Dance Trunajaya, Bali – When The Young Man Trying To Win The Hearts Of Women

Dance Trunajaya is one of the dances new creations Bali, precisely of the Buleleng Regency, North Bali. The art of dance was originally created in 1915 by the Pan Wandres in the form of Kebyar Legong, then refined again by I Gede Manik.

Dance Trunajaya or also Terunajaya further illustrate the movements of the young man who is older, very emotional where behavior that is always trying to lure the hearts of women.

Although referred to as a depiction of a young man, the dance is categorized in dance son hard that is commonly danced by dancers princess.

Dance Trunajaya including dance entertainment that the show could be anywhere. Included in the temple’s courtyard, the field, the stage is closed or open, or in places in addition.

Originally, this dance is a dance single which also includes “dance babancihan” because it presents the characters between men and women. But as it grows, Tari Trunajaya there also are performed by more than one dancer.

In terms of duration, this dance is very flexible can be short or long. The duration of the dance is the shortest commonly ranges from 11 minutes from beginning to end.

The History Of Dance Trunajaya

In its history, Tari Trunajaya is not separated from the Dance Kakebyaran which means closely related to the kebyar. It’s called that, because it is not only accompanied by a Gamelan Gong Kebyar, but his movements were very dynamic and breathes kebyar.

As is known, the development of the Gong Kebyar which began in the 1920s had been so captivated through the rhythm of the dynamic and modern pattern.

Gong Kebyar is very popular with the public especially the young and quickly spread throughout Bali, especially since I Maria creates dance Kebyar.

In the District of Buleleng, the public is very excited to welcome the arrival of Gong Kebyar, even get special attention from the Dutch Colonial government at that time.

The existence of the Gong Kebyar in the area has prompted the emergence of various forms of dance – new dances that use this gamelan as a musical accompaniment to the dance.

For example, the emergence of dance Trunajaya created by Pan Wandres, then refined again by I Gede Beads of Buleleng Regency (Dibia, 1999: 51).

Since the beginning of its development to the present, Tari Trunajaya very loved by the people, not the exception also popular with foreign tourists.

The Structure Of The Dance Movements


• Runs to the fore with the left hand holding our right hand merangap milk and holding a fan

• Agem principal Trunajaya

(left hand mapah biu with the fingers bent down, and the right hand merangap milk)

• Sledet dragonflies

• Ngoyod, while the right hand nabdab bun

• Agem right and agem left

• Nyerigsig, nyegut (left hand merangap milk and the right hand of her chest), kickbacks-right-left, ngeseh, tayung right

• Nyegut left, (right hand merangap milk and the hands left her chest), baksheesh left-right,ngeseh, tayung right

• Agem right, ngelayak

• Tanjek 2x with the position of the hands agem principal

• Agem right, sledet

• Agem left (left hand merangap milk, the right hand of her chest), sledet

• Agem right (right hand merangap milk, hand left her chest), sledet

• Advanced left leg-right, full playlist

• Will follow, agem right, ngeseh, sledet (2x)

• Ngenjet, nyeregseg, ngepik (towards the top right-hand corner)

• The movement of the hand to the right-the left followed the eyes nyeledet and the beat of the feet, the hands will follow

• Ngangsel, ngeseh, ngepik, ngocok langse

• Ngegol diikiti by taking our as well as the fan will follow

• Tayog

• Agem right, the foot is lifted alternately

• Milpil to the right and to the left

• Exhaust fan


• Agem left Trunajaya

• Nyerigsig to the right, move agem right

• Tayog right left, ngenjet

• Nyeregseg right left, ngumbang

• Kneel

• Hand to the right – to the left with the fan will follow, sledet (3x)


• Stand while will follow, piles left-right, agem right

• Runs to the front,cover fan,play while opening a fan

• * * Take our, the fan will follow, ngegol, sledet, mekecos, agem right, sledet ( 3x)


• Ngenjet, nyeregseg right – left

• Ngumbang while holding our

• Agem right, while holding our

Cosmetology and Fashion

The dancers Trunajaya using makeup sons fine. Using the makeup stage eyeshadow yellow, red and blue and use of the eyebrows are a bit high of makeup dance princess as well as using strap kidang.

As for the clothing of the dancers is as follows :

• Kamen or our purple prada with motifs of diamonds. Applied such as the use of fabric bebancihan in general, i.e. there is the rest of the kamen on the left that will be used as our.

• Long shirt almost the same with fashion Legong Kuntul that wears the color purple, but the difference lies in the motive. In this dance is used motifs of mas – masan, while on the Legong Kuntul wear motifs bun – bunan.

• A yellow belt prada wrapped on the body of the dancer. Usually the use of this belt started from the bottom (waist) until the upper (chest).

• Ampok – ampok. The same as that used in the dances of the other. Ampok – ampok mounted on the waist of the dancer.

• Scallop Skin. As is the case on the Legong Dance, Scallop Leather mounted to cover the right shoulder and left.

• The lid of the chest in black. Mounted above the scallop shell, which serves to bind the simping in order not to loose.

• Badong namely badong taper and its use together with other dance that is mounted on the neck of the dancer.

• Kana bracelet Above is mounted on the top of the hand (arm), as well as Bracelets Kana Under mounted at the bottom of the hand (wrist).

• Headdress includes udeng typical, garuda mungkur (on the back), one flower sandat, flower ear (red flowers and white flowers), as well as rumbing

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