Aesthetics Art Tiban

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Speaking of aesthetics, of course, require extra attention because it has a very broad meaning. Aesthetics is meant in this discussion is something that is beautiful. Basically all forms of performance have beauty are subjective, meaning that every person judge the beauty that comes from within herself and through a different perception.
To go to the beauty ideal, people should have basic first terlebh namely love beautiful objects. In the world of dance, the object is realized through the media or materials. Agus Tasman mention the sense of material is something that will be used to create. (A. Tasman, 2008:13) this will be very related to the main ingredient in a dance of motion. Motion is a form of unity of the elements that accumulate in the quality, strength as a target motion analysis form can occur in a very small element fartor so that sensitivity analysis will determine when capturing meaning, sense, character in the object motion is analyzed.
Dance as a source hayatan bring up thoughts of artists to find something that is beautiful. Beautiful for someone beautiful is not necessarily for others. The beauty of dance emerged as a response to “taste”. Taste mempunnyai two principal meanings of feeling (feeling) and meaning (meaning). (Soetarno, Sunardi, Sudarsono, 2007; 13) Motion Tiban simple dance movements bring the author wishes to know more about the aesthetic studies contained therein. The interesting thing is the game when the dancers whipping each other with no raises pain though.
Tiban is one type of dance son pairs that arise when government is the first time Terri Regent Menak Sopal (1970s). Society considers this dance as a ritual to ask for rain. The function of ritual in dance Tiban hereditary Sukosari village community still believed that the majority of the population earns a meager living as a farmer. Society assumes environmental factors, especially for farmers greatly affect local revenue, if the land is fertile, the yield increases and if the land is barren, the harvest is reduced. Prolonged dry season caused betebaran pest everywhere, and vice versa prolonged rainy season also caused harm to humans. Therefore, people do various efforts to overcome the disaster response. As examples of rituals performed in the district Terri is to ask for rain rituals and ceremonies Dam Bagong to avoid catastrophic flooding.
The cultural identity of local communities that comes from conventional labor history and reflects confidence in the form of ritual. Most of the villagers Sukosari memperecayai any magic powers, proved still often hold salvation and Ruwatan. Marret mentioned that early humans in his life are often amazed at the things and events that are supernatural, which can not be He explained with minds that are still limited by the ability it. (Koenjaraningrat, 2007: 62) it affects rural communities thinking of the past (the emergence tiban) to conduct rituals for generations. Similar to the phenomenon of rural communities today Sukosari all religious systems, beliefs, and religion in the world centered on the concept of a supernatural thing (mysterium) that are considered most-powerful (tramendun) and sacred (sacer) by humans. (Otto, Koenjaraningrat, 2007:65). That is, all behaviors that exist in human beings rooted in a belief.
According to the local community, the shepherd boy in ancient times considered to cure the disease. If there are children who are sick or itching thrush dihadangkan children who come home from mengembala. Place a blown illness or spat upon is believed to be cured. If there are children herding the menambil fruit or crop fields are usually left alone as long as moderation and to eat. Farmers who plant was taken just happy because it was considered a positive influence on the outcome panennya.Dari concept then emerged Tiban dance that depart from the game a shepherd boy.
Before analyzing in detail the dance movement tiban then dipelukan determination of the theme. In accordance with the purpose of the ritual, the themes that can be analyzed is the theme of fertility. In the past, when the regents pemeintahan Menak Sopal never occurred long dry season which megakibatkan drought and dwindling water supplies so that agricultural output was declining. Whereas the majority of the territory is mountainous Terri. When there is an elder who medapat inspiration for performing Tiban. Until now, people still believe that Tiban can reduce rainfall.
The motion said the performing arts as a medium is divided into four categories namely geture (motion expressed through meaningful symbols), pure motion which prefers not convey the beauty and meaningful message, reinforcing the movement called balton signal expression, and migratory movements.
The motion carried Tiban show is free movement to the rhythm and more major movements sebaga foot pedestal. The motion characteristics are held is as follows:
1. Jengklek, is menri with free movements mngikuti rhythm.
2. Jalaeka, the motion carried as a sign that he will whip your opponent.
3. Klewer, is take the belt when going to whip your opponent
4. Tayungan, is whipping motion simultaneously.
Indirectly, every movement has a specific dynamics and harmony. Dance Tiban used as a ceremony to ask for rain has a rhythmic shape with segments of monotonous motions. Keep in mind also that aesthetically Tiban dance has the power or the magical element that can reduce the rain. It was seen from the whipping motion at each other without even bring up the pain.
Java Aesthetics is closely related to Java mansyarakat worldview, namely an understanding of the unity between man dengann his Lord. This is causing that in every work of art Java Java is associated with business people. (Soetarno, Sunarti, Sudarsono. 2007: 18) The expression of aesthetic associated with the expression of religious / magical dance diperlakukannnya Tiban are certain requirements for players such Tiban :
1. The game should be done one on one with a parallel age, should not be older or younger. The consideration is the power / energy that comes from each of the dancers when the whip is not biased, in the same sense.
2. It is not allowed under the umbilical cord whip.
3. Making a whip to do when the show will begin at the venue.
Description servings
Description of presentation made it very diverse in style, structure, and meaning it contains. In the documentary collection of dance Tiban Soenarto As danced by six dancers and a pelandang / referee. Before describing such a motion then made the sign of a dancer, dancers, 2, 3 dancers, dancers, 4, 5 dancers, and dancers 6. Movement in dance Tiban to stratified as follows:
At first all the dancers and pelandang assembled to form two groups and bergerah to the front to dance to the music with the rhythmic motion of the hands and feet while playing a whip, on the left side there is a pelandang who always pay attention to the movements of the dancers. Arriving in mid-arena game show begin.
Minutes to 00:30 the next two best dancers (dancers 1 & 2) and in pairs toward each other, spinning in a circle dance, the dancers gave a code that will whip and at minute 00:38 of dancers whip fast, two dancers spinning in place raising his hand to shake whip.
Minutes to 00:40. Dancer of a spinning, moving back to the dancer 2, then both turned to each other spin to the beat, the dancers two belts to hold the opponent.
Minutes to 00:55 dancer dancer 1 2 starting whipping then pelandang mediate between them. Pelandang move to adjust the rhythm, with positions forming a triangle between the two dancers. Dancers took turns swinging a whip as if giving a sign that the scourge.
1:14 minutes into the dancer a whip opponents with records always spinning dancers who whipped back and together against the motion again. Dancers turn 2, which holds the belts of dancers 2 01:30 lawan.Menit to whip the opponent, the referee started to segregate pertarunngan between them. Both dancers away from each other.
1:45 minutes into the dancer a dancer ran 2 and whip quickly as if the two dancers did not have time to dodge, pelandang immediately separate the two. Once seterussnya dancers 1 and 2 in bergntian whipping each other and arrive at 03:00 minutes into the fight occurred between pergantin dancer dancer dancer 3 and 4.
Attractions dancers who performed to the 3 and 4 slightly different from the dancers 1 and 2. If the dancers 1 and 2 are always round in tempatsebelum do in a whip lash or after it is performed by dancers 3 and 4 always continue to face mekipun floor pattern created spin in a circle. The sequence is done while whipping remain the same and diakkukan alternately.
Minutes to 04:59 in case of replacement positions between 3 and 4 dancers. Each change of position is marked by the exchange poroperti from hand to hand dancer dancer three other yan. When penati will fight the pelandang always tried to intervene.
Because the number of dancers are not restricted to the writer convey just enough common core of the whole scene is performed by dancers. The game is done continuously alternately from start to finish is at 12:00 to 17:00.
After the show finished the players are usually sleeping on the leaf pisanng few moments, the goal is to avoid infection of wounds on their bodies, because of the pain that comes after the event finished. But for people who do not magic cabbukan leave segores wounds on his body though.
Composition gendhing / rhythm.
Rhythm as an accompaniment or a partner of motion is a rail to place bertumpunya range of motion. So the presence of music only to give emphasis to the rhythm of the music fit the motion. In general, the selection of music as accompaniment in addition to conformity iraman music with motion is able to reveal characteristics. Robby Hidayat said that the music at least has 3 functions as an accompaniment, as an affirmation of motion, and as an illustration. (Robby Hidayat, 2005: 53) rhythm is used in this Tiban dance is an expression of attitude and a sense of expressive movement also functions as an affirmation of the artist and as an accompaniment.
A sense of rhythm or musical drama in dance is a supporting element which has an important role in conveying the essence of dance. Capabilities that distinguish phrases that became the subject of music is a must for a dance artist. A dance artists have to move in rhythm with the power of his music or in jell-between beats. In the Javanese dance tradition of taste does not appear if there are dancers who do not recognize the sound kenong, kempul and gong or not to recognize the rhythm of the punches kendhang. Likewise with this Tiban dance, then the motion is carried in tune to the beat Kenthongan. The composition can gendhingnya denoted as follows:
Accompaniment is in use in the show this Tiban is drums, gong, and balungan slendro.
6 5 6 1 6 5 3 2
6 5 6 1 6 5 3 2
6 5 6. 6 5 6 1
3 5 6. 3 5 3 1
Description of symbols:
+ Is a knock rhythm kendhang
V is a knock rhythm Kenthongan.
NB: The symbols used in writing the notation is different from the writing of Javanese dance notation in general because of the musical instruments accompanying calm.
Dynamics of Motion / Design dramatic
Acting ability or the ability to bring a particular role is very important in a dance. This makes a peari spontaneously acquire the balance of the stage and able to understand what is felt by the audience, and able to also perform a variety of small problems that make the show better. This talent is the most important requirement for a penari.Walau actually easy to move the body which is usually referred to actual dancing talent, played the easiest conditions Leh someone. Therefore, talent must be used carefully. A dancer who is always looking for a light or always demand the audience’s attention without regard to the atmosphere bukanlan a dance artist.
Context of dance artists in dance Tiban produce dramatic responses to the audience with a stable on the game whipping each other. This means that emerged did not experience dramatic changes in a very prominent graph


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