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CATHARSIS Javanese Women's Reprenstation in Adaninggar

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CATHARSIS Javanese Women's Reprenstation in Adaninggar CATHARSIS 7 (1) 2018 : 43-53 CATHARSIS http://journal.unnes.ac.id/sju/index.php/catharsis Javanese Women’s Reprenstation in Adaninggar – Kelaswara Dance Luciana Intan Prihatini1, Sri Iswidayati2, Hartono2 1 SMA Negeri 1 Jekulo, Kudus, Jawa Tengah, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstrac ________________ Article History: Adaninggarelaswara dance is a classical dance which got influence of Recived January 2018 Chinese ethnic. The dancers’ movements called gesture meaningful Accepted May 2018 Published August 2018 with normative value of Javanese woman as well as still relevant in ________________ Javanese woman lives today. The research aims to describe Keywords: Adaninggar-Kelaswara dance performance, identify women’s Adaninggar-Kelaswara dance, Javanese representation in Adaninggar-Kelaswara dance movement and also to Women’s, communicate the pragmatic message to women through Adaninggar- Representation, Serat Kelaswara dance movement. The method of this study used qualitative Candrarini ____________________ method and interpretative semiotics approach. The source of data used primary and secunder data through the techniques of data were observation, interview, and documentary. The technique of authorized data was the use of source triangulation and the techniques of analyzing data using Barthes cultural semiotic. The conclusion of the dance movement in cultural semiotics indicate that Adaninggar-Kelaswara dance movement relating to the way of live and Javanese woman’s personality values. This finding is hoped to become the referential for the further research on Adaninggar-Kelaswara dance with other methods in order to explore the cultural values of Java, especially concerning to women representation. © 2018 Universitas Negeri Semarang Alamat korespondensi: p-ISSN 2252-6900 Jln. Raya Kudus-Pati Km. 10 No.34 Jekulo Kudus, Kudus, Jawa Tengah, Indonesia e-ISSN 2502-4531 E-mail: [email protected] 43 Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 INTRODUCTION ruruh, rereh (women should train tenderness, emotional stability, shade and calm attitude Javanese women in the past only became facing all problems), wanita kedah tajem, jinem, sexual objects or in the context of Javanese premanem (women should be steady and culture referred to as kanca wingking. Women concentrated in their presence in the community only used as a means of succession of offspring, with the intention of firm, steady, yet swiftly should always stay at home take care of the overcome everything), wanita kedah wingit, household and nurture and educate the children lantip, lepas ing panggraita (women must be as the nature of women who have been married. smart, more diligent, and respond quickly to the Along with the development of the era, today's vibrations of the surrounding environment) and Javanese women can fill two roles, namely the wanita kedah gemi, nastiti, surti, ngati-ati role in the household as a mother and wife and (women should be clever to save money, not the role of outdoors join to earn a living. consumptive excessive, cautious in storing Iswidayati (2016) revealed that the husband's income, and clever budget). interpretation of “wanita” state from “wani” Among the ancient manuscripts that write (brave) and “ditata” (organized), in the order the teachings of character for the Javanese hand a women that is organized bravely. woman is the Serat Candrarini which has special Women in Javanese society are identified with features than other ancient manuscripts. It’s wadon, estri, wanita, and putri that have create by R. Ng. Ranggawarsita on the orders of different meaning and philosophy. Wadon is Paku Buwana IX. Serat Candrarini provide derived from wadu (Kawi language) which has piwulang or advice to women who have a the literal meaning of servants or subjects, husband who shows how the ways or attitudes interpreted a woman must devote sincerely to and behavior of women to stay awake the the husband. Estri is derived from the word sustainability of household life despite being estren (Kawi language) which has a literal combined (Abimanyu, 2014). In line with the meaning to encourage or support, interpreted by teachings of Serat Candrarini, Hariwijaya in a married woman must be able to give Roqib (2007) suggests that women should encouragement or support to the positive ideals always succumb and do good as when of the husband (Achmad, 2015: 14). combined. Bekti marang tiyang kakung, is a manner Serat Candrarini born in the polygamy in the relationship between husband and wife. period become a natural thing in the Surakarta Named bekti if the wife can do his duty in Hadiningrat Sunanate, where many men from serving and help prepare the needs of the officials to ordinary people run a polygamous husband. A wife is said to be filial if she obeys life. The core of teaching in Serat Candrarini is all advice, hints and even restrictions from her the woman must be patient, faithful, husband. Wife’s bekti to husband is done for harmonious inter-honey and devoted to husband households running well, harmonious, and in-laws. Wife combined should not say prosperous, safe and serene. Bekti marang tiyang much, sweet-faced, spoken word smooth, never kakung is a form of wife as sigaraning nyawa issued a rant and forgive. Doctrine in Serat (soul mate) of husband or often called garwa in Candrarini is a reference in representing women Javanese language. in the form of presentation of Adaninggar- Ki Ageng Suryomentaram in Kelaswara dance. Sastroatmodjo (2006) teaches that women Adaninggar-Kelaswara dance is one of the should meet the criteria of five pancandan to get classical dances that get influence from ethnic the ultimate perfection, they are wanita kedah Chinese. Danced in pairs by two female dancers. bekti, semanggem miwah sumungkem (women Adaninggar – Kelaswara dance is a wireng must worship, obey and prostrate to the pethilan dance taken from Serat Menak five homeland and nation), wanita kedah ririh, episodes that tells about the Chinese Princess. 44 Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 Adaninggar-Kelaswara dance was created by Kelaswara, and the blood that comes out of his Surakarta artist named Agus Tasman in 1971. body smells nice. The Background creation of Adaninggar- Direktori Seni Pertunjukan Tradisional Kelaswara dance is a dance of Sri Sultan (1999) explains that the performing arts are Hamengkubuwono IX orders as a birthday performed in the palace strongly aesthetic, using present for one of Sri Sultan's daughters. motion that has a symbolic meaning and is Iswidayati (2002) express the concept of sacred. The duel in Adaninggar-Kelaswara connotative interpretation meaning is the dance becomes a symbol of gender refraction. meaning is the meaning on the second level as a The meaning captured in the Adaninggar- message called myth. Interpretation of the Kelaswara dance is negative, namely men philosophical meaning of classical dance scramble. Men scramble is taboo for women. movements can be used as a mirror of human Women should be the subject of the struggle of life in the community. Paramityaningrum et al. men and not vice versa. (2015) reveals dance techniques as ways of War fighting over men by two royal performing proper dance moves to achieve princes, if it refers to in an educational context desired shapes and styles, including proper has connotative meaning less well or posture, proper moving directions for each limb, inappropriate to be done by women. proper rhythm in motion series; and the last is Endraswara (2010) explain that Javanese the right motion or sense of motion that marks women in Wulang Putri script, is expected to the whole dance. have decency, if do not want her dignity The uniqueness of Adaninggar-Kelaswara lowered. dance lies in terms of motion and appearance. Darmasti (2013) has conducted previous The basic motive motions of the hands research on Adaninggar-Kelaswara dance. The performed on Javanese dance are ngrayung and scope of research conducted Darmasti the ngithing which are performed alternately, both ethical and aesthetic meaning of Adaninggar- right hand and left hand. Adaninggar-Kelaswara Kelaswara Dance. The content of aesthetic value dance has a characteristic where the hand of dance Adaninggar-Kelaswara incarnate in motion performed by both dancers imitate the cultivating motion, makeup, and fashion and wayang golek. The dominance motive motion dance music. The content of ethical dance ngrayung on the hands of dancers while dancing values of Adaninggar-Kelaswara is contained in to make dancers move like a golek (doll). the prompting of characters of characters, The motion in Adaninggar-Kelaswara namely the protagonist played by Kelaswara, the dance is different from other princess classic antagonist played by Adaninggar and the dance, namely with the character of the Chinese tritagonist character played by Wong Agung Princess. The Chinese Princess's movement is (Amir Ambyah). more agile and dynamic rater than Javanese Representation as a social process Princess movement which calmly flowing and associated with the pattern of life and culture of firmly. The dressing of Adaninggar's character a particular society, allows the occurrence of a combines elements of ethnic Chinese and change in the concept of ideology in a concrete Javanese with makeup of paes ageng like Solo form. Representation is a description of daughter’s bride. something that is contained in the life depicted Adaninggar-Kelaswara
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