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Traditional Arts Jaipong Dance West Java

Traditional Arts Jaipong Dance West JavaHISTORY OF CULTUREJaipongan is a genre of dance that was born from the creativity of an artist from Bandung, Gugum Gumbira. His attention to folk art, one of which is Tap Tilu know and know very well make Treasury dance movement patterns of the tradition that existed at Kliningan / Bajidoran or Tap Tilu. Motions openings, pencugan, and several kinds of motion nibakeun mincid of some art above has enough inspiration to develop a dance or art that is now known as Jaipongan. As a social dances, dance Jaipong successfully developed by Sundanese artist becomes a dance that socialized and very loved by the people of West Java (in particular), even popular until outside West Java.
Jaipong Dance
Calling Jaipongan really will not only reminiscent of the kind of attractive Sundanese dance tradition with dynamic motion. Hands, shoulders, and hips always been a dominant part in a lively pattern of motion, accompanied by the beating drums. Especially the female dancers, all of it is always accompanied with a sweet smile and a twinkle of the eye. This is the kind of social dances in the tradition of Sundanese dance that appears at the end of the 1970s that its popularity to this day still live in the community.


Prior to this emerging form of performance art, there are some influences behind this form of social dance. In West Java, for example, is a social dance influences from the Ball Room, which is usually in a dance, social dance could not be separated from the presence ronggeng and pamogoran. Ronggeng in social dance is no longer functioning for the ceremony, but for entertainment or a way of slang. The existence ronggeng in the performing arts have an attraction that invites sympathy for the pamogoran. For example in Tilu Tap dance is so well known by the Sundanese, estimated this art is popular around the year 1916. As a folk art performances, art is only supported by simple elements, such as waditra which includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, dancer costumes simple as a reflection of democracy.

Along with the waning of the above type of art, a former pamogoran (spectators who take an active role in the performing arts Tap Tilu / Doger / Tayub) turned his attention to performing arts Kliningan, which in the north coast of West Java (Karachi, Jakarta, Purwakarta, Indramayu, and Subang ) known as a pattern Kliningan Bajidoran dance performances and events have similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of the dances in masks Banjet quite popular, especially in Karachi, where several motion patterns Bajidoran taken from the dance in this Banjet mask. In koreografis dance it still reveals the patterns of tradition (Tap Tilu) that contains elements of the motions of opening, pencugan, and some range of motion nibakeun mincid which in turn became the basis of the creation of dance Jaipongan. Some basic motions apart from Tap dance Jaipongan Tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.

The emergence of dance works Gugum Gumbira was originally called Tap Tilu development, which is due to basic dance is the development of Tap Tilu. The first work Gugum Gumbira still very thick with color ibing Tilu Tap, both in terms of choreography and iringannya, who then dances that became popularly known as Jaipongan.

Characteristic of the style Jaipongan kaleran, namely joy, erotic, humorous, spirit, spontaneity, and simplicity (naturally, what they are). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are dances that are not patterned (Ibing Saka), for example in art Jaipongan Subang and Falkirk. This term can be found in Jaipongan kaleran style, especially in Subang area. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Gadung; 3) Fruit Kawung Gopar; 4) Opening Dance (Ibing Patterns), usually sung by a single dancer or Sinden Tatandakan (sinden attack but can not sing but danced the song sinden / interpreter kawih); 5) Jeblokan and Jabanan, when the show is part of the audience (bajidor) Sawer money (jabanan) as regards paste. Jeblokan term is defined as a couple who settled between sinden and the audience (bajidor).

Development of Jaipong Dance 

Jaipongan works first began to be known by the public is a dance "Leaf Pulus Keser Bojong" and "Rendeng Bojong" both of which type of dance and dance daughter pairs (boys and girls). From the dance up a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Dedi Pepen Kurniadi. Early occurrence of the dance had become a conversation, the central issue is the movement of the erotic and vulgar. But from some print media exposure, name Gugum Gumbira society began to be known, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of further increasing the popularity of the frequency of performances, both in the medium of television, celebration and celebrations held by the private sector and government.

Jaipongan presence has contributed greatly to the activist art of dance to more actively explore the types of folk dances that were previously less attention. With the advent of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by employers pubs decoy night as invited guests, where the further development of this kind of business opportunities created by the activist dance as economic empowerment venture with Dance Studio names or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).

Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create other dance such as Toka-Toka, Setra Sari, Sonteng, Pencug, Heron dazed, procession-the procession leaves Puring, Rawayan and dance Kawung Anten. From these dances appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata and Asep.

Today the dance Jaipongan be called as one of identity keseniaan West Java, this is evident in several important events relating to guests from foreign countries who come to West Java, it was greeted with a dance performance Jaipongan. Similarly with art missions to foreign countries, always equipped with a dance Jaipongan. Dance Jaipongan affect many other art-art that exist in the community of West Java, both in the performing arts puppets, gamelan, Genjring / flying, DAMAS jaipong, and almost all the performances of the people as well as on modern dangdut music which collaborated with Jaipong.

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