SRIMPI KUTAMAYA SEBUAH KARYA TARI EKSPRESI ESTETIS
DOI:
https://doi.org/10.26742/mklng.v9i2.2388Abstract
Tari Serimpi Kutamaya adalah sebuah judul karya repertoar tari putri, berkarakter lungguh (halus), ditarikan secara kelompok, dan memiliki gaya dan ciri khas Sumedang (kasumedangan). Tarian ini diciptakan untuk mengisi kekosongan pada tarian tradisi jenis putri khas kasumedangan yang tidak ditemukan di Kota Sumedang. Repertoar tari ini merupakan sebuah tarian yang fungsi khususnya yaitu untuk menyambut para tamu, namun tidak menutup kemungkinan dalam penampilannya juga dapat ditarikan atau ditampilkan sebagai tarian lepas artinya dapat pula ditampilkan secara mandiri dalam sebuah pertunjukkan estetis. Proses penciptaanya menggunakan teori estetika instrumental, yaitu meliputi; wujud (rupa), bobot (isi), dan penampilan (penyajian). Adapun dalam proses penciptaanya didasarkan pada pendekatan Pastiche yaitu karya seni yang disusun dari elemen-elemen seni yang dipinjam dari berbagai sumber masa lalu, termasuk sumber tradisi kasumedangan agar tetap lekat dengan ciri dan identitas Kota Sumedang. Kata Kunci: Serimpi Kutamaya, Tradisi, Estetis, Sumedang. ABSTRACT: Srimpi Kutamaya, An Aesthetic Expression Dance. December 2022. Serimpi Kutamaya dance is a female dance repertoire, which has a lithe (smooth) character, is danced in groups, and has the style and characteristics of Sumedang (kasumedangan). This dance was created to fill in the gaps in the traditional dance of the typical casumedang princess type which is not found in Sumedang City. This dance repertoire is a dance whose special function is to welcome guests, but it does not rule out the possibility that in appearance it can also be danced or performed as a freelance dance, meaning that it can also be performed independently in an aesthetic performance. The creation process uses instrumental aesthetic theory, which includes; form (look), weight (content), and appearance (presentation). The process of its creation is based on the Pastiche approach, namely works of art composed of artistic elements borrowed from various sources from the past, including sources from the kasumedangan tradition so that they remain attached to the characteristics and identity of Sumedang City. Keywords: Serimpi Kutamaya, Tradition, aesthetics, Sumedang.References
Alfiyanto, A. (2022). CARA MENCARI DAYA: METODE LITERASI TUBUH WAJIWA DALAM TARI KONTEMPORER ANAK-ANAK. Jurnal Seni Makalangan, 9(1).
Amir, Yasraf Filiang. 2022. Trans Estetika. Yogyakarta: Catrik Pusaka.
Ayu, Ida Tresnawati. 2016. Nilai-nilai Kearifal Lokal dalam Pengkemasan Seni Pertunjukan Pariwisata. Chairul,dkk. 2016. Kumpulan Prosiding Seminar. Seni Pertunjukan Berbasisi Kearifan Lokal. Denpasar. Kementrian Riset Teknologi dan Pendidikan Tinggi RI, Institut Seni Indonesia Denpasar. Fakultas Seni Pertunjukan.
Dibia, I Wayan. 2012. Geliat Seni Pertunjukan Bali. Denpasar: Arti Foundation.
Djelantik, A,A,M.2001. Estetika. Sebuah Pengantar. Bandung: MSPI
Fristya, Mega. 2022. Representasi Nilai Estetik Tari Dangiang Wulung sebagai Bentuk tari rakyat Selaawi. Jurnal Makalangan. Vol. 9. No 1 (2022). Menggali Inspirasi dari Tradisi.
Hawkin, Alama. 1991. Moving From Within: A New Metode For Dance Making. Diterjemahkan oleh I Wayan Dibia. 2003. Bergerak Menurut Kata Hati. Jakarta: Foundation dan MSPI.
Iswara, Nur. 2017. Kreativitas. Sejarah , Teori dan Perkembangannya. Yogyakarta: Gigih Pus-taka Mandiri.
Kodiran. 1998. Kesenian dan Perubahan Masyarakat. Dalam Kebudayaan Rakyat Dalam Perubahan Sosial. Yogyakarta: Ma-kalah yang disampaikan pada Simposium Internasional Ilmu-ilmu Humaniora ke 51, Fakultas Sastra Universitas Gajah Mada 8-9 September.
Komarudin, Meiga. 2021. Karya Tari Dangiang Wulung Sebagai Identitas Kecamatan Selaawi Kab. Garut. Jurnal Panggung, Vol. 31, no 4 (2021): Implementasi Revitalisasi Identitas Seni Tradisi.
Kuswarsantyo.2014. Dialektika Seni Pertunjukan. Yogyakarta: Bali Seni Conroradono Universitas Negri Jogyakarta. Institut Seni Indonesia Yogyakarta. Sekolah Menengah Kesenian SMK Kasihan.
Lubis, Akhyan Yusuf. 2014. Postmodernisme. Teori dan metode. Jakarta: PT Raja Grafindo Persada.
Mugi, I gede Raharja.2016. Seni Pertunjukan Dalam Dinamika Global Lokal. Chairul, dkk. 2016. Kumpulan Prosiding Seminar. Seni Pertunjukan Berbasis Kearifan LOkal. Denpasar. Kemantrian Riset Teknologi dan Pendidikan Tinggi RI, Institut Sini Indonesian Denpasar. Fakultas Seni pertunjukan.
Mulyani, Ai, Riyana. 2020. Kreativitas R. Tjetje Soemantri dalam Tari Puja. Jurnal Panggung. Volume.30.no.1 (2020).
Murgiyanto, Sal. 1996. Teater daerah Indonesia. Yogyakarta: Kanisius
Murgiyanto, Sal. 2004. Tradisi dan Inovasi. Jakarta: Wedatama
Reza, Kawi. 2022. “ Banuasmara”. Konsep garap Penciptaan Tari Tradisi Inovasi. Jurnal makalangan, Vol. 9.no. 1 (2022). Menggali Inspirasi dari Tradisi.
Rusliana, Iyus. 2016. Tari Wayang. Bandung: Jurusan Tari ISBI Bandung
Rusliana, Iyus. 2018. Tari Wayang. Bandung. Jurusan Tari ISBI Bandung
Setiawan, S., & Jatnika, A. (2021). TARI GANDAMANAH. Jurnal Seni Makalangan, 8(1).
Suharti, Theresia. 2015. Bedaya Semang. Karaton Ngayoyakarta Hadiningrat Reaktualisasi Sebuah Tari Pusaka. Ypgyakarta: Kanisius.
Sumiati, Lilis. 2021. Revitalisasi Karya Tradisi di Situasi Pandemi. Jurnal Panggung. Vol.31, no. 4 (2021). Implementasi Revitalisasi Identitas Seni Tradisi.
Sumardjo, Jakob. 2001. Seni Pertunjukan Indonesia. (Suatu Pendekatan Sejarah). Bandung: STSI Press.
Downloads
Published
Issue
Section
License
License and Copyright Agreement
In submitting the manuscript to the journal, the authors certify that:
- They are authorized by their co-authors to enter into these arrangements.
- The work described has not been formally published before, except in the form of an abstract or as part of a published lecture, review, thesis, or overlay journal. Please also carefully read VIPERARTS's Posting Your Article Policy at https://jurnal.isbi.ac.id/index.php/makalangan/about/editorialPolicies#sectionPolicies
- That it is not under consideration for publication elsewhere,
- That its release has been approved by all the author(s) and by the responsible authorities – tacitly or explicitly – of the institutes where the work has been carried out.
- They secure the right to reproduce any material that has already been published or copyrighted elsewhere.
- They agree to the following license and copyright agreement.
Copyright
Authors who publish with Jurnal Seni Makalangan agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors can enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or edit it in a book), with an acknowledgment of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) before and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.
Licensing for Data Publication
Jurnal Seni Makalangan uses a variety of waivers and licenses, that are specifically designed for and appropriate for the treatment of data:
Open Data Commons Attribution License, http://www.opendatacommons.org/licenses/by/1.0/ (default)
Creative Commons CC-Zero Waiver, http://creativecommons.org/publicdomain/zero/1.0/
Open Data Commons Public Domain Dedication and Licence, http://www.opendatacommons.org/licenses/pddl/1-0/
Other data publishing licenses may be allowed as exceptions (subject to approval by the editor on a case-by-case basis) and should be justified with a written statement from the author, which will be published with the article.
Open Data and Software Publishing and Sharing
The journal strives to maximize the replicability of the research published in it. Authors are thus required to share all data, code, or protocols underlying the research reported in their articles. Exceptions are permitted but have to be justified in a written public statement accompanying the article.
Datasets and software should be deposited and permanently archived in appropriate, trusted, general, or domain-specific repositories (please consult http://service.re3data.org and software repositories such as GitHub, GitLab, Bioinformatics.org, or equivalent). The associated persistent identifiers (e.g., DOI, or others) of the dataset(s) must be included in the data or software resources section of the article. Reference(s) to datasets and software should also be included in the reference list of the material with DOIs (where available). Where no domain-specific data repository exists, authors should deposit their datasets in a general repository such as ZENODO, Dryad, Dataverse, or others.
Small data may also be published as data files or packages supplementary to a research article. However, the authors should prefer, in all cases, a deposition in data repositories.