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563 Ceklek'an Sebagai Garap Gerak Dalam Kepenarian

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563 Ceklek'an Sebagai Garap Gerak Dalam Kepenarian TEROB VOLUME VI NOMOR 2 APRIL 2016 CEKLEK’AN SEBAGAI GARAP GERAK DALAM KEPENARIAN CAKIL GAYA SURAKARTA Agung Wening Titis Purwati Silvester Pamardi, Abstrak Tulisan ini berjudul ”Ceklek’an Sebagai Garap Gerak Kepenarian Cakil Gaya Surakarta” bertujuan untuk mereformulasikan pemikiran penari Jawa tentang fenomena ceklek’an dalam gerak Cakil. Fenomena estetik ini dibangun dari beberapa gejala yang timbul tentang bagaimana ide atau gagasan sehingga menjadi garap gerak dalam kepenarian Cakil gaya Surakarta. Kemampuan kepenarian seorang penari Cakil ditentukan oleh keterampilannya dalam penguaan permainan ceklek’an. Penelitian ini menggunakan metode kualitatif dengan pendekatan fenomenologi, yaitu menghimpun data melalui observasi dan wawancara, kemudian dianalisis dan hasilnya dijelaskan secara deskriptif. di samping itu data akan dilihat dari pengalaman secara ketubuhan (embodiment). Kata Kunci: Cakil, ceklek’an, dan gaya Surakarta. Abstract This study entitled “Ceklek’an as movement work in Surakarta-Style Cakil Dancing” aimed to formulate Javanese dancer’s thinking about ceklek’an phenomenon in Cakil movement. This esthetic phenomenon built on some symptoms arising concerning how idea became movement work in Surakarta-style Cakil dancing. A Cakil dancer’s dancing ability was determined by his/her skill in mastering ceklek’an performance. This research employed qualitative method with phenomenological approach, by collecting data through observation and interview and then analyzing the result descriptively; in addition data would be seen from embodiment experience. Keywords: Cakil, ceklek’an, and Surakarta style Pengantar Jacques Maritian dan George Santayana Zaman akan terus mengalami dalam Sudarso mengatakan bahwa art is the perubahan, hal ini kemudian memacu creation of beauty (Sudarso, 2006: 54). Seni proses berfikir dan kreatif para pencipta merupakan ruang penciptaan yang berkaitan seni untuk selalu menghasilkan karya-karya erat dengan kajian tentang keindahan, baru. Proses yang terus berjalan sehingga perenungan dan penghayatan. Tari berbicara menghasilkan pengalaman-pengalaman jauh lebih dalam sebagai teks ketubuhan dan memberikan kepekaan terhadap hal yang menghasilkan bentuk dan memiliki yang terjadi di lingkungan sekitar. Menurut makna estetis. Keleluasaan penciptaan tari 563 TEROB VOLUME VI NOMOR 2 APRIL 2016 tidak bisa dibatasi dalam koridor seni tradisi adalah bahwa segala bentuk kejahatan dan ataupun modern, karena keduanya dapat keangkaramurkaan pasti kalah dengan menyatu dan menemukan keseimbangan kebaikan. Proses garap gerak Cakil saat kini serta posisi yang pas dalam visual yang mengalami perkembangan begitu kompleks. sebenarnya. Hal ini disebabkan adanya perkembangan daya reinterpretasi dari ide atau gagasan Tari telah lama terbentuk sebagai para koreografer dan penari Cakil.Garap pertunjukan, ritual, dan kajian hayatan. gerak dalam kepenarian Cakil gaya Bahkan saat ini, tari telah menjadi kajian Surakarta terletak dalam pengguasaan tehnik penelitian dan mampu berkolaborasi dengan ceklek’an. Keterampilan dalam memainkan beragam bidang ilmu pengetahuan, teknologi, tehnik ini sebagai wujud pencapaian akhir kesehatan bahkan terapi sosial. Eksistensi tari untuk mencapai nilai rasa dalam kepenarian dapat dilihat dari kedudukannya sebagai teks Cakil. dan konteks dalam masyarakat. Tari adalah ruang pembacaan yang lebih kritis tentang Permasalahan identitas, tradisi, modernitas, dan sejarah tari 1. Bagaimana pemikiran penari Cakil itu sendiri (konteks). Pembacaan ruang bagi tentang Ceklek’an dalam gerak Cakil gaya reinterpretasi gerak tari untuk menelusuri Surakarta? apa yang tersembunyi di dalam bahasa, apa yang ditangguhkan melalui tanda, apa yang Metode Penelitian ditunjuk, apa yang direpresentasikan. 1. Fenomenologi Trasendental atau Pertunjukan Wayang Orang Panggung psikologi (WOP) merupakan personifikasi dari pertunjukkan wayang kulit purwa. Penulisan Pandangan ini muncul pada pertengahan Wayang Orang Panggung selanjutnya abad ke-19 dan merupakan gerakan dari ilmu akan menggunakan singkatan WOP. WOP filsafat oleh Edmund Husserl. Pemikiran kemudian berkembang menjadi sarana empirisme dan psikologisme Edmund Husserl dipengaruhi oleh Frans Brentano, hiburan yang diminati oleh masyarakat John Locke dan David Hume. Fenomenologi dan menjadi komoditi layanan komersial. menurut Edmund Husserl dalam Sutiyono Tari ini sebenarnya diadopsi dari salah satu adalah sebuah ilmu yang mempelajari proses adegan yang ada dalam pementasan Wayang kesadaran manusia untuk melihat gejala Kulit yaitu adegan Perang Kembang dalam atau fenomena yang tampak di depan mata pathet sanga. Ksatria adalah tokoh bersifat (2011: 25). Fenomenologi tidak melihat halus dan lemah lembut, sedangkan Raksasa sebuah fenomena atau peristiwa yang hanya menggambarkan tokoh kasar dan beringas. dilihat dalam kaca mata luar melainkan juga Perang berlangsung atraktif dan energik. melihat kedalaman yakni apa yang ada di Makna yang terkandung dalam tarian ini balik yang tampak. 564 TEROB VOLUME VI NOMOR 2 APRIL 2016 Fenomenologi yang digunakan pertalian antara manusia dengan dunia sebagai paradigma di sini ialah kejadian, pertama-tama diawali dan terjadinya melalui perwujudan, gejala, sebagai mana yang tubuhnya-bukan melalui pemikiran. Tubuh dialami (experienced) oleh manusia. adalah media yang tak tergantikan untuk Pengertian ini berpijak pada kenyataan mengalami dan berinteraksi dengan dunia bahwa kejadian, perwujudan, maupun gejala (Simatupang, 2013:53). apapun baru dapat menjadi objek perhatian 2. Embodiment apabila fenomena tersebut dialami oleh manusia (Simatupang, 2013:53). Paradigma Menurut Lono, Penekanan fokus ini meletakkan posisi pengalaman pada studi pada pengalaman ketubuhan manusia posisi sentral bagi penelitiannya. Fenomena (embody experience) membuka peluang tersebut dibangun atas dua aspek, yaitu pada proses penelitian yang cermat naturalisme dan objektivisme. Dalam artian mengenai bagimana manusia melalui hal yang bersifat alami itu pasti objektif. tubuhnya mengalami, ruang, waktu, getaran Menurut Husserl, bahwa hal apa yang bersifat suara, cahaya, aroma, serta lingkungan natural pasti mempunyai aspek kausalitas sosialnya; bahkan juga mengalami gerak, (dalam Sutiyono, 2011: 102). Hubungan ini suhu, permukaan, aroma, bunyi maupun menempatkan fenomena sebagai pendekatan tegangan, dan sensasi yang dialami oleh untuk mengenal, mengeksplanasi, tubuh (2013: 55). Peneliti berpeluang untuk menginterpretasi pengalaman indrawi serta mendeskripsikan pengalaman tubuh penari. makna untuk mengenali apa yang telah Tubuh yang menari dijadikan media aktif dialami. yang terlibat dalam fenomena tersebut. Ceklek’an akan diamati sebagai Proses mengalami tidak hanya berhenti kejadian, perwujudan, dan gejala objek pada rangsangan oleh organ pengindera yang dialami oleh tubuh penari Jawa. Peran belaka. Berbicara lebih panjang lagi, fenomenologi dalam kajian tari berdekatan mengalami ialah mengalir menuju kesadaran dengan wacana ketubuhan. Tekanan yang menubuh yang mengikutsertakan proses diberikan dalam pandanganya mengenai mental mengingat dan membayangkan fenomenologi ialah studi pada cara-cara mentransformasikan ke dalam wujud estetis. manusia mengalami secara langsung Oleh sebab itu proses mengalami dapat kehidupan keseharian mereka serta dipengaruhi adanya tafsir secara personal membubuhkan makna-makna padanya. maupun kolektif. Ceklek’an merupakan Praktek ketubuhan dipandang sebagai sebuah proses atau konsepsi ketubuhan kemampuan untuk merekam memori atau adanya suatu memori yang direkam oleh pengalaman sebagai sumber pengetahuan. tubuh dari apa itu memori bentuk, garis, Menurut Leder dalam Simatupang, titik volume, ruang dan kemudian diberi rasa dan tolak suatu pemikiran fenomenolog ialah diolah menjadi sikap-sikap gerak. Fenomena 565 TEROB VOLUME VI NOMOR 2 APRIL 2016 tersebut akan digali dari pengalaman para pelaku termasuk pelaku seni maupun ketubuhan para pelaku yang melakukan masyarakat Jawa. Metode etnografi dirasa praktek ceklek’an, termasuk pemikiran- tepat sebagai metode untuk mengungkap pemikiran, imajinasi, dan perasaan terhadap pengalaman ketubuhan yang berhubungan ceklek’an. dengan bentuk gerak, konsep, gagasan, ide dan praktek ketubuhan dengan sudut Penelitian ini akan dilaksanakan pandang para informan yang dihimpun oleh di wilayah Surakarta. Beberapa tempat- peneliti. Tugas peneliti adalah mengeduk tempat itu ialah; Wayang Orang pengetahuan dari pemikiran yang sudah Sriwedari, Wayang Orang RRI (Radio ada dari para pelaku dan masyarakat Jawa Republik Indonesia), Balekambang, khususnya Surakarta. Posisi peneliti sebagai Keraton Surakarta, Mangkunegaran, dan orang ketiga dan melaporkan secara objektif Institut Seni Indonesia Surakarta. Jenis informasi yang telah dihimpun. penelitian yang akan digunakan adalah penelitian kualitatif. Penelitian kualitatif Peneliti etnografi melibatkan dirinya mengutamakan penjelasan cermat dengan ke dalam budaya dan subbudaya dalam model analisis yang ketat dan sistematis penelitiannya dan mencoba untuk melihat sehingga temuan yang dihasilkan padat dunia dari sudut pandang budaya pelaku. dan menyeluruh. Penelitian kualitatif tidak Data dikumpulkan melalui wawancara dan semata-mata mendeskripsikan tetapi yang observasi partisipan. Peneliti mengobservasi lebih penting adalah menemukan makna praktek-praktek ketubuhan para penari yang terkandung dibaliknya, sebagai makna Jawa, dan berusaha memahami makna dan yang tersembunyi atau dengan sengaja interpretasi. Fokus utama etnografi adalah disembunyikan (Ratna, 2010:
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