TRANSFORMASI TOPENG RUMYANG GAYA SLANGIT MELALUI PENYADAPAN DAN PELATIHAN DI SANGGAR TARI TOPENG ADININGRUM CIREBON
DOI:
https://doi.org/10.26742/mklng.v6i2.1055Abstract
ABSTRAK
Topeng Cirebon merupakan genre tari yang menjadi babon dalam perkembangan tari Sunda, tetapi kondisinya sekarang ini sudah cukup memprihatinkan karena para dalang (maestro) topengnya tidak ada yang tersisa. Hampir di seluruh wilayah gaya Topeng Cirebon, para maestro Topeng Cirebon sudah meninggal dunia. Kondisi inilah yang memotivasi penulis untuk melakukan kegiatan penyadapan di Sanggar Adiningrum, Slangit dan pelatihan hasil penyadapan itu dilakukan di lingkungan Jurusan Seni Tari, Fakultas Seni Pertunjukan, ISBI Bandung. Adapun yang menjadi tujuan dilakukannya kegiatan tersebut, sebagai upaya melestarikan dan sekaligus menggali bahan pengayaan materi pembelajaran pada Mata Kuliah Topeng Cirebon. Untuk mencapai tujuan itu, maka digunakan teori transformasi dari Umar Kayam, yaitu transformasi dapat diandaikan sebagai suatu proses perubahan total dari suatu bentuk lama kepada sosok yang baru yang akan mapan, dan dapat pula diandaikan sebagai tahap akhir dari suatu perubahan. Sehubungan dengan teori tersebut, maka digunakan pula pendekatan metode peniruan atau imitatif. Adapun langkah-langkah operasionalnya meliputi; penyerapan materi tari secara praktik, mempresentasikan, dan menerapkan materi kepada para mahasiswa di Jurusan Seni Tari. Berdasarkan proses tersebut, maka hasil yang didapatkan adalah materi tambahan tari Topeng Rumyang Gaya Slangit bagi para mahasiswa.
Kata Kunci: Penyadapan, Pelatihan, Topeng Rumyang, Gaya Slangit.
ABSTRACT. Transformation Of Rumyang Mask Style Slangit Through Recognition And Training In SanggarDani Masks Adiningrum Cirebon, December 2019. Cirebon mask is a dance genre that has become a babon in the development of Sundanese dance, but the condition is now quite alarming because the mastermind (maestro) mask is not left. In almost all regions of the Cirebon Mask style, the Cirebon Mask maestros have died. This condition motivates the writer to do wiretapping activities at Sining Adiningrum, Slangit and the training of wiretapping results is conducted within the Department of Dance, Faculty of Performing Arts, ISBI Bandung. As for the purpose of the activity, as an effort to preserve and at the same time explore the enrichment of learning material in the Cirebon Mask course. To achieve this goal, the theory of transformation from Umar Kayam, namely transformation can be assumed as a process of total change from an old form to a new figure that will be established, and can also be assumed as the final stage of a change. In connection with the theory, then used to imitate or imitative methods. The operationalsteps include; absorption of dance material in practice, presenting, and applying material to students in the Dance Department. Based on this process, the results obtained are additional material for the Slangit Style Mask Dance for students.
Keywords: Tapping, Training, Rumyang Mask, Slangit Style.
References
DAFTAR PUSTAKA
Denabrata, Yusuf. 1993. Pesta Topeng Cirebon. Taman Ismail Jakarta.
Kayam, Umar. 1989. Transformasi Budaya Kita. Pidato Pengukuhan Jabatan Guru Besar Pada Fakultas Sastra. Yogyakarta: Universitas Gajah Mada.
Maman Suryaatmadja.1980. Topeng Cirebon Dalam Perkembangan, Penyebaran Serta Pe-rannanya Dalam Masyarakat Jawa Barat Khu-susnya di daerah Cirebon. Akademi Seni Tari (ASTI) Bandung.
Nurasih, Nunung. 2018. Artikel yang berjudul “Spirit Dalang Topeng Perempuan Gaya Slangit“ dalam Bunga Rampai Peran Perempuan Indonesia Dulu dan Kini, Bandung: UNPAD.
Suanda, Toto Amsar. 2009. “Tari Topeng Panji: Suatu kajian Simbolis”. Tesis Program Pascasarjana Institut Seni Indonesia Yogyakarta.
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