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| Pagelu Dance from Toraja (Sulawesi Selatan) |
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Bali Dance |
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| Wira Pertiwi Dance (Bagong Kusudiardjo Creation) from Central Java |
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Marbonataon Dance from Sumatera Utara (Batak)
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Surakarta Central Java Dance by Sulistyo Tirtokusumo
Written in bahasa by Prof. Dr. R.M. Soedarsono
DANCE
Until now there are still a number of dances in Indonesia which, when traced, are clearly dances dating from pre-historic times. Those dances can found the forms not only in isolated areas, but also live among the community that has already embraced another religion. An example is the SANGHYANG JARAN dance in Bali that live in the circles of a community of Hindu followers and JARAN KEPANG in Java of which the community embrace the Islam religion.
SANGHYANG JARAN
In Bali SANGHYANG JARAN is a possessed dance, carried out by a group-up man who in his state of unconsciousness is possessed by soul of a horse. The man carries a small toy horse on which he pretends to ride, which in his state of being possessed or called KERAWUHAN in Bali, he behaves like a horse. He runs in every directionof the performance area, and sometimes steps on burning coal which have already been prepared. This dance is consider sacred by the community in Bali and functions as a means to drive out an epidemic. According to a term in the division of the performing arts in Bali, a dance categorize SANGHYANG JARAN is very sacred dance. Therefore the performance is carried out in the part of the pura or the most sacred religious building called jeroan. Dances can be included in the category of the SANGHYANG kind dance in Bali are SANGHYANG BAJOG (Monkey), SANGHYANG CELENG (wild boar), and SANGHYANG LELIPI (Snake). It can be assumed that this kind of SANGHYANG dance is a ceremonial dance to worship the soul of the totem animal. In the primitive belief the totem animal is always considered to be an animal that guards the community.
SANGHYANG JARAN
In Bali SANGHYANG JARAN is a possessed dance, carried out by a group-up man who in his state of unconsciousness is possessed by soul of a horse. The man carries a small toy horse on which he pretends to ride, which in his state of being possessed or called KERAWUHAN in Bali, he behaves like a horse. He runs in every directionof the performance area, and sometimes steps on burning coal which have already been prepared. This dance is consider sacred by the community in Bali and functions as a means to drive out an epidemic. According to a term in the division of the performing arts in Bali, a dance categorize SANGHYANG JARAN is very sacred dance. Therefore the performance is carried out in the part of the pura or the most sacred religious building called jeroan. Dances can be included in the category of the SANGHYANG kind dance in Bali are SANGHYANG BAJOG (Monkey), SANGHYANG CELENG (wild boar), and SANGHYANG LELIPI (Snake). It can be assumed that this kind of SANGHYANG dance is a ceremonial dance to worship the soul of the totem animal. In the primitive belief the totem animal is always considered to be an animal that guards the community.
On the Island of Java, dances that have come from pre-historic times are also still alive although their original function have disappeared or changed. In Central and East Java there are a lot of dances that are connected with horses under different names, such as JARAN KEPANG, JARAN LUMPING, INCLING, etc. Although the performances have already lost their sacred function as a means to drive out epidemic, but the remnants in the form of exhibition still behaves in a supernatural nuance. A dancer who is already possessed by the soul of a horse, has lost his identity and has turned into a horse totem animal, such as eating pieces of broken glass, drinking water out of a pail straight with his mouth, etc.
BEDHAYA KETAWANG
BEDHAYA KETAWANG
The Bedhaya dance in the palaces of Surakarta and Yogyakarta carried out by nine women dancers is a ceremonial dance which people consider sacred. The number of nine dancers can be connected with cosmology of India, which considers the number nine as a sacred number, because the number represents the nine wind directions or the nine gods who guard the nine wind directions. The nine wind directions are North, East, West, South, North-West, North-East, South-East, South-West, and Center. The main meaning of Bedhaya dance is to keep the balance of nature and universe. Sometimes the nine dancers are said by the Javanese court circles to represent the nine holes of the body of a human being. The nine holes of a human body are one mouth, two eyes, two nostrils, two ear holes, one anus, and one sexual organ. The meaning is that when a person is able to NUTUPI BABAHAN NAWA SANGA or able to close the nine holes, one will be a perfect person, who is able to control one's carnal desire. This kind of description can be found in the story of Arjunawiwaha.
Bedhaya Dance Illustration
The documentation of classical Javanese court dance Bedhaya and Srimpi is a project to conserve these dances. The reconstructions are done gradually with the support of experts and choreographers, such as Sulistyo Tirtokusumo. Dress reconstructions will be done by Iwan Tirta, the leading Indonesian batik designer. Currently, the audiovisual documentation of "Bedhaya Pangkur" had been completed, as well as the musical accompaniment of "Bedhaya Anglir Mendung" and "Bedhaya Duradasih".
Source: bramkushardjanto youtube
The Bedhaya Ketawang from the palace of Surakarta is considered the very sacred among the Bedhaya dances. This dance is considered as a dance that is very sacred by the tradition of the palace Surakarta as it describes the meeting between the ruling Sultan Agung or the Susuhunan with the Kanjeng Ratu Kencanasari (Wedapradangga, 1990). Because it is so sacred, the dance must be carried out by seven girls who are spiritually clean, and is only performed one day after the coronation of the king. Nevertheless, since the reign of Susuhan Pakubuwono X, the Bedhaya Ketawang dance, besides being performed only after the coronation of the king, it is also repeated once a year at the date of the commemoration of the Susuhunan coronation. The performance is held in the pendapa (halls) with the court officials sitting in front of him. Various articles for the ceremony are placed behind the king. During the performance people say that sometimes the Susuhunan can see Kanjeng Ratu Kencana sari to be present there, and later on the Batak dancer, that is one who has the most important role in the dance composition, will possessed by her. With these feature it can be assumed that Bedhaya Ketawang dance is a means of meditation carried out by Susuhunan to request the present of Kanjeng Ratu Kencana sari or Kanjeng Ratu Kidul. This means that Bedhaya Ketawang also has a mystical meaning.
Bedhaya Dance Illustration
The documentation of classical Javanese court dance Bedhaya and Srimpi is a project to conserve these dances. The reconstructions are done gradually with the support of experts and choreographers, such as Sulistyo Tirtokusumo. Dress reconstructions will be done by Iwan Tirta, the leading Indonesian batik designer. Currently, the audiovisual documentation of "Bedhaya Pangkur" had been completed, as well as the musical accompaniment of "Bedhaya Anglir Mendung" and "Bedhaya Duradasih".
Source: bramkushardjanto youtube
The Bedhaya Ketawang from the palace of Surakarta is considered the very sacred among the Bedhaya dances. This dance is considered as a dance that is very sacred by the tradition of the palace Surakarta as it describes the meeting between the ruling Sultan Agung or the Susuhunan with the Kanjeng Ratu Kencanasari (Wedapradangga, 1990). Because it is so sacred, the dance must be carried out by seven girls who are spiritually clean, and is only performed one day after the coronation of the king. Nevertheless, since the reign of Susuhan Pakubuwono X, the Bedhaya Ketawang dance, besides being performed only after the coronation of the king, it is also repeated once a year at the date of the commemoration of the Susuhunan coronation. The performance is held in the pendapa (halls) with the court officials sitting in front of him. Various articles for the ceremony are placed behind the king. During the performance people say that sometimes the Susuhunan can see Kanjeng Ratu Kencana sari to be present there, and later on the Batak dancer, that is one who has the most important role in the dance composition, will possessed by her. With these feature it can be assumed that Bedhaya Ketawang dance is a means of meditation carried out by Susuhunan to request the present of Kanjeng Ratu Kencana sari or Kanjeng Ratu Kidul. This means that Bedhaya Ketawang also has a mystical meaning.
LUAMBEK
Minangkabau is a n area in west Sumatera which has a very unique dance development. Although the inhabitants of this area are strong believers of Islam, but it appears that the custom and culture still store old values. One of the very interesting forms of dance is the LUAMBEK which they say used to have a very important function in the appointment of the Penghulu (muslim leader) of the nagari sicincin, which the Minangkabau circles ia called BATAGAK PANGHULU ALEK PAULEH which means “a continuous feast” (Yusril, 1997).Alek Pauleh is performed in a temporary building called laga-laga. LUAMBEK which is important ceremonial dance carried out by two male dancers. Both make the SILAT (traditional self defense art) movements, if one attacks or lalu, the other party is ambek. From those two terms comes the name LUAMBEK. One very interesting thing is that although the two pretend to be fighting, the never touch each other.
NEW CREATION.
After Indonesia became independence in the year 1945, there are several choreographer who want to present a dance choreography that is not bound to various tight traditional rules. The movement for the modernization at first limited to the way it was expressed and was still referring to the traditional stock. The innovation lies in the preparation of the composition and the shortening of time. Afterwards they also borrow from the stock of movements from other ethnical groups.I Ketut Mario from Bali, Tjetje Soemantri from West Java, Bagong Kusudiardjo and Wisnu Wardhana from Central Java, including Yogyakarta, are a number of pioneers of the modernization of dances. Meanwhile, several more courageous modernizers of dances are Sardono W. Kusumo, Gusmiati Suid, Miroto and others. One important matter that should be noted is that the Western influence of the modernization of dances in Indonesia touches more the idea and not merely the technique.
1.
Provinsi DI Aceh / Nanggro Aceh Darussalam / NAD
Tari Tradisional : Tari Seudati,Tari Saman Meuseukat
2.
Provinsi Sumatera Utara / Sumut
Tari Tradisional : Tari Serampang Dua Belas, Tari Tor-tor
3.
Provinsi Sumatera Barat / Sumbar
Tari Tradisional : Tari Piring, Tari payung
4.
Provinsi Riau
Tari Tradisional : Tari Tanduk, Tari Joged Lambak
5.
Provinsi Jambi
Tari Tradisional : Tari Sekapur Sirih, Tari Selampit Delapan
6.
Provinsi Sumatera Selatan / Sumsel
Tari Tradisional : Tari Tanggai, Tari Putri Bekhusek
7.
Provinsi Lampung
Tari Tradisional : Tari Jangget, Tari Melinting
8.
Provinsi Bengkulu
Tari Tradisional : Tari Andun, Tari Bidadei Teminang
9.
Provinsi DKI Jakarta
Tari Tradisional : Tari Topeng, Tari Yapong
10.
Provinsi Jawa Barat / Jabar
Tari Tradisional : Tari Topeng Kuncaran, Tari Merak
11.
Provinsi Jawa Tengah / Jateng
Tari Tradisional : Tari Serimpi, Tari bambangan Cakil
12.
Provinsi DI Yogyakarta / Jogja / Jogjakarta
Tari Tradisional : Tari Serimpi Sangupati,Tari Bedaya
13.
Provinsi Jawa Timur / Jatim
Tari Tradisional : Tari Remong, Tari Reog Ponorogo
14.
Provinsi Bali
Tari Tradisional : Tari Legong, Tari Kecak
15.
Provinsi Nusa Tenggara Barat / NTB
Tari Tradisional : Tari Mpaa Lenggo, Tari Batunganga
16.
Provinsi Nusa Tenggara Timur / NTT
Tari Tradisional : Tari Perang, Tari Gareng Lameng
17.
Provinsi Kalimantan Barat / Kalbar
Tari Tradisional : Tari Monong, Tari Zapin Tembung
18.
Provinsi Kalimantan Tengah / Kalteng
Tari Tradisional : Tari Balean Dadas,Tari Tambun Bungai
19.
Provinsi Kalimantan Selatan / Kalsel
Tari Tradisional : Tari Baksa Kembang, Tari Radap Rahayu
20.
Provinsi Kalimantan Timur / Kaltim
Tari Tradisional : Tari Perang, Tari Gong
21.
Provinsi Sulawesi Utara / Sulut
Tari Tradisional : Tari Maengkat, Tari Polo-palo
22.
Provinsi Sulawesi Tengah / Sulteng
Tari Tradisional : Tari Lumense, Tari Pule Cinde
23.
Provinsi Sulawesi Tenggara / Sultra
Tari Tradisional : Tari Dinggu, Tari Balumpa
24.
Provinsi Sulawesi Selatan / Sulsel
Tari Tradisional : Tari Bosara, Tari Kipas
25.
Provinsi Maluku
Tari Tradisional : Tari Lenso, Tari Cakalele
26.
Provinsi Irian Jaya / Papua
Tari Tradisional : Tari Musyoh, Tari Selamat datang
27.
Provinsi Timor-Timur / Timtim
Tari Tradisional before separated from Indonesia: Tari Wira,Tari Suru Boek
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