KARYA TARI PUNTADEWA
DOI:
https://doi.org/10.26742/mklng.v11i1.3406Keywords:
Puntadewa, Mahabharata, Dramatik, TradisiAbstract
ABSTRAK Karya tari yang berjudul Puntadewa terinspirasi dari cerita epos Mahabarata, mengenai permainan adu dadu berfokus pada tokoh Yudistira yang tergila-gila akan judi tersebut, hasutan dari sengkuni pada permainan yang menjadikannya terlena sehingga memunculkan sifat Yudistira yang tergila-gila terhadap judi yang berakhir kehilangan segalanya. Karya tari Puntadewa berbentuk tari kelompok dikemas dalam tipe tari dramatik dengan pola garap tradisi. Bertujuan menyampaikan pendapat bahwa seni tari tradisi tidak selalu bersifat statis melainkan dinamis, tergantung bagaimana mengkemas tanpa menghilangkan unsur tradisinya. Koreografi yang digunakan bersumber dari gerak-gerak tari wayang yang dikembangkan dengan gerak keseharian yang di stilisasi dan distorsi, seperti gerak adeg-adeg, makutaan, capang, keupat, jangkung ilo, ukel, calik jengkeng, selut, sembada, dan nyawang. Pada karya tari puntadewa terdapat tiga pola adegan yang dibangun diantaranya suasana tenang, amarah, dan penyesalan. Menggunakan pendekatan metode garap Y. Sumandiyo Hadi diantaranya observasi, eksplorasi, dan pembentukan (komposisi). Pesan yang ingin disampaikan dari karya tari ini yaitu sehebat dan sesempurna apapun manusia akan selalu kalah oleh nafsu yang ada dalam dirinya sendiri, seharusnya diri yang mengendalikan nafsu bukan diri yang dikendalikan nafsu. Kata Kunci: Puntadewa, Mahabharata, Dramatik, Tradisi. ABSTRACT THE DANCE WORK “PUNTADEWA”, JUNE 2024. The dance work entitled Puntadewa was inspired by the Mahabarata epic story, about the dice game focused on the character Yudistira who was crazy about the gambling, the incitement from Sengkuni in the game that made him complacent so that it raised Yudistira’s character who was crazy about the gambling which ended in loss of everything. Puntadewa dance work is a form of group dance which is packaged in a dramatic dance type with a traditional working pattern. It aims to express the opinion that traditional dance is not always static but dynamic as well, depending on how to pack it without losing its traditional elements. The choreography is sourced from the motions of puppet dance which are developed with stilized and distorted daily movements, such as the movements of adeg-adeg, makutaan, capang, keupat, jangkung ilo, ukel, calik jengkeng, selut, sembada, and nyawang. In the Puntadewa dance work there are three scene patterns, among others are silent atmosphere, anger, and regret. The research uses work method approach by Y. Sumandiyo Hadi namely observation, exploration, and formation (composition). The message to be conveyed from this dance work is that as great and as perfect as any human will always be defeated by their own lust, it should be their mind that controls the lust and not their mind controlled by the lust. Keywords: Puntadewa, Mahabharata, Dramatic, Tradition.References
Anggoro, Bayu. 2018. “Wayang Dan Seni Pertunjukan: Kajian Sejarah Perkembangan Seni Wayang di Tanah Jawa sebagai Seni Pertunjukan Dan Dakwah”. JUSPI, Vol 2, No 2: 124.
Barnad, Malcolm. 2009. Fashion Sebagai Komunikasi.(terj. Routledge “fashion as communication”). Yogyakarta: Jalasutra.
Badariah, Rini Nurul. 2019. Mahakurawa. (terj. Anand Neelakantan “Roll of the dice”) Tangerang Selatan: PT. Kaurama Buana Antara.
Dewi, Citra Smara dan Fabianus Hiapianto. 2012. Menjadi Skenografer. Solo: PT Tiga serangkai pustaka mandiri.
Faisal, Muh. 2014. Tokoh Wayang Populer. Klaten: PT.Hafamira.
Hadi, Y. Sumandiyo. 2003. Aspek Dasar Koreografi Kelompok.
Yogyakarta: Lembaga Kajian pendidikan dan Humaniora Indonesia.
Hadi, Y. Sumandiyo. 2012. Koreografi : Bentuk, Isi, Teknik. Yogyakarta : Cipta Media bekerja sama dengan Fakultas Seni Pertunjukan ISI Yogyakarta.
Hawkins, Alma W. 2003. Bergerak Menurut Kata Hati. Jakarta: Ford Foundation dan Masyarakat seni pertunjukan.
Iswantara, Nur. 2017. Kreativitas: Sejarah, Teori, dan Perkembangan. Yogyakarta: Gigi Pusaka Mandiri.
Kresna, Ardian. 2012. Mengenal Wayang. Yogyakarta : Laksana.
Nurgiyantoro, B. 2011. “Wayang Dan Pengembangan Karakter Bangsa”. Jurnal Pendidikan Karakter 1, no. 1 : 18-34.
Riyanto, Arifah A. 2003. Desain Busana. Ban-dung : Yapemdo.
Rustiyani, Sri, Turyati dan Utang Juhara. 2017. mencermati SEni Pertunjukan Dari Berbagai Wacana. Bandung: Sunan Ambu Press.
Paningkiran, Halim. (2013). Make-up karakter untuk televisi & film. Jakarta: PT Gramedia Pustaka Umum.
Sudjarwo, Heru S dkk. 2010. Rupa Dan Karakter Wayang Purwa. Jakarta : Kakilangit Kencana prenada media group.
Tavif, Mohamad. 2020. Rias Panggung dan Spe-sial Efek. Bandung : ISBI Bandung.
Tohir. 2013. “Membangun suasana melalui tata cahaya pada panggung pertunjukan”. Jurnal Seni Rupa, Vol 1, No 2: 64-65.
Widaryanto. F.X. 2007. Antropologi Tari. (terj. Anya Peterson Royce “The Anthropology Of Dance”). Bandung : STSI Press Bandung.
Webtografi:
Adjar.id. 2022. “Apa arti warna emas ?”. melalui<https://adjar.grid.id/read/543582684/apa-arti-warna-emas#:~:text=Emas%20dianggap%20melambangkan%20kebahagiaan%2C%20kemakmuran,kemenangan%2C%20prestasi%2C%20dan%20kemakmuran> [01/07/2023].
Kamussunda.net. 2021. “Kamus Sunda”. melalui<https://www.kamussunda.net/kamus/sunda/ngudag-ngudag
kalangkang-heulang.html> [02/09/2022].
Story, Paccarita. 2021. “Undangan Permainan Dadu Di Hastinapura”.
Melalui<https://youtu.be/lyBx2XnXWSA > [20/01/2023].
Swargaloka. 2022. “Prajurit Ksatria”. melalui
<https://youtu.be/R-DfageUYSg> [20/01/2023].
Swargaloka. 2021. “Hati Narasoma. Youtube”. melalui<https://youtu.be/dHmfTJSy5ME> [20/01/2023].
Priatna, Lesdi Tri. 2019. “Asmarandhana”. Melalui<https://doksen.isbi.ac.id/index.php/video/video-fsp/video tari/video/asmarandana> [15/12/2022].
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.
