GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI

Authors

  • Nur Aini Seni Tari, Institut Seni Indonesia Surakarta
  • Soemaryatmi Soemaryatmi Seni Tari, Institut Seni Indonesia Surakarta

DOI:

https://doi.org/10.33153/grt.v19i2.3453

Abstract

Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How  to work on  Anoman  Cakil dance  by Didik Bambang  Wahyudi  (2) How  to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the  concept of cultivation  by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the  then  spread  hand  arm  and  keris  shell.  Beksan  retreat  is  the  last  part  of  the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.

Downloads

Download data is not yet available.

References

Brakel,C., Papenhuyzen dan S Ngaliman. Seni Tari Jawa : Tradisi Surakarta dan Peristilahanya. Belanda: ILDEP, Universitas Leiden. 1984.

C. Rajagopalachari. Ramayana. Yogyakarta: Fajar Pustaka Buku. 2007

Gendon, Humardani. Gendon Humardani, Pemikiran dan Kritiknya. Surakarta: STSI Press Solo. 1991.

Maryono. Analisa Tari. Solo: ISI Press 2015.

Sedyawati, E. Tari, tinjauan dari berbagai segi. Yogyakarta: Pt Dunia Pustaka Jaya. 1981.

. Pertumbuhan Seni Pertunjukan. Jakarta: Sinar Harapan. 1981.

Slamet. Barongan Blora Menari di Atas Politik dan Terpaan Zaman. Surakarta: Citra Sains. 2012.

Suharji. Model pembelajaran sinektiks mandiri repertoar gaya tari A-III Gagah. Surakarta: ISI Press Solo. 2004.

Sumandiyo, Hadi. Kajian Tari Teks dan Konteks. Yogyakarta: ISI Press Yogya. 2007.

. Koreografi. Yogyakarta: Cipta Media. 2011.

. Sosiologi. Yogyakarta: Media Abadi. 2007.

Supanggah, Rahayu. Bothekan Karawitan II : Garap. Surakarta: ISI Press. 2007.

Downloads

Published

2020-12-28

Issue

Vol. 19 No. 2 (2020)

Section

Articles

License

Copyright

Authors who publish with GREGET agrees to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. 
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.