupati的舞蹈变得更有吸引力，而不是单调乏味，是畅销书。关键词:Srimpi Sangupati, Keraton Kasunanan Surakarta，压原，Agus Tasman。AbstractSrimpi Sangupati朝臣看看那是一号》来自Kasunanan日惹。朝臣Srimpi Sangupati Kasunanan日惹是也叫Srimpi Sangupati a€œintacta€,因为在这个Srimpi舞蹈是a±1小时持续和用完整的财产就是小型桌kenthi杯,还和枪。Srimpi Sangupati compacted由Agus purnomo Tasman to A±16分钟and也不要用美国财产》Srimpi朝臣Sangupati Kasunanan日惹。Compaction conducted由Agus purnomo Tasman aims to maintain可持续发展、存在和continuity》表演艺术传统醒来。朝臣Research compaction Srimpi Sangupati Kasunanan日惹由Agus purnomo Tasman qqe是一个研究用descriptive分析进近。这个研究理论》利用改变弥足Giddens reinforced被道格拉斯和Goodmans关于《change of factors,以至于影响代理和structures。用Soedarsonoa To discuss the form of performances€™s》,哪个州那supporting文本之舞performances include motion,舞曲,服装化妆,地板设计和其他舞蹈supporters(财产和照明)。压缩》The results那里那个Srimpi朝臣Sangupati Kasunanan日惹Agus Tasman偏干得是由短期上和改变The existing时间compaction在内的材料,reducing motion repetition,短期在gendhing variation of楼模式eliminating《品味和财产也改变枪舌战Srimpi Sangupati舞。改变之冲击,以至于让Srimpi Sangupati成为更多熟悉《宫wider社区都从内心和外面的宫殿。Srimpi Sangupati舞变成了更有趣,不是monotonous和在要求。Keyword: Srimpi Sangupati,朝臣Kasunanan日惹,阿古斯Tasman压缩。
{"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}
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
撰写这篇文章的原因是为了揭示从整体艺术批评角度来描述和分析的年轻群体光艺术的Kobro。(1)遗传因素，讨论青年光社区凝集艺术的背景(2)客观因素，讨论语言成分和非语言成分，描述非言语和语言成分之间的关系(3)情感因素，描述非言语和语言成分之间的关系(4)描述词源性反应或词源性反应(4)解释青年光社区凝脂艺术的意义。研究形式是一种描述性的定性研究，采用整体艺术批评的方法。用于将青年光社区的艺术组合理论如下:(1)用于评估言语成分和非语言和语言成分的连接性的实用理论;(2)表演艺术理论用来审查非言语和语言成分。结论是基于对遗传因素、客观和情感因素的分析。青年光社区凝聚艺术是一种娱乐和媒体的艺术。年轻的光社会艺术团体提供了一个道德信息，教导人们成为一个有不屈精神、永远记住全能上帝的人的重要性。关键词:年轻的、艺术批评、实用主义的社区氛围。AbstractThe aim of art》这篇论文to uncover Kobro Siswo》年轻阳光社区从一个整体艺术criticism视角》和秩序to描述and analyze:(1)基因factors,在内的a受到质疑》背景的《art of Kobro编队Siswo》年轻阳光社区;(2)对象因素，包括言语和非言语结合的讨论，以及言语和非言语结合之间的关系;(3)影响因素，包括对听众的反应或反应;(4)在社区的年轻阳光下展示了Kobro Siswo的艺术意义。研究结果的形式是用一种更全面的艺术批评来解释的。理论用来研究社区年轻时Kobro Siswo的艺术:(1)研究口头交流和非语言交流之间的联系的实用理论。(2)口头和非言语结合的表演艺术。结论是基于分析基因、目标和情感因素之间的联系，并表明社区年轻时Kobro Siswo的艺术既是一种娱乐，也是一种宗教过程的媒介。在社区的年轻灯光下，Kobro Siswo的艺术现在传达了道德信息，这则信息告诉我们，来一个人与一种永不放弃、永远记住全能之神的精神的重要性。整体艺术批判，实用主义。
{"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}
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.
本研究的目的是20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪20世纪研究方法是一种采用全面艺术批评方法的定性研究方法。研究的一个阶段是通过观察、采访和库研究来收集数据。所有后来获得的数据都采用了包括遗传、客观和情感因素在内的全面批评方法进行分析。结果表明艺术Jaranan Pogogan坚定书上也是创造的艺术,除了作为娱乐手段作为教育手段。有背后的道德信息报告的每个拼搏的精神,辛勤的工作和行善的诫命。关键字:彻底的艺术批评。本研究的目的是描述并记录一项机密的Pogogan分析研究。A是qqe研究方法是过去与整体艺术criticism接近的地方。研究的stages包括通过观察、面试和图书馆学习收集数据。所有获得的数据是用a整体然后analyzed艺术criticism进近哪种includes《基因factors,客观factors,和情感factors。Jaranan之研究results秀那艺术坚定Pogogan书上是创造了美国a form of entertainment和美国也为媒介教育。每演出messages,美国如此道德contains a战斗精神的需要,硬盘工作之重要性,迪兹和instructions to表演好。安装:Jaranan喇合,整体艺术Criticism Pogogan坚定。
{"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}
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.
Kemang Pasiki舞蹈于2016年由Kaharuddin Dea Imok创建，他源于对松巴哇女性技能的兴趣。本研究首先阐述了如何形成克曼帕西奇舞的问题，其次是如何在克曼帕西奇舞的创作中创造卡哈鲁丁·迪·伊莫克的问题。本研究在考察对象的基础上，采用定性的方法，根据实地数据以真实数据的形式描述研究对象。为了了解Kemang Pasiki的舞蹈形式，研究人员使用了Suzanne K的概念，作者通过Soedarsono的观点明确了舞蹈元素，包括动作，地板图案，音乐，时装化妆和场所表演。接下来讨论Kaharuddin Dea Imok的创造力使用了Mel Rodes的思想概念，并在过程中使用了4P即pribadi(人)，pendorong (press)， Proses(过程)和product(产品)。研究结果表明，Kaharuddin Dea Imok作为编舞在创作舞蹈作品中的经验可以看出他的创造力。在克芒帕西奇舞蹈表演中，可以看到动作、地板图案、音乐、服装化妆和表演场所等元素的构成，成为一个整体。从松巴哇舞蹈基本动作的发展，以及用Rdat动作和Zapin动作计算的动作和松巴哇妇女的技能动作可以看出创造性。关键词:克芒帕茨基舞，舞蹈形式，创意。
{"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}
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.
舞蹈的美学价值研究旨在描述舞蹈的编排和美学价值。根据su曼迪约·哈迪的舞蹈编排概念进行舞蹈分析。根据《梁姬》(The梁姬)，对美学价值的分析采用了美学价值的概念。梁姬以门罗·比尔兹利(Monroe bel dsley)的美学特征为基础，并以德维特·H·帕格(De Witt H. Paker)的艺术作品揭示生命价值的概念为基础。这篇文章采用一种定性研究方法，采用一种审美的方法。所使用的数据收集技术包括观察、采访和库研究。研究表明，Srimpi的舞蹈具有审美的价值，因为从感觉的角度来看，它具有形式的价值，而内容可以揭示生命的价值。关键词:景观美化，舞蹈编排，美学价值。根据普拉芒的舞蹈描述舞蹈的编舞和对照组的表演价值。Srimpi Pandhelori编舞,分析利用Sumandiyo礼物€™的编舞理念。由门罗·比尔兹利(Monroe birdsley)提出的假仁假义财产的概念，以及德维特·H·帕格尔(De Witt H. Paker)阐述的生命价值的概念。用合理研究方法写了这个论文，有一个合理的同意。数据收集技术用于观察、采访和识字研究。人们指出，那些观看舞蹈的人已经变得无赖，因为从观察角度来看，感官有价值，可以揭示生命的价值。安装:Srimpi Pandhelori编舞,aesthetic价值。
{"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}
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