1. Dance Gambyong
wacth you tube here DANCE GAMBYONG Gambyong dance is a dance that is served to welcome guests or initiate a wedding reception. Hallmark, always opened with the piece pickaxe. The dancing looks beautiful and elegant when the dancer is able to synchronize with the rhythm of drums and motion gising.
Instruments: gender, drums, kenong, kempul, and gong
Development: The beginning of the term Gambyong apparently originated from the name of a dancer taledhek.This dancer named Gambyong live in an era of Sunan Paku Buwana IV in Surakarta.The dancers also dsiebutkan in the book "Cariyos Lelampahanipun" works Suwargi R.Ng. Ronggowarsito (1803-1873) who reveals the existence of a dancer named ledhek Gambyong who has kemnahiran in dancing and sonority in a voice that became the idol of young people at that time.
DanceGambyong dance choreography is mostly centered on the use of footwork, body, armsand head. Motion of the head and hands are smooth and controlled is a specificationin Gambyong dance. Eye gaze moves in the direction of motion with the hand looking fingers, making the motions of the dominant factors in the expression of dance Gambyong hand. Motion of the foot during walking attitudes correlate embryo and harmonious.For example, the motion srisig (standing on tiptoe and small steps),nacah oblique (left foot moves to the side, followed by the right foot alternately orplaced in front of the left leg, kengser (footwork sideways by shifting / palm positionfeet remain docked to lanati). Spsifik footwork on the dance motion Gambyong is embator entrag, the position of the knee is opened because mendhak moves down and up.The cultivation patterns on the dance floor at the turn rangklaian Gambyong motion carried,the range of motion at the time of the transition to the next motion sequence.While the dancer position shift is usually done in liaison motion, namely srisig, singket ukel karana, kengser, and nacah skewed. In addition to its range of motion was carried on walking(Have now will not work properly) or motion in space (mandheg have now).
Bondan 2.TariBondan dance is a dance that originated from Surakarta, Central Java. a child with a woman holding a stuffed toy and an open umbrella, carefully dancing on top of the pitcher should not be stepped on and broken. This dance symbolizes a mother who keep their children carefully.This dance is divided into three, namely Cindogo Mariah, Mariah Mardisiwi, and Mariah Mountains / Farmer. Bondan Cindogo and Mardisiwi dance symbolizes a mother who take care of their newborn child with care and with compassion. But Mariah Cindogo the only child who cuddled-buckle eventually died. Looking at Mariah Mardisiwi not, and often without the use of dance perlengakapan kendhi as in Mariah Cindogo.In the 1960s, Dance Mariah is featured dance or dance compulsory for beautiful women to show who his true identity. Almost all dancers dance Mariah is the flower village. Dance is also the most difficult Mariah danced since while holding a doll, the dancers must be ready to rise above the pitcher while playing spin-mutarkan paper umbrella. Dancers Dance Dance Bondan Bondan usually display Cindogo and Mardisiwi wear pleats fabric, wear Jamang, halter dress, wear a bun, holding dolls, carrying an umbrella, and bring kendhi. Sift accompaniment to the piece-sieve forwarded Ginonjing Ladrang. While Mariah Mountains, describe the behavior of native mountain princess who is eager to work on the fields, rice paddies, agricultural tegal. First songs accompanied only dolanan but now accompanied the piece.
Dance characteristics: namely dressed like a country girl, holding a basket, wearing hat and carrying agricultural tools. The first depicts dance forms of peasant life then the outer attire depicting mountain girl removed one by one with his back to the audience. Furthermore dance dance like Mariah Cindogo or Mardisiwi.
3. Dance Serimpi Serimpi dance is a dance that originated from the mystic shades of Yogyakarta. This dance is accompanied by Javanese gamelan.This dance is played by four female dancers. Hand movements are slow and graceful, are characteristic of the dance Serimpi. Srimpi dance sangopati IX Pakubuwono this work, it is actually a dance work Pakubuwono IV who ruled Kraton Surakarta Sultanate in 1788-1820 under the name Srimpi sangopati sangapati word itself is derived from the word "the apathy" a reference to the king's replacement candidate. This dance symbolizes the provision for the death (of meaning Sangopati) allocated to the Netherlands.
4 daughters danced dances that each gets the title: water, fire, wind and earth / ground, symbolizing the human besides also symbolize the four directions of the compass. Being the name of Batak role, Gulu, Dhada and Buncit. Composition rectangular pillars symbolizing Hall. Such Bedhaya, dance Srimpipun nothing sacred or sacred is Srimpi Anglir Cloudy. Also because of the length of the presentation (60 minutes) it has now held for future consumption innovation. Example results Srimpi new claim:~ Srimpi Anglirmendhung to 11 minutes~ Srimpi Gondokusumo to 15 minutes
4. Dance Beksan WirengBeksan Wireng: derived from the word Wira (officers) and 'Aeng' is a superior warrior, the 'aeng', which 'linuwih'. This dance was created during the reign of King Amiluhur with the aim of fielding his sons in the military if using a weapon of war. So this dance describes the dexterity in war games using the tools of war.The characteristics of this dance:- Danced by two sons / i- The same dance form- Do not take a story- Do not use ontowacono (dialog)- Form the same clothes- The war is equal, meaning not using gisingsampak / srepeg, just the rhythm / tempo kendho / kenceng- Gending one or two, then it means the piece ladrangforwarded the piece Ketawang- Nothing to lose / win or die.
. Traditional Dance Central Javaa) Kuda Lumping click here and watch Kuda lumping Theme: contains elements of entertainment, religious, ritual elements.Kuda Lumping dance that is played with a horse property imitation, made from woven bamboo or braid. Nothing in the historical record to explain the origin of this dance, only verbal history passed down from one generation to the next.
That said, Kuda Lumping dance is a form of appreciation and support of the masses against the cavalry of Prince Diponegoro in the face of Dutch colonizers. There is also a version that says, that the Kuda Lumping dance depicting the story of the struggle of Raden Patah, assisted by Sunan Kalidjaga, against the Dutch colonialists. Another version states that, this dance tells the story of war training troops led Mataram lane I, King of Mataram, to face the Dutch troops.
Regardless of the origin and historical value, Kuda Lumping dance reflects the spirit of heroism and military aspects of a cavalry or cavalry. It is seen from rhythmic movements, dynamic, and aggressive, flick through the woven bamboo, mimicking the movement like a horse in the midst of war.Often the Kuda Lumping dance performances, the show also featured attractions smelling magical supernatural powers, such as chewing glass attractions, wrenching the arm with a machete, burn away, walking on broken glass, and others. Perhaps, this reflects the attraction supernatural powers in antiquity developed in the Kingdom of Java, and is a non-military aspects are used to fight the forces Belanda.Sajak-verse is sung in dance accompaniment, usually containing an appeal for people to always do good deeds and always remember the Creator.Dance: In any pagelarannya, Kuda Lumping dance is led by 4 fragment that is 2 times the dance dance Buto Lawas, Senterewe dance, and dance Begon daughter.
At Buto Lawas fragments, usually danced by men only and consists of 4 to 6 dancers. Some young dancers and a bamboo horse dance to the music. At this section, the dancers Buto Lawas may experience possessed or possessed by spirits. The audience was not immune from this phenomenon of possession. Many local residents who witnessed the performances into a trance and danced with the dancers. Unconscious, they continued to dance with energetic movement and looks compact with the other dancers.
To restore the dancers and audience awareness possessed, in every single show is always present the progenitor, ie people who have supernatural abilities that can be recognized by its presence in all black clothes he wore. The grandfather will give bidders until the dancers and audience awareness recovered.
In the next fragment, men and women join dancers brought senterewe dance.In the last fragment, the movements are more relaxed, six women brought daughter dance Begon, who is a dance cover of the whole series Kuda Lumping dance attractions.Instrument Type: Kendang, Kenong, Gong, and trumpet.
b) Jathilan:Jatilan is one type of folk dance which, when traced historical background including the oldest dances in Java.Dance is always equipped with a horse property braids are typically performed to its climax, the unconscious self on one of the dancers.Jatilan dancer formerly amounted to only 2 people but can now be done by more people in the formation of the pairs. Jatilan dances depict battles on horseback and wielding a sword.In addition to riding dancer, there is also a dancer who is not riding but wearing a mask.Among these are penthul, bejer, cepet, devils and barongan.Reog and Jatilan this function only as spectacle / entertainment, is somewhat different from the ancient times reog functions in addition to the spectacle that also serves as a bodyguard who enliven motorcade bride or child circumcised, and for the sake of releasing vow or midhang outlets.Members dancers: There are about 35 people and consists of men with the details: 20 dancers; drummers instrument 10; 4 security guards / general helper for if there are players who experience trance, and one person as the coordinator of the show (the handler).
The dancers use the property sword made of bamboo and lumping horseback.Among the dancers there who wears a black mask and white, named Bancak (Penthul) for the white, and Doyok (Bejer / chubby) for the black.Both of these figures serve as a comedian, dancers and singers to entertain horsemen who were resting after the war.When dancing the performers dressed in costume and face makeup realistic.There are also group costumes especially on non-realistic headgear, for this group using Irah-irahan puppet.In the realistic costumes, a headgear or iket blangkon (udeng) and the players dark glasses, generally black.During that time there was also a dress / shirt vest, pants banner, fabric, and stagen with timangnya.Peak Jatilan dance is sometimes followed by a state of trance reached (was unconscious but still dancing) on the players.Before the show started Jatilan usually pre-spectacle in the form of drumming and occasionally a slapstick / farce.Now they've rarely encountered.This show could be done at night, but generally held during the day.Performances will take place during the day when the show takes 2 hours per babaknya, and the show consists of 3 rounds.For the group to 1 round takes 3 hours a day then he will only play 2 innings. In general, this game takes place from 09.00 to 17.00 hours, including breaks. If the show takes place at night, the show will start at 20.00 and end at 01.00 am using petromak lights.Venue-shaped arena with a floor of a circle and straight.Instruments: drums, bendhe, gongs, gender, saron, kepyak
c) Kethek Ogleng:Kethek Ogleng is a form of folk art is still evolving with diverse forms Wonogiri in Central Java. tells the story of an ape incarnation mountain raden cider in the banner story in search of Sekartaji goddess who disappeared from istana.untuk fool people to be free and out of the village and the forest, the mountain raden sari transformed so a white ape lively and funny.This Ogleng Kethek dance in expressing describing the movements of this dance group of monkeys putih.dalam expression crossed agility, togetherness, spirit, humor and attractive.Javanese gamelan accompaniment instruments, traditional percussion instruments and vocal Budgeting still presents a populist flavor and nuance.
Overview Kethek Ogleng origin story:Kethek Ogleng movement is a dance that mimicked the behavior kethek (ape). This dance is danced by the villagers Tokawi Nawangan District for many years. This dance is usually performed at a celebration of the local community. Ogleng Kethek dance is derived from a story Jenggala and Kediri kingdom.Jenggala king had a daughter named Dewi Sekartaji and the Kingdom of Kediri had a son named Raden Panji Asmorobangun. These two beings love each other and aspire to build a harmonious life in a family. This makes the two are inseparable.However, the king Jenggala, father Sekartaji Goddess, Goddess will to marry the man of her choice Sekartaji. When Goddess Sekartaji know will be married with a man her father's choice-which of course he does not love, he quietly left the Kingdom Jenggala without the knowledge of the father and all the people in the kingdom. Night, the princess went with some ladies heading west.In the kingdom of Kediri, Panji Asmorobangun who heard the disappearance of Goddess Sekartaji decided to seek Goddess Sekartaji daring, her lover. On the way, Panji Asmorobangun stop at the home of a pastor. There Panji given discourse in order to go to the west and he had disguised as apes. While on the other hand, appeared to have been disguised goddess Sekartaji be Endang Rara Tompe.After Endang Rara Tompe up and down the mountain, the group finally Endang Tompe Rara, which is actually the Goddess Sekartaji, resting in an area and decided to settle there. Turns kethek incarnation Flag Amorobangun also lived not far from the lodge Rara Tompe Endang. So, the two of them became friends. Despite staying close and friendly, Endang Rara Tompe not know if kethek who became his best friend is Asmorobangun Panji, her lover, as well as Flag Asmorobangun, he did not know if Endang Dewi Rara Sekartaji Tompe is that during this time he was looking for.After the friendship between Endang Rara Tompe and kethek interwoven so strong, they both opened their secrets. Rara Endang Dewi Tompe change its shape into Sekartaji, as well as Rara Tompe kethek friend Endang. The Kethek transform itself into Raden Panji Asmorobangun. Encounter between the Goddess and Raden Panji Sekartaji Asmorobangun touched and happy feeling overwhelmed. Finally, Goddess Sekartaji and Raden Panji Asmorobangun Jenggala agreed to return to the royal wedding.
d) Sintren:Sintren is a Javanese traditional dance arts, especially in Pekalongan.History: Art Sintren Sulandono comes from the story as the son of Ki Baurekso marriage with Goddess Rantamsari results. Raden Sulandono Sulasih making love with a daughter of the village Kalisalak, but the relationship did not get the blessing of Ki Baurekso, eventually R. Sulandono go meditate and Sulasih chose to be a dancer. Nonetheless meeting between the two is still ongoing through the supernatural.The meeting was arranged by Dewi Rantamsari who enter the spirit angel to Sulasih body, at that moment, R. Sulandono who was imprisoned spirits summoned by her mother to meet Sulasih and there was a meeting between Sulasih and R. Sulandono. Since then every gig held sintren definitely entered the spirit of the dancer angel by his keeper, with a note that it is done when the dancer is still in a state of pure (virgin).Forms show: Sintren played a girl who is holy, aided by the handler to the accompaniment gising 6 people. In the development of dance as an entertainment culture sintren, then equipped with dancers companion and Bodor (comedy).Folk art in the game was the Goddess Lanjar influential Sintren among others in the game, the handler (mastermind) often invite the Spirit of the Goddess Lanjar to get into the game Sintren. If, Goddess spirit Lanjar successfully invited, then the dancers Sintren will look more beautiful and bring more agile and dazzling dance.Instruments: typical gamelan tunings slendro
e) Dance Jlantur:A dance performed by 40 men wearing headbands with Turkish style. The dances performed by riding a horse braid with spear guns and swords. This dance describes the soldiers who will go to war, used to be a dance channeling the spirit of heroism of soldiers Diponegoro descent.
3. New Creative Dance Central Javaa) Dance Prawiroguno:This dance depicts a soldier who was practicing self with ammunition to attack the enemy in the form of a sword and shield as well as a means to protect themselves.
b) Dance Ronggeng:Origin: Java, Function: For entertainment, theme: Erotic, Creator: Endang Caturwati
Ronggeng dance is different from other dances. Ronggeng more expressive dance movement even lead to the exotic.Rocking, Geol, is the hallmark gitek ronggeng dance. With this characteristic became synonymous ronggeng art as art that is able to make up her libido of men, so that finally the art image ronggeng be very ugly.Ronggeng dance is actually a part of the ceremony to ask for soil fertility. The ceremony is conducted so that the results of its abundant farmland. Because it is associated with fertility, movement in dance with a male dancer called Bajidor this, like the movement of people who are having sex.Shift began to occur in the colonial era. Since the Portuguese colonial era to the Netherlands and Japan, ronggeng serve as entertainment in the plantation. Not only for plantation workers, Ronggeng is entertainment for the colonizers at the time. As a result, since that's when ronggeng no longer merely as a ritual custom. For entertainment, the arts, ronggeng ultimately charged more erotic elements, ranging from how to dress dancers, dance styles, even up onstage behavior that provoke lust over the adam.
c) Beetle Dance:This dance illustrates a pair of beetles (males and females) were sucking nectar of flowers in the garden, floating to and fro while romp. Male and female beetles making love with a romantic atmosphere in the flower garden. Viewers who watched will be invited to imagine in a romantic atmosphere, that between men and women.
d) Tari Wira Pertiwi:This is the creation of a new dance creation Bagong Kussudiardjo depicting heroic figure of a warrior princess Java. Firmness, agility and toughness of a warrior depicted in motion a dynamic
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