Definition of Central Java geographically and culturally sometimes also include the Special Region of Yogyakarta. Central Java is known as the "heart" of Javanese culture. Nevertheless in this province there are other tribes who have a different culture with the Javanese like Sundanese on the border with West Java. In addition there are also Chinese citizens-Indonesian, Arabic-Indonesia and India-Indonesia scattered throughout the province.
tribe
The majority of people in Central Java is Javanese. Central Java is known as the cultural center of Java, where in the city of Surakarta and Yogyakarta are central Java royal palace that still stands to this day. Significant minority are the Chinese, especially in urban areas although in rural areas were also found. In general, they are engaged in trade and services. Chinese community has been mixed with Javanese, and many of those who use the Java language with a thick accent daily. Also in some big cities in Central Java also found Arabic-Indonesian community. Similar to the Chinese community, they are usually engaged in trade and services. On the border with West Java, there are also people who will be full Sundanese Sundanese culture, especially in the area of Cilacap, Brebes and Banyumas. In the interior of Blora (the border with the province of East Java) are Samin isolated communities, the case is almost the same as the Baduy in Banten.
Language
Although Bahasa Indonesia is the official language, generally mostly using Java language as an everyday language. Javanese dialect Solo-Jogja considered a standard Java language. In addition there are a number of Java language dialect; but generally consists of two, namely kulonan and easterlies. Kulonan spoken in the western part of Central Java, consisting of Dialect Banyumasan and Dialects Tegal; This dialect has a pronunciation quite different from standard Java language. Easterlies being spoken in the eastern part of Central Java, of which consists of Dialect Solo, Semarang dialect. On the border between the two dialects, spoken language Java with a mixture of both dialects; the area of which is Pekalongan and Kedu. In areas populated Sunda, which is in the southern part of Brebes and Cilacap districts around the northern districts Dayeuhluhur, Sundanese people still use Sundanese language in their daily lives.
A wide variety of dialects found in Central Java:
1. dialect Pekalongan
2. dialect Kedu
3. dialect Bagelen
4. dialects Semarang
5. The North East Coast dialect (Jepara, Rembang, Demak, Kudus, Pati)
6. dialect Blora
7. dialect Surakarta
8. dialect Yogyakarta
9. dialect Madiun
10. Banyumasan dialect (Ngapak)
11. dialect Tegal-Brebes
DANCE JAVA
The dance is a part that accompanies the development of this new center. It turned out that during the first royal dance achieve a high aesthetic level. If in the neighborhood folk dances are spontaneous and simple, then in the court of the dance has a standard, complex, subtle and symbolic. If viewed from the aspect of motion, then the influence of Indian dance contained in Javanese court dances lies in the hand position, and in Bali coupled with eye movements.
Famous dances created by the king, especially in Java, is a dance theater forms like wayang wong and bedhaya Ketawang. Two dance is assigned to the Javanese kings. Bedhaya Ketawang is a dance that is created by a third Mataram king, Sultan Agung (1613-1646) with a background in the myth of romance between the king first Mataram (Panembahan Senopati) with Kangjeng Ratu Kidul (ruler of the southern sea / ocean Indonesia) (Sudarsono, 1990). This dance is performed by nine female dancers.
ARTS DANCE CENTRAL JAVA
Dance is often referred to as "beksa", the word "beksa" means "ambeg" and "one", the word has a purpose and a sense that the people who will dance to be really towards one goal, which merges his soul with the disclosure of a form of motion is melted. The art of dance is an expression that is distributed / expressed through the motions of organs rhythmic, beautiful contains decency and in tune with the musical as an accompaniment. The art of dance that is part of national culture has actually been around since the days of primitive, Hindu until the arrival of Islam and then developed. Even dance can not be released with the customary ceremonial purposes as a means of offering. Dance experience the glory departing from Kediri empire, Singosari, Majapahit especially in the reign of King Hayam Wuruk.
Surakarta is central to the art of dance. The main sources are in the Keraton Surakarta and Mangkunegaran. From both of these centers and then spread to the whole area of Surakarta and eventually expanded again to include the area of Central Java, continued until far beyond Central Java. Dance based on Kraton Surakarta that has existed since the founding of Kraton Surakarta and has had experts who could be accounted for. These figures are still largely family or relatives of the palace of His Majesty Sri domiciled. Dance based on Kraton Surakarta was then known Surakarta Style Dance.
Various kinds of dance: Srimpi, Bedaya, Gambyong, wireng, Prawirayuda, Wayang-Purwa-Ramayana Mahabharata. Which specialized in Mangkunegaran called Dance Langendriyan, who took the story Damarwulan.
In the development of new creation dance timbulah place in the world of dance style of Surakarta. In addition to the standard dance palace (Hofdans), which includes high-grade dance, in the region of Central Java are also a variety of local dance. Such dance including traditional art forms, such as: Dadung Ngawuk, Horse Braids, incling, Dolalak, Tayuban, Jelantur, Ebeg, Ketek Ogleng, Barongan, Sintren, Lengger, etc.
Guidelines traditional dance was largely put rhythmic motion and tempo are fixed so that the provisions of the motion is not so determined yet. So freer, more individual. In the art of dance can be divided into classical, traditional and new claim. Several types of dance that exist among others:
1. Classical Dance
-Tari Bedhaya:
Islamic culture influenced the dance forms that depart at Majapahit. As Bedhaya 7 dancers dance turned into nine dancers are adjusted for the Wali Sanga. The idea of Sunan Kalijaga about Bedhaya with 9 dancers finally to the Islamic Mataram, precisely since Giyanti agreement in 1755 by Prince Purbaya, Tumenggung Alap-alap and Ki Long Mas, then drafted Bedhaya with dancers amounted to 9 people. It is then taken to Kraton Surakarta. By Sunan Pakubuwono I called Bedhaya Ketawang, including the type of the Holy and Sacred Bedhaya, with the name of the role as follows:
a. Endhel Corner
b. vagabond
c. Gulu
d. Dhada
e. Distended
f. Endhel Apit Ngajeng
g. Endhel Apit Wuri
h. Weton Endhel Ngajeng
i. Weton Endhel Wuri
Bedhaya various types of dance that has not changed:
- Bedhaya Ketawang 130-minute long dance
- Bedhaya Pangkur 60-minute long dance
- Bedhaya Duradasih 60-minute long dance
- Bedhaya Mangunkarya 60-minute long dance
- Bedhaya Sinom 60-minute long dance
- Bedhaya Endhol-old endhol dance 60 minutes
- Bedhaya Gandrungmanis 60-minute long dance
- Bedhaya Kabor 60-minute long dance
- Bedhaya Tejanata 60-minute long dance
In general, the various types of Bedhaya serves to entertain guests and saluting the king and welcomed Nyi Roro Kidul, especially Bedhaya Ketawang rarely served outside the Palace, also often presented at a ceremony at the Palace malicious purposes. In addition there are also Bedhaya-bedhaya which has the theme of heroism and monumental.
See how long the presentation of dance Bedhaya (also Srimpi) then the current consumption necessary for their innovation in a mature, without prejudice to the characteristics and weight.
Examples Bedhaya new claim:
- Bedhaya La la old dance 15 minutes
- Bedhaya To lu 12 minute long dance
- Alok Bedhaya 15-minute long dance
- Dance Srimpi:
Dance Srimpi there since King Amiluhur when entered into the palace to get attention anyway. The dance is danced four daughters that each gets the title: water, fire, wind and earth / ground, which in addition to symbolizing the man also symbolize the four winds. Medium Batak role name, Gulu, Dhada and Buncit. The composition is rectangular pillars that symbolize Hall. As Bedhaya, dance Srimpipun nothing holy or sacred is Srimpi Anglir Mendhung. Also due to the lengthy presentation (60 minutes), the current consumption is held for innovation. Example Srimpi result of new claim:
- Srimpi Anglirmendhung to 11 minutes
- Srimpi Gondokusumo to 15 minutes
Some examples of classical dance that grew from Bedhaya and Srimpi:
a. Beksan Gambyong: derived from Glondrong dance danced by Nyi Mas Ajeng Gambyong. Dancing is very beautiful plus beauty and capital good voice, finally Nyi Mas was called up by the Duke of Surakarta to dance at the palace while giving lessons to the son / I King. By dance palace was converted into a dance Gambyong.
In addition to entertainment, the dance often danced to greet guests in the great day ceremony and marriage. The characteristics of this dance:
- The number of dancers a daughter or more
- Wearing jarit wiron
- Without clothes but wearing a tank top or bangkin
- Without a diadem, but wearing the bun / bun
- In the dance may be with sindenan (singing) or not.
b. Beksan wireng: derived from the Wira (officers) and 'Aeng' is a superior soldier, who 'aeng', the 'linuwih'. This dance was created during the reign of King Amiluhur with the aim that the fielding his son in the military if using the weapons of war. So this dance depicts agility in war games by using a tool of war. The characteristics of this dance:
- Danced by two sons / i
- Forms of the same dance
- Do not take a story
- Do not use ontowacono (dialogue)
- Forms same clothes
- The war duel, meaning not using gending sampak / srepeg, only the rhythm / tempo kendho / kenceng
- Gending one or two, which means that the piece is then forwarded gendhing ladrang Ketawang
- Nothing to lose / win or die.
c. Pethilan Dance: Dance is almost the same as wireng. The difference Dance pethilan take scene / part of the story of wayang.
Characteristics:
- Dance can be the same, whether or not
- Using ontowacono (dialogue)
- Clothes are not the same, except the twins play
- There is a lose / win or die
- War mengguanakan gendhing srepeg, sampak, gangsaran
- Picking the story of a play.
Examples of pethilan:
- Bambangan Cakil
- Hanila
- Prahasta, etc.
d. Puppet Dance: This dance originated from Yogyakarta. First staged in Surakarta on KGPH marriage ceremony. Kusumoyudho with Gusti Ratu Angger 1910. Subsequently experienced a rapprochement with the style of Surakarta. This dance illustrates the ways anointed, a girl who had just Akhil baliq future, make it more beautiful and attractive. Various kinds:
- Marionette Clunthang accompaniment Gendhing Clunthang
- Marionette Montro accompaniment Gendhing Montro
- Marionette Surungdayung accompaniment Gendhing Ladrang Surungdayung, etc.
e. Bondan Dance: This dance is divided into:
- Bondan Cindogo
- Bondan Mardisiwi
- Bondan Mountains / Tani.
Tari Bondan Cindogo and Mardisiwi a dance of joy, expressing affection for her new son. But Bondan Cindogo the only child cuddled-buckle eventually died. While at Bondan Mardisiwi not, as well as dance perlengakapan often without using kendhi as in Bondan Cindogo. Feature clothes:
- Wearing the fabric wiron
- Wearing Jamang
- Wearing kotang
- Carrying a puppet, carrying umbrella
- Bringing kendhi (formerly), now rare.
Sift accompaniment for the piece-sieve passed Ladrang Ginonjing. But now according to the ability of the teacher / trainer dance. While Bondan Mountains, describes the behavior of the origin of the mountains daughter who is eager to work on the fields, rice paddies, tegal agriculture. It used to be only the accompaniment of songs dolanan but now accompanied by the piece-complete the piece. Feature clothes:
- Dressed like a country girl, carrying a basket, wearing hat
and carrying farm tools.
- On the inside Bondan already dressed as usual, just do not wear a diadem, but wears a bun / chignon. Unless wearing a diadem, then Klat shoulder, sumping, sampur, etc. before being used incorporated basket.
Dance form; The first depicts the lives of farmers and then clothes depicting the exterior of the mountains girls removed one by one with his back to the audience. The next dance like dance Bondan Cindogo / Mardisiwi.
f. Mask dance :
This dance actually comes from the Wayang Wong or drama. Mask Dance who have experienced the triumph of the Majapahit era, the mask is made of polished wood and disungging in accordance with the dispositive character / role taken from Wayang Gedhog, Menak Panji. Dance is increasingly rapid growth since Islam was introduced mainly by Sunan Kalijaga who use it as proselytizing. He creates nine types of masks, the mask of Panji Ksatrian, Condrokirono, Gunung sari, Handoko, Raton, Klono, Denowo, Benco (chubby), Turas (Penthul). Her clothes were formerly wore a headband with a mask tied on the head.
2. Traditional Dance
Besides classical dances, in Central Java, there are also traditional dances that grow and thrive in certain areas. Traditional arts are no less interesting because it has its own uniqueness. Some examples of traditional arts:
a. Dance Dolalak, in Purworejo
This show is performed by several dancers dressed in clothes resembling Dutch or French soldiers past and accompanied by instruments sounds consist of kentrung, tambourines, drums, kencer, dllnya. According to the story, this art arose during the war berkobarnya Aceh in the Dutch times, but later spread to other areas.
b. Patolan (Prisenan), in Rembang
A kind of folk wrestling sport played by two people led by two wrestlers Midfield (referee) on each side. This show is held as well as sports and entertainment in your free time in the afternoons and evenings, especially at a time when the light of a full moon. The location is at the places on the sandy beach. Folk art of wrestling is growing among students, especially on the coast between districts Pandagan, Kragan, Bulu to Tuban, East Java.
c. Blora.
This area is famous artistic attractions Horse Braids, Barongan and Puppet Krucil (a kind of shadow puppets made of wood).
d. Pekalongan
In the area of Pekalongan are Kuntulan arts and Sintren. Kuntulan is a martial art that depicted in the dance to the accompaniment sounds like a drum, fly, dllnya. While Sintren is a typical dance magical animistic contained besides in Pekalongan and Tegal also in Batang. Art showing a girl dancing in a state of unconsciousness, before the dance starts dancing girl with his hands tied incorporated into the enclosed area with equipment preening, then after a long time he had finished dressing and was ready to dance. This attraction can be seen in the night of the full moon after the harvest.
e. Obeg and Begalan.
This art is growing in Cilacap. Obeg players is composed of several women or men on horseback made of woven bamboo (braid), and accompanied by certain sounds. This performance was led by a handler (shaman) who can make the player unconscious.
Begalan is one event in a series of Banyumas traditional marriage ceremony. This art of living in the area Bangumas also commonly found in Cilacap, Purbalingga and in the regions outside of Banyumas. Which is unique among other Calung Banyumas, Begalan and Dalang Jemblung.
f. Calung of Banyumas
Calung is a form of folk art noises by using a kind of xylophone made of bamboo, the songs are sung a typical Javanese music Banyumas. It can also be to accompany the dance performed by several female dancers. As for Begalan usually organized by the family for the first time marry her. Who conducted the ceremony, the parents of the bride.
g. Kuda Lumping (Jaran braid) of Temanggung
This art is exhibited in bulk, often staged to welcome guests -Guest official or ceremony usually held at a time
h. Lengger of Wonosobo
Wonosobo distinctive art is played by two men, each of which plays a man and a woman. Accompanied by the sounds which include Angklung pitched Java. This dance tells the story Chandrakirana Goddess who was looking for her husband who left without saying goodbye. In his search that he was bothered by the giant depicted wearing a mask. At the height of the dancers dance reached a state of unconsciousness.
i. Jatilan of Magelang
This show is usually played by eight people led by a handler who was accompanied by the sounds in the form of bendes, kenong etc. And on top players can reach the unconscious.
j. Dance Jlantur from Boyolali
A dance that is played by 40 men wearing headband style turkey. The dances performed by local horse braids with bows and swords. This dance depicts soldiers who will go to the battlefield, formerly a dance channeling heroic spirit of the descendants of Diponegoro troops.
k. Ketek Ogleng of Wonogiri
Art is lifted from Panji stories, tells the classic love in the era of the kingdom of Kediri. This story was later changed according to tastes of local folk art performances become Ketek Ogleng which tells the love between Endang Roro Tompe with Ketek Ogleng. His performance put emphasis on acrobatic dance style treats apes (Ketek Ogleng) is played by a monkey dressed like a puppet. The acrobatic dance among others performed on a tightrope.
3. Dance New Garapan (New Creations)
Despite its name, the 'new' but all the dance of this type does not leave any elements of classical dance and traditional types. As an example:
a. dance Prawiroguno
This dance depicts a soldier who was practicing themselves with the weapons such as a sword to attack enemies and also shields as a means to protect themselves.
b. Tepak-Daughter Dance Tepak
Dance depicting motion agility teenage girls were revelers playing a tambourine, with accompaniment or a poem that breathes praise Islam.
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