KREATIVITAS GONDO DALAM TARI JAIPONGAN
DOI:
https://doi.org/10.26742/mklng.v5i2.842Abstract
ABSTRAK
Pada perkembangannya, Jaipongan hidup subur dan menyebar ke berbagai penjuru daerah Jawa Barat, sehingga memunculkan keragaman gaya (style) dari setiap koreografernya. Koreografer-koreografer muda Jaipongan saat ini, pada dasarnya memiliki struktur dan gaya yang berbeda, sehingga dapat dikatakan telah terjadi perkembangan dari gaya Gugum Gumbira. Pebedaan itu terletak di setiap unsurnya, seperti pada unsur koreografi, unsur tata rias dan busana, serta pada unsur musiknya (karawitan). Oleh karena itu Jaipongan memiliki perkembangan dan dinamika tersendiri yang telah melahirkan kreativitas dari para koreografer muda yang memunculkan tarian-tarian kreasi baru. Dari sekian nama koreografer yang berkaitan langsung dengan perkembangan Jaipongan saat ini, penulis memfokuskan perhatian terhadap kreativitas salah seorang koreografer Jaipongan yaitu Gondo.
Untuk mencapai hasil yang optimal dalam pengkajian Kreativitas Gondo dalam tari Jaipongan, maka penulis menggunakan metode kualitatif dengan pendekatan teori proses kreatif dari Graham Wallace yaitu tahap persiapan, inkubasi, iluminasi dan verifikasi.
Adapun hasil yang dicapai dari pengkajian ini yaitu terungkapnya proses kreatif Gondo dalam pembuatan karya-karyanya yang dimulai dari penuangan konsep dan eksplorasi gerak, pentransferan gerak hasil eksplorasi Gondo kepada murid-murid secara variatif, penggunaan konsep kontemporer dalam bentuk dan isi, lalu uji karya dalam bentuk pertunjukan.
Key Word: Jaipongan, Gondo, Kreativitas, Proses Kreatif.
ABSTRACT
In its development, Jaipongan flourished and spread to various parts of West Java area, so that it rises to a variety of styles of each choreographer. Young choreographers of Jaipongan nowadays have basically different structures and styles, thus it can be said that there has been developments of Gugum Gumbira's style. The difference lies in each element, such as the choreography, makeup and costume, as well as the musical elements (karawitan). Jaipongan, therefore, has its own development and dynamic that makes creativity of the young choreographers to create new dance creations. Of the choreographer names that are directly related to the current development of Jaipongan, the author focuses on the creativity of one Jaipongan's choreographer, namely Gondo.
To achieve optimal results in studying Gondo's creativity in Jaipongan dance, the author uses Qualitative method with Graham Wallace's Creative Process theory approach, namely preparation, incubation, illumination and verification.
The results of this study are the revelation of Gondo's creative process in making his works which started from decanting the concepts and exploring the motion, transferring motion of his exploration to the students in variety ways, using contemporary concepts in the form and content, then testing his works in the form of performances.
Keywords: Jaipongan, Gondo, Creativity, Creative Process.
References
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DAFTAR NARASUMBER
Agus Gandamanah Gondo, umur 40, seniman tari, Jl. Bakung No 17 Margacinta, Buah Batu Bandung.
Arif Nugraha Rawanda, umur 35, Komposer Musik, Ngamprah Padalarang, Kab Bandung Barat.
Dasep Arifin, umur 65 Tahun, budayawan, Jln Raya Ciater.
Edi Mulyana, Umur 52, Dosen Tari Jaipongan ISBI, Komplek GBA Bandung.
Lalan Ramlan, Umur 51, Dosen Tari
Jaipongan ISBI, Komplek GBI Bandung.
Lili Suparli, umur 49 tahun, Seniman karawitan dan Dosen ISBI, komplek GBA 2 Blok D No. 15 Ciganitri, Desa Cipagalo, Kecamatan Bojong Soang, Kabupaten Bandung.
Wawan Hendrawan, umur 50, Seniman Tari, Jl. Gunung Rahayu no 47 Gn. Batu Cimahi Utara.
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