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.

 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]

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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.

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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 dance tells about through the media performances. In watching a duel between a Chinese princess named work of dance is not seen from his form alone Adaninggar with a Javanese princess named but also reveal the message or meaning of what Classwara fighting over a man named Amir is behind the dance performances. Ideology as a Ambyah, husband of Kelaswara. Narrated doctrine to find the identity of the achievement Adaninggar was die shot an arrow by of the goal implied in a dish of dance, then the excavation of the meaning of Adaninggar-

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Kelaswara dance movement needed to find the Bedaya Suryasumirat as Symbolic Expression of ideology of women as a myth. Myth according Javanese Women shows that the form of dance to Roland Barthes (2004: 151; 2007: 295) is a movement Bedaya Suryasumirat interpreted communication system that contains messages. with Javanese women should behave semeleh, The core theory of Barthes's semiology andap asor, lembah manah, and nyawiji Gusti (2012: 13) involves two levels of significance. murbeng dumadi. Expressions reflected in The first level is denotation, the relation between Javanese women include mituhu, merak ati, the signifier and the marker in a sign, and the pangreksa, tatas, titis and mrantasi. sign with its reference in external reality which Starting on the basis of the above thinking refers to the meaning of the real sign. The will be reviewed "Representation of Women in second level is a form of connotation, myth, and Adaninggar-Kelaswara Dance" to know the symbol. The myth contained in the movement form of presentation, representation of women expected to be a guide to behave especially for as well pragmatic message in Adaninggar- women. Kelaswara dance against women. Research on Javanese women through the art of motion performance, both in dance METHODS performances and puppet show people, ever done by some researchers. Lestari et al. (2005) in This research uses qualitative research an article entitled Woman Image in Tayub type with interdisciplinary approach. Performing Arts analyzed the image of the Ethnocoreologi approach to study the form of woman expressed in the Tayub art performance, presentation of dance Adaninggar-Kelaswara, as well as the effort to elevate the image position including dance moves, dance accompaniment, of Tayub dancers. The image of a dancer or makeup and dance dress. Semiotic approach to joged in a Tayub show is a very strong reveal meaning and pragmatic message in attraction, because for the public as a spectator Adaninggar-Kelaswara Dance related to and simultaneously as a penayub and symbols and meaning in motion of Adaninggar- pengguyub, considers a joged as the object of Kelaswara Dance. The historical approach is entertainer and satisfaction as well as relieving used to reveal the background of the creation of fatigue after a day's work. Adaninggar-Kelaswara Dance and the life of Srikandhi’s Image in Mahabharata's Story Javanese women during the creation of the writing by Widyastuti (2007) explains that Adaninggar-Kelaswara Dance. Objects that Srikandhi in Javanese culture became a culture became the focus of this research signs and icon that imaged the feminine values that were symbols kerakteristik Javanese women in the acted through wayang performance. The movement of Adaninggar-Kelaswara dance. Not feminine values contained include tatas-titis- all scene shots of motion exist in Adaninggar- tetes; gemi-nastiti-ngati-ati; and tatag-teteg- Kelaswara dance is researched, but on certain tanggon. parts such as certain shots on maju beksan, Setyowati (2013) entitled Representation beksan and mundur beksan which are of Srikandi Feminism in Puppet Show of Lakos considered prominent in the character of Bisma Gugur reveals that the values of Srikandi Javanese women who have signs in the context feminism are contradictory. His feminism is of Javanese culture, attitude of sitting, walking, used as a strategy to defeat the opponent, a way of looking, way of tepa salira: 1) walking picture of a social transformation to create motion consisting of kapang-kapang, mendhak, equality between women and men so that enjer, kengser, lumaksana, ngancap, leyek laras women get their rights in the context of state sawit and srisig; 2) sitting motion includes defense. jengkeng, nikelwarti; 3) hand gestures such as The next kind of research is written by menthang, ukel karna, sembah, ridong sampur, Putri (2015) entitled Relevance Motion Dance of sikutan, trek and sindhet. With regard to the

Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 research focus, the background of the research researcher uses a validity check of data using can be determined in Surakarta, performed at source triangulation that is by comparing the Adaninggar-Kelaswara dance choreographer's results of observations with interview results. house, Agus Tasman, Karangasem RT. 02 RW. Furthermore, after the data collection process 02 Kleco Surakarta. The study used primary and then perform an analysis of the form of secondary data sources. Primary data sources presentation of dance. By viewing and analyzing are interview notes with choreographer of the movements of dance will get the cultural Adaninggar-Kelaswara dance, Agus Tasman, values in representing the women contained in Adaninggar-Kelaswara Surakarta genre dancer, Adaninggar-Kelaswara dance. The analysis used and observation through video test of Barthes cultural semiotics analysis with scheme Adaninggar-Kelaswara dance in Surakarta- as table 1 follows. genre by art student dance of ISI Surakarta. Secondary data sources of researchers get Table 1. Cultural Semiotic Analysis through literature studies in the form of books, Meaning Bart scientific journals that support research, and Sce Sh hes Releva Denota Konota photo documentation of motion variations in ne ot Myt nce tion tion Adaninggar-Kelaswara dance. h The data collection techniques are done by observation techniques, interviews, document studies and literacy. According to Rohidi (2011: 182) the method of observation used to observe something, a person, an environment or situation is sharply detailed and recorded RESULT AND DISCUSSION accurately in several ways. Observations made are detailed observations of motion, motion Dance Performance of Adaninggar-Kelaswara symbols, the meaning of motion as well as The form of presentation of traditional messages (myths) contained in the Adaninggar- classical dance works, as revealed by Hartono Kelaswara dance. (2016), is marked by the standardization of raw The second step document study is carried must be done both in the form of motion out activities of collecting and reviewing techniques, costumes, and motion count documents such as the results of studies, reports, associated with karawitan. The following archives on Adaninggar-Kelaswara dance, as discussion about the supporting aspects in well as other relevant data in the form of Adaninggar-Kelaswara dance include: dance Adaninggar-Kelaswara dance videos and role, dance movement, dance music, make up snapshots that are considered to have meaning and costume. to be analyzed and interpreted. Documentation is a method used to search data in the form of Role Aspect photography, video, audio recording, and In the Adaninggar-Kelaswara dance there burning or hand drawing. These recording are two main characters, namely Adaninggar techniques are used in art research because they and Kelaswara. Adaninggar is Chinese princess are viewed more precisely, quickly, accurately, figure which is lanyap, swarthy and overbearing and realistically with respect to observed so that his portrayal through wood, livelier, and phenomena, when compared with writing them more assertive motion. Unlike Adaninggar, down (Rohidi, 2011: 194). Kelaswara who is a princess Java has a more The interview technique used in this study anteng, soft, but also firm. Adaninggar plays a is an in-depth interview with the intention to role as an antagonist, while Kelaswara plays a obtain valid and reliable information. To ensure role as a protagonist in Adaninggar – Kelaswara the research remains accurate and valid the dance.

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Dance Movement Aspect daughter’s bride, this hairdo uses a variety of Adaninggar-Kelaswara dance duration is accessories such as bangun tulak, tiba dada, thirty minute with classy class dramatic flow cunduk menthul, sirkam, centhung and penetep. flowing towards the climax. Adaninggar- Kelaswara’s make up using corrective Kelaswara dance has the same structure with make up. The dancers' hair is tied neatly back to other classical dance or dance palace in general, resemble a ponytail then rolled up and inserted which consists of three parts, namely maju into kantong gelung. The accessories used beksan, beksan, and mundur beksan. The include garuda mungkur, gunungan, and sirkam. difference lies in motif hand movements Differences in the corrective make up of the two performed by dancers imitating motion a golek figures lies in the depiction of character figures, (wooden doll). Part beksan of Adaninggar- Adaninggar figures using corrective make up Kelaswara dance called perang tanding, the war putri mbranyak while Kelaswara figures using between Adaninggar with Kelaswara which corrective make up putri luruh that looked in the characterized by movement attacked each other use of lipstick color, where the lipstick used by using weapons interchangeably property. Adaninggar is more lit than the lipstick used by the Kelaswara. Music Aspect Similar to the make up, Adaninggar Adaninggar-Kelaswara dance is costume is also created by Hardjonagoro (Go accompanied by a set of Java gamelan with a Tik Swan). The idea of cultivating Adaninggar slendro pitch. The accompaniment of fashion is a blend of ethnic Chinese and Adaninggar-Kelaswara dance is arranged in the Javanese sides. This is evidenced by the form of following order:Ada - Ada Laras Slendro Pathet clothing and fabric selection used by Adaninggar Sanga, Srepeg Laras Slendro Pathet Sanga, characters consisting of kebaya janggan, kalung Ladrang Gandasuli Laras Slendro Pathet Sanga, kace, jarik samparan, sampur gombyok and Lancaran Kedhu Laras Slendro Pathet Sanga, accessories consisting of subang, bracelet, slepe, Palaran Gambuh Laras Slendro Pathet Sanga, thothok and cundrik as a property. Sampak Laras Slendro Pathet Sanga, Ayak – Kelaswara costume uses the Javanese Ayak Laras Slendro Pathet Sanga and the last princess clothes called pinjungan consisting of Pathetan Jugag Laras Slendro Pathet Sanga. mekak, jarikan samparan, sampur gombyok and accessories consisting of sumping, bracelet, Make up and Costume Aspect slepe, thothok, ilat-ilatan, kelat bahu, cundrik Adaninggar's make up character in and gendewa as a property. Adaninggar-Kelaswara dance was created by Hardjonagoro (Go Tik Swan) in 1971. Woman Representation in Adaninggar- Hardjonagoro was a Chinese nobleman who Kelaswara Dance According to Barthes's became abdi dalem of Kasunanan Hadiningrat Semiotics Palace. The following discussion of the make up The female representation in Adaninggar- and hairdo which used by Adaninggar and Kelaswara dance is analyzed based on the Kelaswara. motion of each character as follows. Adaninggar characters in Adaninggar- Representation of women in the movement of Kelaswara dance use a corrective make up and Adaninggar figure is in scene 1 maju beksan shot use paes style like Solo daughter’s bride. The use jengkeng showing right hand motion seleh asta, of paes style like Solo daughter’s bride as a make right legs jeblos, left knee bent, left hand up artist antagonist in the Adaninggar- ngrayung, and view straight ahead. Narrated as Kelaswara dance assumed as Adaninggar desire a woman sitting on the feet as a reflection of the to be married as Amir Ambyah wife and rise to attitude of rilå, nrimå and patience that must be the wedding into the bride. Adaninggar hairdo owned by Javanese women. The myth appilied using gelung tekuk. As well as the Solo attitude and behavior rila, nrima and patience

Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 that must be owned by Javanese woman. Seen motion, the right hand menthang ngithing from the cultural semiotics of Javanese culture carrying the sampur, the left hand carrying the in serat Candrarini teaches that a woman must cundrik trap cethik palm of the mlumah hand, behave lègawa anrus ing batin or give with the tolehan straight forward. The fourth shot sincerity of inwardness. Relevance with shows the right foot behind the bottom as a Javanese idioms Nrima ing pandum and pedestal, left foot on tiptoe, tolehan to the right. kanthong bolong. Narrated as a slowly moving motion with Scene 2 maju beksan shot sembahan show emphasis in every step while turning to the right motion of both palms of each hand in front of and to the left carrying a weapon as a reflection nose, continued pacak gulu, then left hand down of Javanese woman's alert and alert attitude in trap cethik right hand ngithing on the right end facing life problems. As the mythology applied with pacak gulu. Narrated as the motion of both and teach the readiness and alertness of hands towards the front of the nose with palms Javanese women in facing the problems of life in sticking together as a reflection of the character society. Judging from the cultural semiotics of of the Javanese women who manembah. The Javanese culture in serat candrarini teaches that myth applied the attitude and behavior women should maintain their household under manembah on Javanese women. Seen from the any circumstances. Relevance with the Javanese cultural semiotics of Javanese culture in Serat community expression mulat salira tansah éling Candrarini teaches that Javanese women must kalawan waspådå. have the character of manembah. Relevance Scene 5 beksan shot ngancap show right with the expression of Javanese society foot rests on the base of the right toe so the heel manunggaling kawula Gusti. is lifted, left foot napak, nylekenthing toes. Scene 3 advanced beksan shot srisig Narrated as a motion One-foot rests on the base display first shot in visualization show left hand of the toe as a reflection of the character of a mentang ngithing clamping the sampur, ngithing Javanese woman who andhapasor, aja dumeh right hand clamping the sampur beside left ear, and tepa salira. As the mythology it plants and second toe foot with position of front right leg. teach andhapasor attitude, aja dumeh and tepa The second shot shows both toes walking fast salira in Javanese women. Seen from the forward, forwards. Narrated as a motion cultural semiotics of Javanese culture in Serat running quickly with small steps as a reflection Candrarini is taught that Javanese women of the character of the Javanese woman pethel should be humble (andhapasor). Relevance with and wekel in work. As the mythology embed the Javanese community expression aja dumeh. and teach the attitude of pethel and wekel in Scene 6 beksan shot sikutan shows both working to Javanese women. Viewed from the legs parallel, weight on left leg so that body cultural semiotics of Javanese culture in Serat doyong left, right hand menthang holding Candrarini teach that the main role of Javanese cundrik, left hand ngrayung miwir sampur trap women is to provide all the needs of the cethik collide the siku, tolehan left. Shot both husband. Relevance with the Javanese feet right side to side, enjer right, tolehan to community express Sepi ing ing pamrih, rame right, hand position fixed. Narrated as a motion ing gawe. to pit the elbow of the hand as a reflection of the Scene 4 forward beksan shot lumaksana attitude prasajå, samadyå and sembådå Javanese show first shot showing right foot forward women. As mythology the attitude and behavior motion, right hand menthang ngithing bring the prasajå, samadyå and sembådå to Javanese sampur, left hand carry cundrik trap cethik palm women. Viewed from the cultural semiotics of hand mlumah, tolehan straight forward. The Javanese culture in Serat Candrarini teach that second shot shows the left leg behind the bottom women have a simple and honest nature of as a pedestal, right foot on tiptoe, tolehan to the inwardness. Relevance with the expression of left. The third shot shows the left-footed forward

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Java community ajining kawula ana ing busono, ridong sampur is bent forward, right hand ajining dhiri dumunung ing lathi. menthang miwir sampur, tolehan to the right. Scene 7 beksan shot ukel karna the first The second shot shows the left foot forward, the part shows the right-hand motion ukel on the left hand ridong sampur is bent forward, right right ear, head noleh right back forward then hand ngithing miwir sampur in front of the nengkleng left, left hand ngrayung trap cethik. navel, tolehan to the left. Narrated as hand Napak right foot as a support weight, left leg gestures linking the sampur to the elbow as a gejug. The second shot shows the body of the reflection of the forgiving Javanese female ogek lambung twice, then the left foot crossed, character. As mythologi applying and teaching the body leaning forward right-handed straight forgiveness to Javanese women. Seen from the ahead ngithing while pacak gulu, ngembat, the cultural semiotics of Javanese culture in Serat feet mendhak, left leyek the right hand Candrarini teach that Javanese women must menthang, tolehan to left. Narrated as a hand have forgiveness (amot mêngku aksama). motion doing ukel near the ear as a reflection of Relevance with the expression of Javanese alus behavior of Javanese women. As community memayu hayuning bawana. mythology the inculcate an attitude that reflects Scene 2 beksan shot trek the first part the subtlety as the nature of Javanese women. shows both legs mendhak with left foot position Viewed from the cultural semiotics of Javanese gejug, right foot napak as support weight. The culture, Serat Candrarini teaches that Javanese two dancers faced each other, left hand women should behave smoothly (alus). ngrayung trap cethik while the right hand stuck Relevance with the phrase Javanese people each other cundrik over the head crossed. The wong Java nggone pseudo, sinamun ing second shot visualizes the left-footed forward samudana, sesadone ingadu manis. motion, the jeblos skewer, turns face-to-face, the Scene 8 beksan shot first part of leyek right hand holding the cundric next to the left shows the left food is tanjak, the stand on the left ear followed by srisig. Narrated as combine the leg, the body ogek lambung left body leaning to motion between cundrik one another as a the left, left hand ngrayung trap cethik, right reflection of the sense of belonging to the hand ngithing the elbow is bending, tolehan to Javanese woman. As mythology the attitude and the left. The second shot shows the left tanjak behavior of family ownership to women. Seen foot, the stand on the right foot, the body ogek from the cultural semiotics of Javanese culture lambung right body leaning to the right, left in Serat Candrarini teaches that women should hand ngrayung trap cethik, right hand menthang maintain their self-esteem and family. Relevance ngithing, tolehan to the right. Narrated as a with Javanese community expression rumangsa leaning motion to the right or left side as a melu handarbeni. reflection of the flexible and slow attitude that Scene 3 beksan shot nusuk first part shows must be owned by Javanese women. As the the left foot napak as pedestal, right leg gejug, mythology the attitude and flexible and slow left hand ngrayung trap cethik, right hand behavior that must be owned by Javanese holding cundrik and jabbing toward opponent, woman. Seen from the cultural semiotics of the tolehan to left. The second shot is visualized on Javanese culture Serat Candrarini teaches that a the right foot of the foot as a pedestal, left foot Javanese woman should try to be fun in gejug, left hand ngrayung trap cethik, right hand association with acts that show friendship and holding cundrik trap cethik, right object, tolehan friendliness. Relevance with the Javanese public to left. Narrated as a movement of weapons to expression manjing ajur ajer. the opponent as a reflection of the character of While the representation of women in the skilled and intelligent Javanese women. As motion of figures Classwara found in scene 1 mythology embed and teach skills and maju beksan shot lumaksana ridong sampur first cleverness of married life to Javanese women. part shows the right foot forward, the left hand Viewed from the cultural semiotics of Javanese

Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 culture in Serat Candrarini teaches women as a left. Narrated as a motion to shake the cloth in wife must have the skill and intelligence to addition to the body as a reflection of the manage the fulfillment of household needs. attitude of loyalty that must be owned by Relevance with Javanese expressions gemi, Javanese women in marriage. The myth is nastiti lan ngati-ati. instilling a loyal attitude that must be owned by Scene 4 beksan shot mendhak shows both Javanese women in marriage. Viewed from the feet parallel to meet on the heel to form the cultural semiotics of Javanese culture in Serat angle of 60 º, knees bent (lowered), open thighs, Candrarini teachings that women must show and upright body position. Narrated as a devotion of devotion by never denying all the humbling motion to the earth as a reflection of will of the husband. Relevance with the the Javanese female character that menep and expression of Java society kaya mimi lan sumeleh. As mythology the attitude and mintuna. behavior menep and sumeleh to Javanese Scene 7 beksan shot seblak samparan in women. Viewed from the cultural semiotics of the visualization shows the right gejug motion Javanese culture in Serat Candrarini teachings while wagging up the kain jarik, left foot napak. that ideal Javanese women must have the nature Narrated as a motion to shake the cloth with the of menep and sumeleh. Relevance with the foot as a reflection of akhlakul karimah attitude expression of Java society nrima ing pandum. that must be owned by Javanese women in Scene 5 beksan shot sindhet the first part marriage. The myth is instilling akhlakul in the visualization shows the right hoyog karimah attitude that must be owned by motion, right hand menthang tolehan to the Javanese women in marriage. Viewed from the right, right left foot forward, right hand trap cultural semiotics of Javanese culture in Serat puser tolehan to left, right foot forward, left foot Candrarini teach that the ideal female figure is a tiptoe body mendohak sebump sampur back to beautiful woman beautiful. Relevance with the jengkeng , left hand trap knee, right hand nglawe Javanese people's idioms is ngudiya laku utama. right swivel body right noleh, right hand forward Scene 8 beksan shot ngencap cundrik in in left left foot forward. Narrated as a liaison in visualization shows the motion of the right hand the female dance as a reflection of the attitude of holding the cundric is pulled back, left hand ingenuity that Javanese women have in facing ngrayung. Narrated as the motion of rubbing life problems. Dimitoskan instill smart mindset cundrik on the finger as a reflection of attitudes that must be owned by Javanese women in like the knowledge that must be owned by a facing life problems. The second shot shows the Javanese woman. Dimitoskan instill a motion of the hand taking the sampur forward, passionate attitude to learn that must be owned the right leg forward the hand of the dial, right by a Javanese woman. Viewed from the cultural left left forward right object right hand ukel dadi semiotics of Javanese culture in Serat Candrarini left hand seblak back then left hand ukel teachings that the ideal female figure that has mlumah trap puser, right right foot right, right intelligence like Wara Srikandhi who likes to hand right object a sampur, left leg debeg gejug, read the book. Relevance with the expression of left hand ukel dadi, left left object left. Viewed Javanese society golek banyu apikulan warih. from the cultural semiotics of Javanese culture in Candrarini Fiber view the existence of women Pragmatic Value in Tari Adaninggar- in the family environment began to be viewed as Kelaswara gesture According to Gnomik a potential figure. Relevance with the expression Barthes Code of Java society tatas titis. Barthes's gnomic code (cultural code) is Scene 6 beksan shot seblak sampur in the used to analyze pragmatic messages in visualization shows the right gejug motion, left Adaninggar-Kelaswara Dance based on the hand straight wags the trap cethik sampur, right cultural background of researchers, namely foot napak, right hand trap puser tolehan to the Javanese culture and Islamic culture. It has been

Luciana Intan Prihatini, Sri Iswidayati, Hartono / Catharsis 7 (1) (2018) : 43-53 described above, that In the Adaninggar- maintaining self-respect is a character that Kelaswara dance known that Adaninggar as a women must possess in a monogamous character antagonist and Kelaswara as a household, so that the harmony of the protagonist. Adaninggar tried to seize husband household manifests. Maintaining self-respect is Kelaswara visualized through perang tanding also taught in Islam where the purpose of that ended with the death of Adaninggar. Both marriage is the calmness in the husband and characters each have a positive character that wife, and to achieve that calm the women have a can be followed by women in marriage right equal to their obligations in a makruf way. described as follows. A wife is obliged to maintain her honor by Adaninggar is a female warrior from maintaining the harmony of household like that China who has a high fighting power and of Kelaswara. ambitious. In order to realize his dream to The power, supernatural and oblivion of diperistri by Amir Ambyah, husband Kelaswara, Adaninggar can be defeated by the Orangwara Adaninggar do everything including intend to with his love for his husband. Sura dira kill Kelaswara. Adaninggar spirit that never give jayaningrat, lebur dening pangastuti is the right up should be appreciated as a character that expression for Kelaswara. Sura dira jayaningrat, must be owned by every woman to realize his lebur pangastuti dening is a slogan to wipe out ideals. On the other hand, the spirit of evil, member-antas pemacau country, and Adaninggar to realize his dream by intending to various kinds of ugliness (disturbance) in kill Kelaswara is a character to be avoided. The society. All forms of evil can be overcome by spirit of getting good for himself is not good. righteousness and virtue, such virtues are Anything that is excessive will not give good through love of love. The love and the sense of results, such as the Javanese people's expression belonging to the husband become the main aja kuminter mundak keblinger, aja cidra weapon of Wina to defeat Adaninggar. mundak ciloko that can be interpreted should Judging from the dexterity of the two not feel the smartest so as not to get lost, do not characters movement during the perang cheat so as not to harm. Adaninggar feel has a kembang, both figures share the same strong science of defense that will not be invincible so principles and a firm soul. They do not know he felt confident to beat Kelaswara. Adaninggar despair before their life purpose is realized. also cheated by attacking Kelaswara while Diobong ora kobong, disiram ora teles (burned sleeping with her husband. Because it feels great not burned, watered not wet) symbolically and has done the trick finally Adaninggar die illustrates the two figures who have a strong terpanah by Kelaswara. principle and a firm soul so it is not easily In the teachings of Islam, the excessive influenced or influenced by anyone. Women in Adaninggar spirit is called ghuluw (overstep or marriage must have a strong principle and a firm exaggeration) attitude. Ghuluw's attitude is soul so as to navigate the ark of a harmonious disgraceful and prohibited by the Islamic household always. Based on the above Shari'ah because it will not bring good to the description it can be concluded pragmatic perpetrators and will not produce good results in message in Adaninggar-Kelaswara dance is all affairs. Adaninggar too follow the lust so Javanese women's skill to solve household caught in his own ambition that resulted in his problems without disturbing the situation, is like death. the Javanese proverbs entuk iwak ora buthek Kelaswara is a Javanese princess who is banyune. soft, calm but has a high fighting power. Similar to Adaninggar, Kelaswara also has a high defense science. In order to maintain his position as a wife, Kelaswara took up arms against Adaninggar. The sense of belonging and

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