TARI JAYENGRANA SEBAGAI SUMBER INSPIRASI KREATIVITAS PADA GUBAHAN TARI
DOI:
https://doi.org/10.26742/mklng.v5i2.846Abstract
ABSTRAK
Tari Jayengrana merupakan salah satu genre tari wayang gaya Sumedang yang berkarakter satria ladak. Tarian ini menarik untuk dijadikan materi pada ujian Tugas Akhir minat utama penyajian. Bentuk ketertarikan ini, pertama pada latar belakang ceritanya yang bersumber pada wayang menak yang berbeda dengan tari wayang pada umumnya. Kedua, tarian ini memiliki karakter yang relevan dengan kepribadian penulis. Sebagai tantangan pada minat penyajian terdapat dua aspek yakni memiliki kualitas menari yang prima dan kemampuan berkreativitas. Oleh karena itu, masalah yang diusung terbatas pada bagaimana mewujudkan kualitas kepenarian yang didukung dengan daya kreativitas. Untuk menjawab permasalahan tersebut digunakan teori gegubah sebagai pisau pembedahnya. Adapun metode untuk merealisasikan teori dipilih langkah-langkah penguasaan materi, merancang tafsir garap, merekomposisi struktur tarian, dan merekomposisi koreografi. Kemudian ditindaklanjuti dengan kegiatan eksplorasi, evaluasi, dan komposisi.
Sebagai hasil dari gubahan dapat diwujudkan tari Jayengrana dengan sajian yang baru. Koreografi bagian awal dan akhir ditambahkan ragam gerak sebagai upaya pengayaan. Bagian tengah dilakukan pemadatan dan pengolahan variasi. Iringan tari menyesuaikan dengan koreografinya. Bagian awal ditambah kakawen, bagian tengah tetap menggunakan lagu tumenggungan, serta bagian akhir ditambah dengan senandung dalang dan ending rubuh. Pada aspek rias diberikan penegasan garis wajah pada bagian kumis dan cedo. Adapun aspek busana tidak mengalami perkembangan apapun, karena sudah mewakili ciri khas tari wayang.
Kata Kunci : Tari Jayengrana, Penyajian, Gegubahan, Kreativitas.
ABSTRACT
Jayengrana dance is one of the genres of Sumedang style Puppet dance which has the character of Satria Ladak. This dance is interesting to be used as a material for the Final Assignment of the concentration on presentation. This form of interest is firstly on the background of the story that comes from the noble puppets which are different from Wayang dance in general. Second, this dance has a character that is relevant to the personality of the writer. As a challenge to the concentration of presentation, there are two aspects: having excellent dance quality and creative ability. Therefore, the problems brought are limited on how to realize the quality of dance that is supported by the power of creativity. To answer this problem, the theory of gegubah is used as the revelation tool. The method for realizing the theory is steps for mastering the material, designing work interpretation, recomposing dance structures, and recomposing choreography. Then these steps are followed up with exploration, evaluation and composition activities.
As a result of this composition, there can be realized new form of Jayengrana dance. In the beginning and at the end of choreography, a variety of motions were added as enrichment efforts, and in the middle part the compaction and variations process were carried out. There have been some changes in the element of dance accompaniment to adjust the choreography. The first part was added with kakawen, the middle part still uses tumenggungan song, and the final part was added with senandung dalang and ending rubuh. In the makeup aspect, there has been given affirmation to the facial lines on the part of the mustache and cedo. Meanwhile the aspect of costume does not change, because it represented the characteristic of Wayang dance.
Key words : Jayengrana Dance, Presentation, Gegubahan, Creativity.
References
DAFTAR PUSTAKA
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