The Origin and History of the Beksan Wireng Dance

Beksan Wireng dance is a dance art originating from the Sultanate of Surakarta or Solo, Central Java. In its history, it refers to the Centhini Fiber which was started to be compiled in 1814 ago.

The Origin of the Beksan Wireng Dance

The Beksan Wireng dance has existed since the 11th century or during the Jenggala-Kediri kingdom. The existence of this Beksan Wireng dance is indeed present in various fibers including Fiber Centhini, Fiber Sastramiruda, Fiber Weddataya, and Fiber Kridhwayangga.

In Chentini fiber and Kridhwayangga fiber, Panji Inukertapati who has the title Prabu Suryamisesa, but in Centhini fiber he calls it Suryawisesa.

Fiber Chentini and Panji are known for being proficient or good at dancing, having a sweet voice when singing, proficient in playing the gamelan and also good at telling stories.

This happened when Panju ruled in 1145 ago and the people began to learn and understand dance and song.

The Beksan Wireng dance was created by Prabu Amiluhur with the aim of making his son active in the army by using weapons of war and love for the country.

The purpose of creating this Beksan Wireng Dance is to encourage the four war soldiers. In addition, so that they are more proficient or agile in fighting in the kingdom.

In short, this Beksan Wireng Dance only describes the practice of soldiering and fighting, but no one loses or wins.

The Beksan Wireng dance comes from the words Wira and ‘Aeng’ which means the superior warrior, the ‘aeng’, the ‘linuwih’.

So, it can be concluded that the word ‘Wira’ means a superior and lithe warrior.

The Meaning of the Beksan Wireng Dance

Basically, this Beksan Wireng Dance only tells about soldiers and there are no other stories contained in it.

This can be seen in the dance that the dancers carry tools in the form of spears and shields that reflect the valor and might of art buildings in Indonesia.

Beksan Wireng Dance Performance

This Beksan Wireng dance is usually performed by men in pairs using costumes like a soldier.

When performing the Beksan Wireng Dance, the dancers use the same clothes and movements or twins. In Beksan Wireng Dance there is no dialogue or ontowacono and without describing a certain story.

The musical instrument that accompanies the Beksan Wireng Dance does not use gendung sampak, only the rhythm is kendho. Gendung one which means Gendhing Ladrang then continued with Gendhing Ketawang.

Beksan Wireng dance found in literary works

1. Beksan Wireng Dance in Literary Fibers

Serat Sastrawiruda is a literary work with Javanese characters translated by Kamajaya. The contents of the Sastrawiruda fiber are conversations between Kanjeng Pangeran Arya Kusumadilaga (a puppeteer who is an expert in wayang temples) and his student named Mas Sastramiruda.

The main elements of the Beksan Wireng dance focus on skills in playing the keris and andhadap which means dancing and holding a shield, while accompanied by Gamelan Slendro.

2. Beksan Wireng Dance in Weddataya

Inside the Weddataya fiber on November 10, 1923 ago, which was the result of the creation of a group or package in the city of Surakarta. The content of the Weddataya fiber related to the Beksan Wireng dance is the existence of a dance structure or sekaran sequence (movement) and also the naming of the movement as well as its meaning.

Beksan Wireng Dance Movement

The Beksan Wireng dance is performed by two male couples. The form of the dance is the same and in the dance does not take any story elements. The style of clothing in the Beksan Wireng dance costume is the same.

Do not use sampak or srepeg songs, only use fast and fast rhythms or tempos because in this Beksan Wireng Dance there is a fighting war movement. Because it is only a traditional dance, in this war movement, there is no winner or loser in the Beksan Wireng dance.

In its development, the Beksan Wireng dance is divided into six types, namely: The old banner, Panju Anem, Dhadap Kanoman, Jemparing Ageng, Lhawung Ageng and Dhadap Train.

This Beksan Wireng dance certainly deserves to be preserved and is also often performed at various events, including in the Surakarta Sultanate area.

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