ABSTRAKSendratari Topeng Sekartaji merupakan tari tradisi garapan baru yang diilhami oleh Serat Panji yang ditulis pada Jaman Jenggala Kediri abad XI-XII. Tujuan penelitian Sendratari Topeng Sekartaji adalah untuk menggali kreativitas tari di sekitar Surakarta serta menemukan bentuk dan elemen-elemen pendukungnya. Metode penelitian yang digunakan meliputi pengumpulan data dengan tekhnik observasi, wawancara dan dokumentasi. Pengolahan data dilakukan dengan tekhnik analisis bentuk dan struktur. Evaluasi validitas data dengan tekhnik trianggulasi. Penelitian menggunakan pendekatan antropologi seni yang beranggapan bahwa karya seni merupakan ekspresi karya seniman. Hasil penelitian menunjukan Sendratari Topeng Sekartaji merupakan karya tari kelompok bertema percintaan sebagai ungkapan kreativitas seni yang popular pada zaman akhir orde lama dan awal orde baru. Sendratari dalam kurun waktu, dipentaskan dengan berbagai variasi sesuai dengan pendukung, situasi dan kondisi serta waktu yang disediakan. Bentuk kreativitas seni dapat berupa frahmen, pethilan, tari tunggal dan yang paling utama adalah sendratari. Tata urutan sajian tergantung pada bentuk pertunjukanya. Gerak tari pada tokoh antagonis berupa gagahan gaya Surakarta, tokoh protagonis dengan alus luruh, sedang tari putri dengan putri luruh. Pada akhir pertunjukan selalu bermuara kepada keberhasilan hubungan cinta kasih. Kunci: sendratari, topeng, sekartaji, Surakarta.ABSTRACTThis research entitled “Sendratari Topeng Sekartaji” proposed exploring dance creativity in Surakarta and finding its formats and support elements. This research used data collection with techniques such as observation, interview and documentation as the research method. Data is processed by the technique of format and structure analysis. The technique of triangulation is used as a technique to evaluate data. This research used an art anthropological approach. It is assumed that an artwork is an expression of an artist’s work. Research results showed that Sendratari Topeng Sekartaji is a colossal dance with a romance theme. It was a representation of artwork that has been popularized since the end of the old order and early new order. During that time, sendratari has presented narratively, according to situation, condition and support elements. Art creativity manifested into fragment “pethilan”, single dance and especially “sendratari”. Its arrangement for presentation depends on its performance format. They have “gagahan” in Surakarta style for their dance moves, “alus luruh” and “putri lurah” for antagonist, protagonist, and female dance, irrespectively. The last performance always refers to romantic relationship successfully.Keywords:Sendratari Topeng; Sekartaji; Surakarta
Penelitian  ini  bertujuan  mengungkap  Tari  Topeng  Ireng  dalam upacara  saparan  di  Desa TarubatangKecamatanSeloKabupatenBoyolali.TariTopengIrengdalamupacaraSaparanatau bersihdesamemilikimaknapentingbagikesejahteraanmasyarakatsetempat. Permasalahanyang hendakditeliti bentukdanfungsitari TopengIrengdalamupacaraSaparan. Gunamengkaji dipergunakan teoribentukolehSriRochanadan fungsiolehAllanP.Merriam.Penelitianmenggunakan metodekualitatifbersifat desktiptif interpretatif, meliputiobservasi, wawancara, dokumentasi danstudi pustaka.  HasilpenelitianmenunjukanbahwaTariTopengIrengtermasuktariankelompok,yang dibawakanolehduabelaspenarilaki-lakidandelapanpemusik, menghadirkansuasanakeprajuritan yanggagahdanenergik. Disajikandihalamanrumahataulapangan, tidakadajarakantarapenaridan penonton. FungsiTariTopengIrengdalam upacaraSaparan, sebagaisaranaupacaradanhiburan, sertapemersatukerukunanmasyarakatDesaTarubatang
Obros is an art developed in Petugan, Jebengsari Village, District Salaman, Magelang, Central Java. Obros is a form of folk art using movement pa! erns of tradition that relies on footwork. Obros was developed from rodhat which was revitalised by local fi gure, Badran. Themes of soldiering, heroism, and communality become values that are represented in Obros. This study uses a descriptive approach with the analysis of symbols in the the art system to dismantle layers making up this art including background of the story, movements, actors, fashion, accompaniment, property, and contextualization. Meanwhile, ethenography method is used to collect data in the fi eld. The results show that Obros is not just an artistic object and expression, but also a livelihood and communal power binding. Obros becomes a means of education for the people, both as a review of history, as well as visionary refl ection of the future.
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