ANALISIS GERAK TARI MERAK SUBAL KARYA S. MARIDI PADA SANGGAR SOERYO SOEMIRAT DI SURAKARTA

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.

PERKEMBANGAN REOG CING PO LING PAGUYUBAN PONCO MANUNGGAL JATI DI DESA JATIREJO, KECAMATAN KALIGESING, KABUPATEN PURWOREJO

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.

GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI

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.

BENTUK DAN FUNGSI SANDUR DI DESA SUKOREJO KECAMATAN PARENGAN KABUPATEN TUBAN

Sandur in his show tells about the life of people who have a livelihood as a farmer. The problem in this research is how sandur shows form and how Sandur functions. Based on the object studied, this research uses qualitative method. To discuss the form using the concept of Sal Murgiyanto and I Made Bandem which discuss elements of traditional theater which includes dialogue, decorating, dance, accompaniment music, makeup, costumes and dance. Discussing the problem of function using the concept of SD Humardani which belongs to social functions including entertainment functions, educational functions, and solidarity functions. The results showed that Sandur is a folk art in the form of traditional theater. Sandur has 3 innings in the show, namely the opening section, the contents and the closing part. Sandur's performance form can be seen from the elements of the performance consisting of dialogue, decor, costumes, makeup, accompaniment music, singing, and dance. Sandur function is classified into social functions, namely as entertainment, as education, and as community solidarity. Keywords: Sandur, Shape, Function

KOREOGRAFI KRIDHA MANGGALA KARYA DWI MARYANI

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.

KEPENARIAN GULU DALAM TARI SRIMPI LUDIRAMADU GAYA SURAKARTA

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.

TRANSFORMASI RELIEF CANDI PRAMBANAN DALAM KARYA TUBUH RITUS TUBUH OLEH ANGGONO KUSUMO WIBOWO

Transformation is a process of changing form, nature, and so on into new forms without leaving the values that existed in the previous culture. The process of transformation always produces elements of novelty, both in terms of style, taste, and meaning even at different levels of change. Transformation in art does not only occur in similar arts. Ancient relics, for example, as one form of art can be a starting point to be interpreted into visual expression in contemporary art, including dance. Tubuh Ritus Tubuh is one of the dance works which is a form of transformation of the Prambanan Temple relief. This study tries to uncover the allegations of the transformation of the Prambanan temple reliefs that can be observed on Tubuh Ritus Tubuh dance presentation. The problem of transformation is examined using the theory of change expressed by Lorens Bagus. The participatory research method carried out by the author is able to uncover the form of transformation found in certain parts of the dance presentation. Keywords: transformation, relief, Prambanan Temple, Tubuh Ritus Tubuh.

KELANGSUNGAN DAN PERUBAHAN TARI SEDULANG SETUDUNG KABUPATEN BANYUASIN

Since this dance was created in 2002 it already go through some developments and still on going until now. The purpose of this research is to uncover about the causative factors of Setulang Setudung dance continuity and changes in Banyuasin District. This research is using a qualitative kind of research. The process of the data collection has involve observations, interviews and documentations. The results of this research showing the present form of Setulan Setudung dance which is including moves, musics, costume and make up, also properties. Beside that, the results of this research is that Setulan Setudung dance still on goin until now and already going through cange because of the art response against the existing challenges such as the impact of oustiders culture, government, economy and education. Keywords: Sedulang Setudung dance, continuity, and Dance Change.

KREATIVITAS DIDIK BAMBANG WAHYUDI DALAM KARYA TARI ANOMAN CAKIL

This thesis is titled by the Creativity of Didik Bambang Wahyudi in Anoman Cakil dance to uncover the creativity of Didik Bambang Wahyudi by describing and explaining: (1) The form of Anoman Cakil dance and (2) Didik Bambang Wahyudi’s creativity in the works of Anoman Cakil dance. Both issues were examined using the concept of the show form by Maryono which reveals verbal and non-verbal components. To uncover the creativity of Didik Bambang Wahyudi in the work of Anoman Cakil dance is using the theory of Rhodes cited by Utami Munandar that creativity there are four elements in it, namely person, press, proscess and product. Anoman Cakil dance composed by Didik Bambang Wahyudi told about the battle between two characters that have different character of Anoman and Cakil. Anoman Cakil dance is a dance work born from the interpretation of Didik Bambang Wahyudi. Harmony between the person and the creative process, as well as the ability to implement a story where Anoman essentially never met Cakil, but it is not impossible for Anoman to meet Cakil on a journey.Keywords: creativity, form, Anoman Cakil dance.

KEPENARIAN BUNCIT DALAM TARI SRIMPI GANDAKUSUMA

Essay of this artwork present an analysis dizziness of Buncit’s in a Srimpi Gandakusuma dance Surakarta sytle covers intepretation garap fillings and shapes, the dizziness of Buncit’s in the Srimpi Gandakusuma dance. The garap fillings and shapes which is studied with concept of the Javanese Hasta Sawanda. Concept shapes Susan Langer used to analyze elements in dance.The method used is bservation, library studies, and interview. Research has shown that the dizziness Buncit’s in a Srimpi Gandakusuma dance is a required a process which is continue and intensive. Dancing a group dance must be supported by personal and group. The dizziness of the Buncit’s on this Srimpi Gandakusuma was taste of mrabu, meneb, and sigrak supported with makeup and karawitan to keep up the impression of grace. Keywords: dizziness, garap, Srimpi Gandakusuma.