MAKNA SIMBOLIS TARI JARO ROJAB DI KECAMATAN WANGON KABUPATEN BANYUMAS

Authors

  • Galuh Lutfa Pravitasari Institut Seni Indonesia Surakarta
  • Setya Widyawati Jurusan Tari Fakultas Seni Pertunjukan ISI Surakarta

DOI:

https://doi.org/10.33153/grt.v23i1.3575

Keywords:

Jaro Rojab Dance, Jaro Rojab Traditional Ceremony, symbolic meaning, Banyumasan Style Creation Dance

Abstract

This journal examines the dance creations of Banyumasan style, namely Jaro Rojab Dance by Ida Restina. This dance was created to participate in Festival dan Lomba Seni Siswa Nasional (FLS2N) for high school in Banyumas Regency. Although dance creations but there are stories and plots there must be meanings and values expressed through symbols. This is interesting to research, so the problem is formulated as follows: 1. What is the form of Jaro Rojab Dance? 2. What is the symbolic meaning of Jaro Rojab Dance? To explain the problem use the form theory of Sri Rochana Widyastutieningrum, the theory of symbols from Wiryamartana and the theory of Allegra Snyder. The presentation of this research data is a description of the analysis. The results of observations on the form of Jaro Rojab Dance to analyze the symbol which is externally the constituent of Jaro Rojab Dance inspired by the traditional ceremony procession of jaro change in Cikakak Village and the movement of Lengger banyumas art. While internally is the treasury of motion that undergoes stages of stimulation, transformation, unity. Overall, Jaro Rojab Dance is a picture and symbol of the nature of the local community where the dance created. In other side, Jaro Rojab dance also performed the potential of cultural tourism owned by Cikakak Village and Banyumas Regency.   

Downloads

Download data is not yet available.

References

Bandem, I. M. (2000). Etnologi Tari Bali. Kanisius.

Herusatoto, B. (2003). Simbolisme dalam Budaya Jawa. Hanindita Graha Widia.

Herusatoto, B. (2008). Banyumas Sejarah, Budaya, Bahasa, dan Watak. Lkis.

Indriyanto. (2001). Kebangkitan Tari Rakyat di Banyumas. Harmonia Jurnal Pengetahuan dan Pemikiran Seni, 2(2)65.

Kussudiardja, B. (1992). Bagong Kussudiardja: Dari Klasik Hingga Kontemporer. Padepokan Press.

Noor, J. (2015). Metodologi Penelitian: Skripsi, Tesis, Disertasi, dan Karya Ilmiah. Prenadamedia Group.

Novalita, P. (2018). Tari Opak Abang Sebagai Simbo Identitas Mmasyarakat Kabupaten Kendal. Skripsi Institut Seni Indonesia Surakarta.

Royce, A. P. (1991). Anthropology of Dance. Diterjemahkan oleh Agus Tasman. Antropologi Tari. Indiana University Press.

Soedarsono. (1978). Pengantar Pengetahuan dan Komposisi Tari. Asti Yogyakarta

Soedarsono. (2012). Metode Pengembangan Fisik. Universitas Terbuka.

Sullistyaningsih, E. (2015). Tari Calengsai di Kabupaten Banyumas. Skripsi Institut Seni Indonesia Surakarta. Institut Seni Indonesia Surakarta.

Sunaryadi. (2000). Lengger: Tradisi dan Transformasi. Yayasan Untuk Indonesia.

Udiarti. (2015). Makna Simbolis Kesenian Srandul dalam Ritual Rasullan di Dusun Manukan Kecamatan Girisubo Kabupaten Gunung Kidul. Skripsi Institut Seni Indonesia Surakarta.

Widi, R. K. (2013). Asas Metodologi Penelitian Sebuah Pengenalan dan Penuntun Langkah Demi Langkah Pelaksanaan Penelitian. Graha Ilmu.

Widiati, R. (2017). Kearifan Lokal Masyarakat Aboge dan Upaya Pelestarian di Desa Cikakak Kecamatan Wangon Kabupaten Banyumas. Jurnal Geo Educasia.

Widyastutieningrum, S. R. (2004). Sejarah Tari Gambyong: Seni Rakyat Menuju Istana. ISI Press.

Widyastutieningrum, S. R. & Wahyudiarto, D. (2014). Pengantar Koreografi. ISI Press.

Downloads

Published

2024-07-24

Issue

Section

Articles