TARI SONTENG KARYA GUGUM GUMBIRA DI PADEPOKAN JUGALA
DOI:
https://doi.org/10.26742/mklng.v7i2.1414Abstract
ABSTRAK
Sonténg yang artinya kelabilan atau oléng, merupakan gambaran simbolik yang melambangkan proses pencarian jati diri seorang manusia melawan keterpurukan, kesusahan, kegalauan, yang tetap tegar dan kuat bahkan berupaya keras melawan atau merubahnya menjadi kesuksesan dan kebahagiaan. Repertoar tari Jaipongan karya Gugum Gumbira ini begitu enerjik, memiliki dinamika yang tinggi, dan maskulin. Oleh karena itu, masalah yang menarik untuk dikaji dalam sebuah penelitian yaitu bagaimana struktur tari Sonténg Karya Gugum Gumbira di Padepokan Jugala?. Untuk menjawab pertanyaan penelitian tersebut, maka digunakan pendekatan teori struktur dengan menggunakan metode penelitian deskriptif analisis dengan langkah-langkah; studi pustaka, studi observasi, dan studi dokumentasi. Adapun hasil yang diperoleh dari penelitian ini adalah tari Sonténg dibentuk oleh tiga unsur estetika utama yaitu koreografi, iringan tari, dan rias busana tari. Ketiga unsur estetika utama tersebut, melalui pendekatan teori struktur Iyus Rusliana merupakan dua dimensi nilai yaitu bentuk dan isi tari yang saling mengisi dan melengkapi dalam memberikan identitas terhadap repertoar tari Sonténg.
Kata Kunci: Tari Sonténg, Jaipongan, Gugum Gumbira.
ABSTRACT. Sonteng Dance By Gugum Gumbira In Padepokan Jugala, Desember 2020. Sonténg, which means unsteadiness or oléng, is a symbolic image that symbolizes the process of finding a human's identity against adversity, distress, turmoil, which remains strong and strong and even strives to fight or turn it into success and happiness. The repertoire of the Jaipongan dance by Gugum Gumbira is energetic, has high dynamics, and is masculine. Therefore, an interesting problem to study in a study is how the structure of the Sonténg Karya Gugum Gumbira dance in Padepokan Jugala? To answer these research questions, a structural theory approach is used using descriptive analysis research methods with steps; literature study, observational study, and documentation study. The results obtained from this study are that the Sonténg dance is formed by three main aesthetic elements, namely choreography, dance accompaniment, and dance dress makeup. The three main aesthetic elements, through the structural theory approach of Iyus Rusliana, are two dimensions of value, namely the form and content of the dance which complement and complement each other in giving identity to the repertoire of Sonténg dance.
Keywords: Sonténg dance, Jaipongan, Gugum Gumbira.
References
DAFTAR PUSTAKA
Caturwati, Endang dan Lalan Ramlan. 2007. Gugum Gumbira Dari Chacha Ke Jaipongan. Bandung: Sunan Ambu Press STSI Bandung.
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Rusliana, Iyus. 2009. Tari Wayang. Jurusan Tari STSI Bandung
Strauss, Levi. 2013. Strukturalisme Levi-Strauss Mitos dan Karya Sastra. Jakarta: Galang press.
Sujana, Anis. 1998. Ronggeng di Jawa Barat. Perkembangan Bentuk dan Fungsi. Bandung: Sekolah Tinggi Seni Indonesia (STSI)
Sumantri, Nia K. 1995. “Asal-Usul dan Perkembangan Jaipongan Dewasa ini di Jawa Barat”, Tesis untuk mencapai derajat S-2 Studi Pengkajian SeniPertunjukan, Universitas Gadjah Mada (UGM), Yogyakarta.
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