From the tradition of the small become the great tradition. Folk dance was adopted into the dance palace.
Central Java Art
WITH lithe, dancer begins to dance, the rhythm of gamelan music. His hands move gently. Occasionally the wrist rotate. The sight of the eyes leads to the fingers, moving to follow the motion of the hand.
While his feet stepped small, on tiptoe, shifted to the left and the right. Knees open, move to the bottom and to the top, followed by the motion of the pelvis rhythmically. The body swing to the left and the right. Head rotate, bend, craning his neck to the front and pull it back. Each movement is performed in the tempo slowly and very carefully. So gentle and graceful.
That’s the dance, a traditional dance typical of Central Java there are already hundreds of years ago. This dance was originally a folk art, which is then live and thrive in the palace.
“Dance is the tradition of the little develops into a part of a great tradition,” writes Sri Rochana Widyastutieningrum in the History of the Dance: Folk Art Towards the Palace.
Dance is the development of dance tledhek who live in the community and has been known since the 15th century. The existence of the dance tledhek itself is closely related to the tayub dance. Therefore, the dance tledhek is a part or the development of tayub dance.
In the show tayub, dancers tledhek’s dancing in the tayuban with the pengibing. But before ngibing begins, dancers tledhek dances on the single as the opening act for the respect of guests and attract the audience. This is in accordance with the meaning of tledhek, derived from the word “ngleledhek” which means to tease or inviting allure.
“In the book Tjentini the dancers display their talents at the beginning before tayuban is said to dance gambyong (nggambyong), so that the dance is a kind of it is better known with the name of the dance,” wrote Rina Martiara and Budi Astuti in the Structural Analysis of A Method the Study of Dance.
In the past dancers tledhek sohor as a street dancer who loved by many people. In the palace Mangkunegaran, Surakarta, many dancers tledhek who served as a dancer of the palace. At the time of Paku Buwana IV in Surakarta (1788-1820), there is one dancer taledhek known adept at dancing and has a melodious voice. His Name Is Mas Ajeng Gambyong. From namanyalah also allegedly term gambyong dance originated.
Because popular in the community, gambyong dance adopted the circle of the palace. The efforts of K.R.M.T Wreksadiningrat, artists of the palace which is also the sister of the Duke Dalem Keraton Surakarta R. Ad. Sasradiningrat, dance is refined according to the rules of the dance palace. Since dance is often presented in the palace.
As the development of the times, gambyong dance gets a new twist of the choreographer. Creativity is preceded by the artists of the palace Nyi Bei Mintoraras that produce tari gambyong pareanom in 1950.
According to Sri Rochana, the emergence of dance gambyong pareanom is the beginning of a change the form of the presentation of the dance. The previous form of the presentation impressed spontaneous; depending on the creativity of the dancers follow the pattern of the violin. While tari gambyong pareanom has the arrangement and sequence of motion that must be followed dancer.
“The form of dance it then develops widely, and followed by the emergence of various forms of dance to another,” wrote Sri Rochana.
There many variants of the dance. Call it gambyong mudhatama, gambyong swing-swing, gambyong dewandaru, gambyong pangkur, gambyong sala ornaments, and gambyong gambirsawit. Each has a uniqueness in the movement and the accompanying song.
Even tari gambyong pareanom Nyi Bei Mintoraras continue to be developed. Among others, artist S. Ngaliman in 1972. Ngaliman working on motion a series of principal (current) new. One of them is using srisig right to start and end the dance; different from the arrangement of Nyi Bei Mintoraras using him.
“The Purpose Of S. Ngaliman composing tari gambyong pareanom arrangement Nyi Bei Mintoraras is to be displayed and studied in the wider community, because the dance arrangement Nyi Bei Mintoraras more limited in the Mangkunegaran,” wrote Arina Restian in Learning the Art of Dance in Indonesia and Abroad,
Gambyong dance continue to evolve and not only danced in the kesunanan as entertainment for Sinuhun Paku Buwono VI and dance to welcome the guest of honor. Gambyong dance began to show as entertainment for the general public.
Gambyong dance becomes more refined than ever before. But the impression of kenes, graceful, and gentle remain highlighted. Motion that exposes calves, shake the breast, and melirikkan eye dispensed. For most of the dancers gambyong at once a singer or pesindhen, the quality of motion dance common now tend to like dance bedhaya or john. Style a little teasing can’t appear or less emphasis.
“Most of the dancers are very reluctant to do such a style, and without even dance with good dancer is enough allure,” wrote Rina Martiara and Budi Astuti.
In general, the dance consists of three parts, namely: the beginning, the content, and the end or in terms of the dance Jawa gaya Surakarta referred to by the term advanced beksan, beksan, and backward beksan. While dancing, the dancers show a facial expression that looks dignified and graceful.
Makeup face dancers made as beautiful as possible. They use angkinan, namely batik fabric diwiru, angkin (belts) motif jumputan or pelanggi as the cover of the chest, and a sash that draped across the right shoulder. Hair is made form of a coil gedhe with various embellishments of flowers of jasmine and white frangipani. Cavalcade of dance using a set of Javanese gamelan, consists of a gong, xylophone, drums, and kenong.
According to Sri Rochana in “Aesthetic Values Gambyong Dance” in the journal Restrain Vol. 1 No. 2, December 2002, as a dance woman, dance gambyong have rules that limit freedom of motion. This is done so that the gentle nature can be maintained or accentuated.
“The dance has always maintained a balance between mood with motion-motion that is done, then every movement is done with caution, smooth and flowing,” said Sri Rochana.*
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