Reog Burisrawa Gandrung

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Reog adalah salah satu kesenian budaya yang berasal dari Jawa Timur bagian barat-laut dan Ponorogo dianggap sebagai kota asal Reog yang sebenarnya. Gerbang kota Ponorogo dihiasi oleh sosok warok dan gemblak, dua sosok yang ikut tampil pada saat reog dipertunjukkan. Reog adalah salah satu budaya daerah di Indonesia yang masih sangat kental dengan hal-hal yang berbau mistik dan ilmu kebatinan yang kuat.

Jika di Jawa Timur terdapat Reog, di Jogja pun tak kalah karena Jogja memiliki kesenian yang hampir mirip dengan Reog Ponorogo , tetapi tidak dihiasi dengan warok ataupun gemblak dan tidak terlalu berbau mistik. Sebuah pementasan tradisional yang biasanya mengambil tema dari cerita pewayangan.

Sekedar info bagi yang ingin  mengenal lebih dalam bentuk tariannya bisa disaksikan besok hari Minggu, tanggal 07 Oktober 2012 jam 09.00 WIB didaerah pasar Imogiri lawas barat Makam Raja-raja dan Makam Seniman, yang dipertunjukan oleh Rombongan Sekar Muda Budaya dengan 50 orang penari. Sekilas tentang Rombongan Sekar Muda Budaya, rombongan ini berasal dari Dusun Bunder 2, Banaran, Galur, Kulon Progo. Pertunjukkan ini  mengangkat cerita “Burisrawa Gandrung”.

Ringkasan cerita tentang Burisrawa Gandrung dapat Anda baca dibawah ini.

“BURISRAWA GANDRUNG”
 RINGKASAN CERITA

Jumbuh klawan wujudé sing setengah yaksa kanthi rambut gimbal diudhal-udhal, Burisrawa seneng nguja kesenengané, golèk menangé dhéwé, dhemen gawé gendra. Nanging bawané anak ratu apa manèh kecaket karo Prabu Baladéwa lan adipati Karna, ora ana wong sing wani nyaruwé marang kabèh tumindaké Burisrawa.
Burisrawa kayungyun banget marang Dèwi Wara Sumbadra wiwit nalika Wara Sumbadra isih kenya nganti tumekané dadi garwané Arjuna lan malah kepara wis peputra Abimanyu barang, gandrungé Burisrawa marang Sang Dèwi ora tau mendha. Burisrawa iya banget sengit nginggit-inggit marang Setyaki, amarga nalika nglamar Dèwi Wara Sembadra ing Dwarawati, Burisrawa tau diajar Setyaki ing alun-alun nganti lémpé-lémpé, kamangka Burisrawa wis nyandhang cara temantén. Ya wiwit iku Burisrawa sengit kepati klawan Setyaki.
Ing lakon Sembadra Larung, Burisrawa dicritakaké minta sraya marang Bathari Durga ing pasétran Gandamayin iya Dhandangmangoré supaya bisa sapatemon karo Sumbadra. Bathari Durga ngendikani, yèn Burisrawa bisa sapatemon karo Sumbadra, nanging ora bisa gepokan salira.
Nalika semana Arjuna pinuju grogol (mbebedhag kidang ing alas Winangsraya. Kanthi ancas nedya pepasihan (cumbana) karo Sumbadra, Burisrawa njujug taman Maduganda, taman keputrén ing kasatriyan Madukara. Kanthi tetembungan manis manuhara, Burisrawa njaluk usadaning lara asmara marang Sumbadra. Amarga Sang Dèwi ora kersa nglanggati, Burisrawa banjur ngunus kerisé. Dewi Sumbadra diagar-agari keris, nanging tetep puguh ora gelem nuruti kekarepané Burisrawa. Kerisé sing diagar-agaraké iku malah banjur ditubruk wani déning Dèwi Sumbadra saéngga sirna margalayu. Burisrawa kamitenggengen. Jroné ora mobah lan ora mosik, ana aloké emban kang tumeka papan kono. Burisrawa gagé mlayu nggendring ninggalaké taman, mlebu ing tengah alas.
Kasatriyan Madukara dadi gègèr sawisé para emban nyumurupi kunarpan Dèwi Sumbadra. Saka pamrayogané Prabu Kresna, Dèwi Sumbadra banjur dilarung ana Bengawan Gangga (Swilugangga), kanthi rineksa Gathotkaca saka gegana. Wusanané layoné Sumbadra diuripaké  Antareja kang jumedhul saka Saptapratala nedya ngupadi sudhermané. Gathotkaca ngira yèn Antareja kuwi kang njalari patiné Dèwi Wara sumbadra. Tanpa ditakoni terus ditimblis saka dirgantara. Dadi perang ramé. Leloroné padha digdayané. Sabanjuré leloroné dipisah déning Wara Sumbadra. Sang Dèwi banjur nyritakaké lelakoné kang sanyatané. Ya merga lelakon iki, Antareja banjur bisa kepanggih marang ramané, yaiku Raden Bratasena iya Werkudara.

Sumber cerita : http://jv.wikipedia.org/wiki/Burisrawa

posted under | 1 Comments

Javanese dance

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Shinta Javanese Ramayana Wayang Wong dance performance, Prambanan.
Javanese dance is the dances and art forms that were created and influenced by Javanese culture. Javanese dance is usually associated with courtly, refined and sophisticated culture of the Javanese kraton, such as theBedhaya and Srimpi dance. However, in a wider sense, Javanese dance also includes the dances of Javanese commoners and villagers such as Ronggeng, Tayub,Reog, and Kuda Lumping.
Javanese dance is usually associated with Wayang wong, and the palaces of Yogyakarta and Surakarta due to the nature of dance being a pusaka or sacred heirloom from ancestors of the palace rulers. These expressive dances are more than just dances, they are also used for moral education, emotional expression, and spreading of the Javanese culture.

Types of Javanese Dance

Javanese dancer, 1885
Javanese dance reflects the stratified hierarchy of Javanese society, and roughly can be identified within two mainstream of traditions:
  1. Tari kraton (palace dances)
  2. Tari kawulo (commoner dances)

Tari Kraton

The courtly Javanese palace dance is the type of dances that developed, nurtured and fostered by Javanese Kratons, mainly Yogyakarta Sultanate and Surakarta Sunanate, the patrons of Javanese Mataram culture. Javanese sultans are known as the patron and the creator of Javanese court dances.
Kraton dances employs sets of rules about certain dance movements, body and hand gestures that requires discipline to learn.Gamelan orchestra is the prerequisite for Javanese court dance performances as well as for other Javanese art forms such as Wayang performances. The serene elegance, slow pace and constrains of its movements gave Javanese dance a meditative traits. Javanese court dances were heavily influenced by Javanese Hindu-Buddhist legacy. As the result the costumes, jewelry and story, often reflects or based on Hindu epic tales of Ramayana and Mahabarata.
There are three basic types of courtly Javanese kraton dance:
 Beksan putra – These are the dances for men, which serve two purposes: a military close-order drill and highlighting martial skills. Dancers may learn beksan putra dances to familiarize themselves with the movements for narrative dances.
  1. Beksan putri – Putri is the Javanese word for  female, and these dances include courtly dances designed for royal events with very precise movements and distinct staging with subtle layers of meaning. Such dances were often used for entertainment or courtship.
  2. Beksan wayang – These are narrative dances from epic poems, and usually are named after the characters in them, usually an alus-style hero and a gagah-style villain.

Tari Kawulo

Also known as "Tari Rakyat", is the popular dances of the commoner. This is the type of Javanese dances that developed in villages or cities that located relatively quite far from Javanese kratons as the center of Javanese palace culture. Kawulo dances is lack in Javanese courtly dance discipline, constraints, and refinements. This type of dance relatively more open and adaptive to foreign influences.
Several dance is functioned as courtship or social dance, such as Ronggeng, Gandrung and Tayub, while others as celebratory dances such as Reog and Kuda Lumping. The movement of social dances, such as ronggeng and tayub are somewhat more vigorous and erotic, closely related to Sundanese Jaipongan. Because of this erotic nuances, this type of dance often gained shady reputation as the dance of the prostitutes.

 

 

References

  • http://en.wikipedia.org
  • Brakel-Papenhuyzen, Clara (1995)Classical Javanese Dance Leiden KITLV Press ISBN 90-6718-053-X
  • Soedarsono (1984) Wayang Wong Yogyakarta Gadjah Mada University Press

posted under | 0 Comments

History of Reog Dance

undefined undefined

Reog is a traditional dance that become the main identity for Ponorogo Regency. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. Reog dance is also staged full moon nightly in paseban, Ponorogo town square. Reog told about the struggle for a prince who will propose to a beautiful princess. Reog Ponorogo tells the story of a mythical battle between the King of Ponorogo and the magical lion-like creature called Singa Barong. Singa Barong is a large mask usually made of tiger's or leopard's head skin, upon the mask attached a large fan adorned with peafowl feathers. The Singa Barong mask was notoriously heavy, the dancer of Singo Barong bear the mask about 30 - 40 kg weight and supported by the strength of their teeth.
Dance performance
The leading figures in Reog Ponorogo performance includes:
  1. Klono Sewandono, A men in regal attire wearing mask in proud and pompous dance, play the role as the King of Ponorogo
  2. Bujang Anom, rough youthful men wearing red mask, they performed acrobatic dances and sometimes also involved trance.
  3. Jatil, the youthful handsome horsemen riding horses made of weaved bamboo, similar to Kuda Lumping dance. Today Jatil usually performed by female dancers.
  4. Warok, played as Singa Barong, the mythical creature. The one that allowed to performed this mask dance is called warok. A warok is the hororary title of local hero or strongman of the village that possessed both exceptional spiritual and phyisical strength. The dance itself is demonstration of phyisical strength of the dancers.
Reog Ponorogo usually consists of three sets of dances; each dance is performed by several dancers:
  1. The first dance is the opening dance, performed by Bujang Anom, male dancers wearing black costumes. The costume describe rough men with intimidating moustache and other masculinity symbols.
  2. The second dance is the Jaran Kepang dance performed by Jatil; it is originally performed by a gemblak, a handsome and youthful teenage boy wearing colourful costumes. Today the female dancers were usually played this role.
  3. The third dance is the main attraction of the show; it is performed by all the Reog dancers. The warok as the main male dancer, wearing a large and heavy lion mask, dances in the centre of the stage while the other dancers dance around him. To demonstrate the warok's extraordinary strength Jatil or female dancers riding on top of lion mask and being carried around.
Culture and traditions of Reog Ponorogo
Reog dancers in Ponorogo, ca. 1920.
The dance describe Klono Sewandono the king of Ponorogo on his journey to Kediri to seek the hands of Princess Songgo Langit. On his journey he was attacked by a vicious monster called Singa Barong, a mythical lion with peacock on its head. Historians trace the origin of Reog Ponorogo as the satire on the incompetence of Majapahit rulers during the end of the empire. It describe the innate Ponorogo liberty and its opposition on centralist Majapahit rule. The lion represent the king of Majapahit while the peafowl represent the queen, it was suggested that the king was incompetent and always being controlled by his queen. The beautiful, youthful and almost effeminate horsemen describe the Majapahit cavalry that have lost their manliness. Reog Ponorogo dancers traditionally performed in a trance state. Reog Ponorogo displays the traditional Kejawen Javanese spiritual teaching. Next to physical requirement, the dancers - especially the Warok - required to follow strict rules, rituals and exercises, both physical and spiritual. One of the requirement is abstinence, warok is prohibited to indulged and involved in sexual relationship with women, yet having sex with boy age eight to fifteen is allowed. The boy lover is called Gemblak and usually kept by Warok in their household under the agreement and compensation to the boy's family. Warok can be married with a woman as their wive, but they may kept a gemblak too. This led to Warok-Gemblakan relationship that similar to pederastic tradition of ancient Greece. Anybody who is in touch with the traditional way of life in Ponorogo, knows that there are these older men called warok who, instead of having sex with their wives, have sex with younger boys. What Warok and Gemblak did is homosexual act, yet they never identify themself as homosexuals.
Today this Warok - Gemblakan practice is discouraged by local religious authorities and being shunned through public moral opposition. As the result today Reog Ponorogo performance rarely features Gemblak boys to performed as Jatil horsemen, their position were replaced by girls. Although today this practice might probably still survived and done in discreet manner.

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Reog Burisrawa Gandrung

undefined undefined


Reog adalah salah satu kesenian budaya yang berasal dari Jawa Timur bagian barat-laut dan Ponorogo dianggap sebagai kota asal Reog yang sebenarnya. Gerbang kota Ponorogo dihiasi oleh sosok warok dan gemblak, dua sosok yang ikut tampil pada saat reog dipertunjukkan. Reog adalah salah satu budaya daerah di Indonesia yang masih sangat kental dengan hal-hal yang berbau mistik dan ilmu kebatinan yang kuat.

Jika di Jawa Timur terdapat Reog, di Jogja pun tak kalah karena Jogja memiliki kesenian yang hampir mirip dengan Reog Ponorogo , tetapi tidak dihiasi dengan warok ataupun gemblak dan tidak terlalu berbau mistik. Sebuah pementasan tradisional yang biasanya mengambil tema dari cerita pewayangan.

Sekedar info bagi yang ingin  mengenal lebih dalam bentuk tariannya bisa disaksikan besok hari Minggu, tanggal 07 Oktober 2012 jam 09.00 WIB didaerah pasar Imogiri lawas barat Makam Raja-raja dan Makam Seniman, yang dipertunjukan oleh Rombongan Sekar Muda Budaya dengan 50 orang penari. Sekilas tentang Rombongan Sekar Muda Budaya, rombongan ini berasal dari Dusun Bunder 2, Banaran, Galur, Kulon Progo. Pertunjukkan ini  mengangkat cerita “Burisrawa Gandrung”.

Ringkasan cerita tentang Burisrawa Gandrung dapat Anda baca dibawah ini.

“BURISRAWA GANDRUNG”
 RINGKASAN CERITA

Jumbuh klawan wujudé sing setengah yaksa kanthi rambut gimbal diudhal-udhal, Burisrawa seneng nguja kesenengané, golèk menangé dhéwé, dhemen gawé gendra. Nanging bawané anak ratu apa manèh kecaket karo Prabu Baladéwa lan adipati Karna, ora ana wong sing wani nyaruwé marang kabèh tumindaké Burisrawa.
Burisrawa kayungyun banget marang Dèwi Wara Sumbadra wiwit nalika Wara Sumbadra isih kenya nganti tumekané dadi garwané Arjuna lan malah kepara wis peputra Abimanyu barang, gandrungé Burisrawa marang Sang Dèwi ora tau mendha. Burisrawa iya banget sengit nginggit-inggit marang Setyaki, amarga nalika nglamar Dèwi Wara Sembadra ing Dwarawati, Burisrawa tau diajar Setyaki ing alun-alun nganti lémpé-lémpé, kamangka Burisrawa wis nyandhang cara temantén. Ya wiwit iku Burisrawa sengit kepati klawan Setyaki.
Ing lakon Sembadra Larung, Burisrawa dicritakaké minta sraya marang Bathari Durga ing pasétran Gandamayin iya Dhandangmangoré supaya bisa sapatemon karo Sumbadra. Bathari Durga ngendikani, yèn Burisrawa bisa sapatemon karo Sumbadra, nanging ora bisa gepokan salira.
Nalika semana Arjuna pinuju grogol (mbebedhag kidang ing alas Winangsraya. Kanthi ancas nedya pepasihan (cumbana) karo Sumbadra, Burisrawa njujug taman Maduganda, taman keputrén ing kasatriyan Madukara. Kanthi tetembungan manis manuhara, Burisrawa njaluk usadaning lara asmara marang Sumbadra. Amarga Sang Dèwi ora kersa nglanggati, Burisrawa banjur ngunus kerisé. Dewi Sumbadra diagar-agari keris, nanging tetep puguh ora gelem nuruti kekarepané Burisrawa. Kerisé sing diagar-agaraké iku malah banjur ditubruk wani déning Dèwi Sumbadra saéngga sirna margalayu. Burisrawa kamitenggengen. Jroné ora mobah lan ora mosik, ana aloké emban kang tumeka papan kono. Burisrawa gagé mlayu nggendring ninggalaké taman, mlebu ing tengah alas.
Kasatriyan Madukara dadi gègèr sawisé para emban nyumurupi kunarpan Dèwi Sumbadra. Saka pamrayogané Prabu Kresna, Dèwi Sumbadra banjur dilarung ana Bengawan Gangga (Swilugangga), kanthi rineksa Gathotkaca saka gegana. Wusanané layoné Sumbadra diuripaké  Antareja kang jumedhul saka Saptapratala nedya ngupadi sudhermané. Gathotkaca ngira yèn Antareja kuwi kang njalari patiné Dèwi Wara sumbadra. Tanpa ditakoni terus ditimblis saka dirgantara. Dadi perang ramé. Leloroné padha digdayané. Sabanjuré leloroné dipisah déning Wara Sumbadra. Sang Dèwi banjur nyritakaké lelakoné kang sanyatané. Ya merga lelakon iki, Antareja banjur bisa kepanggih marang ramané, yaiku Raden Bratasena iya Werkudara.

Sumber cerita : http://jv.wikipedia.org/wiki/Burisrawa

12:20 AM | Labels: | 1 Comments  

Javanese dance

undefined undefined

Shinta Javanese Ramayana Wayang Wong dance performance, Prambanan.
Javanese dance is the dances and art forms that were created and influenced by Javanese culture. Javanese dance is usually associated with courtly, refined and sophisticated culture of the Javanese kraton, such as theBedhaya and Srimpi dance. However, in a wider sense, Javanese dance also includes the dances of Javanese commoners and villagers such as Ronggeng, Tayub,Reog, and Kuda Lumping.
Javanese dance is usually associated with Wayang wong, and the palaces of Yogyakarta and Surakarta due to the nature of dance being a pusaka or sacred heirloom from ancestors of the palace rulers. These expressive dances are more than just dances, they are also used for moral education, emotional expression, and spreading of the Javanese culture.

Types of Javanese Dance

Javanese dancer, 1885
Javanese dance reflects the stratified hierarchy of Javanese society, and roughly can be identified within two mainstream of traditions:
  1. Tari kraton (palace dances)
  2. Tari kawulo (commoner dances)

Tari Kraton

The courtly Javanese palace dance is the type of dances that developed, nurtured and fostered by Javanese Kratons, mainly Yogyakarta Sultanate and Surakarta Sunanate, the patrons of Javanese Mataram culture. Javanese sultans are known as the patron and the creator of Javanese court dances.
Kraton dances employs sets of rules about certain dance movements, body and hand gestures that requires discipline to learn.Gamelan orchestra is the prerequisite for Javanese court dance performances as well as for other Javanese art forms such as Wayang performances. The serene elegance, slow pace and constrains of its movements gave Javanese dance a meditative traits. Javanese court dances were heavily influenced by Javanese Hindu-Buddhist legacy. As the result the costumes, jewelry and story, often reflects or based on Hindu epic tales of Ramayana and Mahabarata.
There are three basic types of courtly Javanese kraton dance:
 Beksan putra – These are the dances for men, which serve two purposes: a military close-order drill and highlighting martial skills. Dancers may learn beksan putra dances to familiarize themselves with the movements for narrative dances.
  1. Beksan putri – Putri is the Javanese word for  female, and these dances include courtly dances designed for royal events with very precise movements and distinct staging with subtle layers of meaning. Such dances were often used for entertainment or courtship.
  2. Beksan wayang – These are narrative dances from epic poems, and usually are named after the characters in them, usually an alus-style hero and a gagah-style villain.

Tari Kawulo

Also known as "Tari Rakyat", is the popular dances of the commoner. This is the type of Javanese dances that developed in villages or cities that located relatively quite far from Javanese kratons as the center of Javanese palace culture. Kawulo dances is lack in Javanese courtly dance discipline, constraints, and refinements. This type of dance relatively more open and adaptive to foreign influences.
Several dance is functioned as courtship or social dance, such as Ronggeng, Gandrung and Tayub, while others as celebratory dances such as Reog and Kuda Lumping. The movement of social dances, such as ronggeng and tayub are somewhat more vigorous and erotic, closely related to Sundanese Jaipongan. Because of this erotic nuances, this type of dance often gained shady reputation as the dance of the prostitutes.

 

 

References

  • http://en.wikipedia.org
  • Brakel-Papenhuyzen, Clara (1995)Classical Javanese Dance Leiden KITLV Press ISBN 90-6718-053-X
  • Soedarsono (1984) Wayang Wong Yogyakarta Gadjah Mada University Press

3:22 AM | Labels: | 0 Comments  

History of Reog Dance

undefined undefined

Reog is a traditional dance that become the main identity for Ponorogo Regency. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. Reog dance is also staged full moon nightly in paseban, Ponorogo town square. Reog told about the struggle for a prince who will propose to a beautiful princess. Reog Ponorogo tells the story of a mythical battle between the King of Ponorogo and the magical lion-like creature called Singa Barong. Singa Barong is a large mask usually made of tiger's or leopard's head skin, upon the mask attached a large fan adorned with peafowl feathers. The Singa Barong mask was notoriously heavy, the dancer of Singo Barong bear the mask about 30 - 40 kg weight and supported by the strength of their teeth.
Dance performance
The leading figures in Reog Ponorogo performance includes:
  1. Klono Sewandono, A men in regal attire wearing mask in proud and pompous dance, play the role as the King of Ponorogo
  2. Bujang Anom, rough youthful men wearing red mask, they performed acrobatic dances and sometimes also involved trance.
  3. Jatil, the youthful handsome horsemen riding horses made of weaved bamboo, similar to Kuda Lumping dance. Today Jatil usually performed by female dancers.
  4. Warok, played as Singa Barong, the mythical creature. The one that allowed to performed this mask dance is called warok. A warok is the hororary title of local hero or strongman of the village that possessed both exceptional spiritual and phyisical strength. The dance itself is demonstration of phyisical strength of the dancers.
Reog Ponorogo usually consists of three sets of dances; each dance is performed by several dancers:
  1. The first dance is the opening dance, performed by Bujang Anom, male dancers wearing black costumes. The costume describe rough men with intimidating moustache and other masculinity symbols.
  2. The second dance is the Jaran Kepang dance performed by Jatil; it is originally performed by a gemblak, a handsome and youthful teenage boy wearing colourful costumes. Today the female dancers were usually played this role.
  3. The third dance is the main attraction of the show; it is performed by all the Reog dancers. The warok as the main male dancer, wearing a large and heavy lion mask, dances in the centre of the stage while the other dancers dance around him. To demonstrate the warok's extraordinary strength Jatil or female dancers riding on top of lion mask and being carried around.
Culture and traditions of Reog Ponorogo
Reog dancers in Ponorogo, ca. 1920.
The dance describe Klono Sewandono the king of Ponorogo on his journey to Kediri to seek the hands of Princess Songgo Langit. On his journey he was attacked by a vicious monster called Singa Barong, a mythical lion with peacock on its head. Historians trace the origin of Reog Ponorogo as the satire on the incompetence of Majapahit rulers during the end of the empire. It describe the innate Ponorogo liberty and its opposition on centralist Majapahit rule. The lion represent the king of Majapahit while the peafowl represent the queen, it was suggested that the king was incompetent and always being controlled by his queen. The beautiful, youthful and almost effeminate horsemen describe the Majapahit cavalry that have lost their manliness. Reog Ponorogo dancers traditionally performed in a trance state. Reog Ponorogo displays the traditional Kejawen Javanese spiritual teaching. Next to physical requirement, the dancers - especially the Warok - required to follow strict rules, rituals and exercises, both physical and spiritual. One of the requirement is abstinence, warok is prohibited to indulged and involved in sexual relationship with women, yet having sex with boy age eight to fifteen is allowed. The boy lover is called Gemblak and usually kept by Warok in their household under the agreement and compensation to the boy's family. Warok can be married with a woman as their wive, but they may kept a gemblak too. This led to Warok-Gemblakan relationship that similar to pederastic tradition of ancient Greece. Anybody who is in touch with the traditional way of life in Ponorogo, knows that there are these older men called warok who, instead of having sex with their wives, have sex with younger boys. What Warok and Gemblak did is homosexual act, yet they never identify themself as homosexuals.
Today this Warok - Gemblakan practice is discouraged by local religious authorities and being shunned through public moral opposition. As the result today Reog Ponorogo performance rarely features Gemblak boys to performed as Jatil horsemen, their position were replaced by girls. Although today this practice might probably still survived and done in discreet manner.

3:01 AM | Labels: | 0 Comments  

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