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tonight I'll post a post traditional Javanese dance is quite popular in foreign countries. a dance of Java that reflects the personality of java with a gentle and graceful manner. as a special attraction to bring tourists
History Prior to this
emerging form of performance art, there are several influences behind this form of social dance. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for the ceremony, but for entertainment or slang way. Ronggeng existence in the performing arts have an attraction that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese, estimated this art popular around the year 1916. As the folk performing arts, this art is supported only by simple elements, such as waditra which includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, a simple costume dancer as a reflection of democracy.
Along with the waning of the above type of art, the former pamogoran (spectators who take an active role in the performing arts, Tap Tilu / Doger / Tayub) turned his attention to the performing arts Kliningan, which in the north coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as a pattern Kliningan Bajidoran dance performances and events have similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of mask dances in Banjet quite popular, especially in Karachi, where some Bajidoran motion pattern taken from the dance in this Banjet mask. In koreografis dance it still reveals the patterns of tradition (Tap Tilu) that contains elements of the motions of the openings, pencugan, and some range of motion nibakeun mincid which in turn became the basis of the creation of dance Jaipongan. Some basic dance movements apart from the Tap Tilu Jaipongan, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.
The emergence of dance works Gugum Gumbira initially called Tap Tilu development, which is because it is a basic dance from Tap Tilu development. The first work Gugum Gumbira still very thick with color ibing Tilu Tap, both in terms of choreography and iringannya, who then dance it became popularly known as Jaipongan.
Kaleran Jaipongan characteristic style, which is fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, what it is). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are also dances that are not patterned (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of Subang. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Bluebird, 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Patterns), usually sung by a single dancer or Sinden Tatandakan (sinden attack but can not sing but danced the song sinden / interpreter kawih); 5) Jeblokan and Jabanan, part show when the audience (bajidor) Sawer money (jabanan) while greeting paste. Jeblokan term is defined as a couple who settled between sinden and the audience (bajidor).
Development of Dance Jaipong Jaipongan works first began to be known by the public is a dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" which are both types of dance and dance pairs daughter (son and daughter). From it emerged a few dance dancers Jaipongan reliable names like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of the dance had become a conversation, the central issue is the movement of erotic and vulgar. But from some media exposure in print, the name began to be known Gugum Gumbira society, especially after the dance staged in 1980 Jaipongan TVRI station in central Jakarta. The impact of the popularity of the further increase the frequency of performances, both in the medium of television, celebration and festivities held by the private sector and government.
Jaipongan presence has contributed greatly to the activist art of dance to more actively explore the types of folk dances that were previously less attention. With the advent of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by businessmen pubs as a decoy night invited guests, where the further development of this kind of business opportunities created by the activist dance as economic empowerment venture with Dance Studio's name or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).
Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create a dance such as Toka-Toka, Setra Sari, Sonteng, Pencug, Heron dazed, procession, motorcade leaves Puring, Rawayan and dance Kawung Anten. From the dances appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata and Asep.
Today the dance Jaipongan be called as one of identity keseniaan West Java, it is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly, the missions of art to foreign countries, always equipped with a dance Jaipongan. Jaipongan dance-art has influenced other arts in the community of West Java, both on the art of wayang, gamelan, Genjring / flying, DAMAS jaipong, and almost all the performances on folk and modern music dangdut collaborated with.
tonight I'll post a post traditional Javanese dance is quite popular in foreign countries. a dance of Java that reflects the personality of java with a gentle and graceful manner. as a special attraction to bring tourists
History Prior to this
emerging form of performance art, there are several influences behind this form of social dance. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for the ceremony, but for entertainment or slang way. Ronggeng existence in the performing arts have an attraction that invites sympathy for the pamogoran. For example on Tilu Tap dance is so well known by the Sundanese, estimated this art popular around the year 1916. As the folk performing arts, this art is supported only by simple elements, such as waditra which includes fiddle, drums, two kulanter, three percussion, and gongs. Similarly, the dance movements that do not have a standard pattern of motion, a simple costume dancer as a reflection of democracy. Along with the waning of the above type of art, the former pamogoran (spectators who take an active role in the performing arts, Tap Tilu / Doger / Tayub) turned his attention to the performing arts Kliningan, which in the north coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as a pattern Kliningan Bajidoran dance performances and events have similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of mask dances in Banjet quite popular, especially in Karachi, where some Bajidoran motion pattern taken from the dance in this Banjet mask. In koreografis dance it still reveals the patterns of tradition (Tap Tilu) that contains elements of the motions of the openings, pencugan, and some range of motion nibakeun mincid which in turn became the basis of the creation of dance Jaipongan. Some basic dance movements apart from the Tap Tilu Jaipongan, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.
The emergence of dance works Gugum Gumbira initially called Tap Tilu development, which is because it is a basic dance from Tap Tilu development. The first work Gugum Gumbira still very thick with color ibing Tilu Tap, both in terms of choreography and iringannya, who then dance it became popularly known as Jaipongan.
Kaleran Jaipongan characteristic style, which is fun, erotic, humorous, excitement, spontaneity, and simplicity (naturally, what it is). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, also there are also dances that are not patterned (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can be found in Jaipongan kaleran style, especially in the area of Subang. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Flower Bluebird, 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Patterns), usually sung by a single dancer or Sinden Tatandakan (sinden attack but can not sing but danced the song sinden / interpreter kawih); 5) Jeblokan and Jabanan, part show when the audience (bajidor) Sawer money (jabanan) while greeting paste. Jeblokan term is defined as a couple who settled between sinden and the audience (bajidor).
Development of Dance Jaipong Jaipongan works first began to be known by the public is a dance "Leaves Pulus Keser Bojong" and "Rendeng Bojong" which are both types of dance and dance pairs daughter (son and daughter). From it emerged a few dance dancers Jaipongan reliable names like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early emergence of the dance had become a conversation, the central issue is the movement of erotic and vulgar. But from some media exposure in print, the name began to be known Gugum Gumbira society, especially after the dance staged in 1980 Jaipongan TVRI station in central Jakarta. The impact of the popularity of the further increase the frequency of performances, both in the medium of television, celebration and festivities held by the private sector and government.
Jaipongan presence has contributed greatly to the activist art of dance to more actively explore the types of folk dances that were previously less attention. With the advent of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by businessmen pubs as a decoy night invited guests, where the further development of this kind of business opportunities created by the activist dance as economic empowerment venture with Dance Studio's name or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).
Further development occurred in taahun dance Jaipongan 1980-1990's, where Gugum Gumbira create a dance such as Toka-Toka, Setra Sari, Sonteng, Pencug, Heron dazed, procession, motorcade leaves Puring, Rawayan and dance Kawung Anten. From the dances appeared several dancers Jaipongan reliable among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata and Asep.
Today the dance Jaipongan be called as one of identity keseniaan West Java, it is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly, the missions of art to foreign countries, always equipped with a dance Jaipongan. Jaipongan dance-art has influenced other arts in the community of West Java, both on the art of wayang, gamelan, Genjring / flying, DAMAS jaipong, and almost all the performances on folk and modern music dangdut collaborated with.
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