HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 25-33 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3693

THE ANALYSIS OF TOPENG SINOK DANCE IN BREBES

Dinar Ayu Sintho Rukmi* Indriyanto**

A Dancer and a Teacher in Brebes Regency, *E-mail: [email protected] Dance Department of State University, Indonesia **E-mail: [email protected]

Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015

Abstract

Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and style. The dance is basically aiming at showing that women from the border areas of Central and are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data col- lection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) iden- tifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.

Keywords: Dance style; Choreography; Topeng Sinok

How to Cite: Rukmi, D. A. S., & Indriyanto. (2015). The Analysis of Topeng Sinok Dance in Brebes Regency. Harmonia: Journal Of Arts Research And Education, 15(1), 25-33. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3693

INTRODUCTION Topeng Sinok dance is one of a traditio- nal dance from Brebes regency, Indone- Each dance has its own beauty which sia. This dance is created by Suparyanto, becomes the characteristic of the dances it- S. Kar, an art council from Brebes regency. self. It makes them different from one to As other dances, this dance also has mea- another. The typical characteristic of the nings and messages in each performance. dance itself is usually found in its choreo- The term ‘Sinok’ from Topeng Sinok dance graphy, which consists of both visual and is actually the term used by local elder to auditive aspects (Adshead, 1988, p. 24). call for girls from their regency. This dance The visual aspect comprises: movements, tells about women to live in Brebes regen- make up, the dancers, as well as the dan- cy, who are generally hard-working. With ce properties. Whereas the auditive aspect their beauty, flexibility, and elegance, they encompasses the music accompaniment take care of their nature by working as far- as well as the sound system (Murgiyanto, mers. This dance is an art combination bet- 2002, p. 9). Those choreography aspects ween Cirebon, Banyumas, and Surakarta. can also be found in Topeng Sinok dance. In other words, this dance wants to show

25 26 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 25-33 to people that women in Brebes regency sical), initiative, and individual creativity are not spoiled, whiny, and lazy. Working (music players), group (art society or cul- as farmers, getting burned because of the tural religion) which their existences are sunshine do not limit them to be active, acknowledged or potentially influencing vivacious, and jovial in manners. Even individuals, group (society) or a region though the sunshine is burning their skin, (culture, music, art), whether it applies in- their spirit to work is never burned since tentionally or not, nor is happening on the they have to help the economy of their fa- results of the various ways or assistance of mily without forgetting their women natu- various means of media. Sedyawati (1980, re. The creation of this dance is completely p. 5) explains that the style is the nature of the reflection of women in Brebes regency the dance. It closely relates to the way to who were often seen by the dance creator, move on certain movements. Dance mo- Suparyanto. vement has three basic aspects, there are: Topeng Sinok dance is a group dan- power, space, and time. ce which is showing the cheerfulness of The characteristics of certain dance a group of women. Therefore, this dance style are highly influenced not only by the cannot be danced by one dancer. The form geographical aspect of where the dance is of this dance refers to an actual daily acti- created, but also by the cultural system of vities which is often called as representa- the society, the daily activity pattern, as tional. Topeng Sinok dance is female dan- well as the societal value of culture. A dan- ce which is clearly illustrated in the term ce is based on a certain dance movement ‘sinok’ itself. Further, topeng Sinok dance technique and imbued by an inner attitude has its own characteristic which is well- which is called dance technique. The dance known as Topeng Sinok dance style. Besi- technique can be elaborated into several as- des the dance style, the audiences are also pects. The dance technique is a way of exe- attracted with the make up and costumes cuting dance movements precisely, so that worn by the dancers. Both make up and the desired shape and style can be achie- costumes are attractive in colours, design, ved. As for the aspects comprise, as fol- and the wearing technique. The costumes lows: proper posture, neck, head, arm, and and colour selection have to be appropriate leg. In another word, it means the proper with the theme of the dance which will be rhythm in doing a series of movement. The performed. It purposes to strengthen and next is to create qualities of the movements clarify the role of the dancers. The music or the proper feel which is right to the cer- is also an integral part of the dance since tain parts of the dance. According to Jazuli dance and the music are harmonious com- (1994, p. 32), the difference of dance is not bination. Besides having a significant role in the series of dance without any meaning as the musical accompaniment, music also attached to it, but it presents as a totality. has a role to emphasize the atmosphere of It is the manifestation of a series of the sty- the dance. In addition to costumes or mu- le symbol of space and time. Therefore, sic is the dance properties. This is needed dance is supposed to be seen as its whole to picturize the meaning behind the dan- appearance. From the choreographic point ce. The underlined point in Topeng Sinok of view, there are two kinds of dance: sing- dance is the mask used in the performan- le choreography with a single performer ce of the dance. Not less important in this with the free concept in deciding the steps dance is the performance technique of the and group choreography which is perfor- dance which has coloured the performan- med by more than one dancer. Usually in ce. a group choreography, dancers have to be According to Supanggah (cited in the main subject of the dance. The type of Prihatini, 2007, p. 42-43), style is a distincti- group choreography is divided into three. veness or specificity which is characterized The first is a couple dance which is perfor- by physical characteristics, aesthetics (mu- med by a couple of male dancers, female Dinar Ayu Sintho Rukmi & Indriyanto, The Analysis of Topeng Sinok Dance in Brebes ... 27 dancers, or male and female dancers. In choreography element. The second is the this type of dance, dancers are expected aesthetical aspect which is seen from its to interrelated and respond to one anot- choreography aspect. Thus, choreography her. The second is a group dance which approach to aesthetical structures in this is a dance performed by more than three study means to analyze the characteristics dancers. The last one is mass dance, this of beauty of Topeng Sinok dance through type of dance is performed by the massive its choreography structures; comprises number of dancers.Here, the Topeng Sinok movement, music accompaniment, costu- dance will be studied through the main me, staging technique, dancer, and proper- aspects of movement and the supported ty. Data collecting technique which was aspects, such as: the musical accompani- conducted by researcher were observation, ment, make up and costumes, properties, interview, and documentation. Moreover, as well as staging technique. The dance data were validated by implementing the style of the body which has a role as the source triangulation technique. The data instruments, comprises: arms, legs, body, analysis technique was adopting the the- and head (Hutchinson, 1997, p. 500; Suhar- ory from Adshead (1988, p. 25) which was to, 1990, p. 15). The main aspect of move- previously cited by Murgiyanto (2002, p. ment encompasses power, space, and time 9-10). The theory is divided the dance ana- (Hadi, 2003, p. 50; Hawkin, 1988, p. 5). The lysis into four stages: power aspect includes intensity, accent or 1. Identifying and describing components power of movement, and movement qua- 2. Understanding relationship between lity. Space aspect contains volume, line, components direction, and level. Time aspect includes 3. Interpreting the dance based on the con- rhythm, tempo, and duration (Murgiyan- cept and sociocultural background, per- to, 1983, p. 17). formance concept, style and genre, the- Previous study about Topeng Sinok me, and specific interpretation concept dance was conducted by Kalihna (2015) 4. Evaluating. entitled “The New Creation of Brebes To- peng Sinok Dance”. In this study, it was RESULTS AND DISCUSSION explained that Topeng Sinok dance picturi- zed beautiful, elegant, and skilful women. Review of Topeng Sinok Dance Style This dance is also projected as one of the The following is an explanation of typical dance of Brebes regency. Yet, the the main aspects of each range of move- claim delivered by Kalihna has not comp- ments in Topeng Sinok dance: leted Therefore, it is expected that this stu- dy can complete the previous study from Entrakan the dance style’s point of view. This movement is done by jumping. In this movement, the dancers are doing METHOD menthang, slanting backwards while miwir sampur which is holding the sampur in the In conducting the study, qualitative very end of the sampur with right hand and method is implemented by using a choreo- the left hand is holding the mask. Sampur graphy approach to aesthetical structures. itself is a cloth used by the dancers. Usual- Based on Brown and Royce (1976, p. 69), the ly it is hung at the dancer’s waist. The way structure is a unit system of relationships of holding the mask is by holding the chin between existing entities. “Structure” re- of the mask. While doing that movements, fers to relationship management between the dancer is walking aside and jumping parts of a whole system. The term aesthetic by using small movement intensity. In dif- choreography itself was initially used by ferent words, in this movement, the left Hersapandi (2007, p.8-10) to analyze the hand is doing mentang to the right side aesthetical aspect of puppets through its with the position miwir sampur while the 28 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 25-33 left hand is folded and holding the mask. the floor. This movement is done in turns Furthermore, the right hand is obliquely between dancers while they are all facing backwards with medium movement vo- backward. By creating the patterns in turn, lume. The dancers are standing obliquely therefore, the audiences will not realize to the left side and the body is facing obli- that the dancers are about to put on the quely to the right while their feet are doing mask. However, when they are releasing left tanjak. During this style, the tempo is the mask, they do it together while facing slow and dynamic, so that the movements backward. keep steady. This movement gives a calm impression. When the dancer is doing left Gambul and Obah Bahu tanjak, the feet of the dancers are moving in The Gambul is head movement, preci- small movement intensity. Therefore, slow sely, it is the movement while the dancers movement will be seen in this entrakan are shooking their head by heading the movement. Accent or pressure which is head and forming number eight in slee- done by dancers while turning their heads ping position. This movement is done in is by moving their head facing to the left 3x8 counts, when it comes to count 1 to 4 and right side. The dancers are facing to there will be only the head which is mo- the oblique side. The line established from ving then in count 5 to 8, it is done with the this movement is diagonal. The dancer’s shoulder movement. Shoulder movement right hand is maintained with considerab- is the movement where the shoulder is ly huge volume. moving up and down following the sound of kendhang. The small movement intensity Jengkeng of this movement is only seen in the head This movement is done during the and shoulder, the small volume movement preparation of putting on and off the mask realizes in the position malangkerik done by to the dancers. Jengkeng is a kind of move- the dancers. Malangkerik is the hand move- ment done while the dancers are in sitting ment when the hand is folded and placed position where the body is resting on the aside and usually done in slow motion. right leg and the left leg is folded. The mo- Impression raised from this movement is vement intensity in during this movement teasing since the dancers are moving their is small movement and small movement shoulders while doing this movement. The volume. Furthermore, medium tempo is intensity of the movement is medium be- employed in this movement. This move- cause it only needs the power to move the ment gives the impression of shy since du- head and shoulder. The leg movement is ring this movement the dancers are facing only by doing left gejug and the dancers are backward with the hand is furling to the not moving but staying at their initial pla- front of the dancers. Small movement in- ce. The accent of pressure of the movement tensity with the leg in closed position here is placed in the shoulder by stomping it gives the delicate impression to the dance. following the musical instrument, which is Accent or pressure of the movement is pla- kendhang. The dancers are facing forward. ced before and after the dancers are doing The direction of movement is emphasized jengkeng, particularly when the dancers are on the shoulder movement and it is usual- turning around the body from the upward ly known as obah bahu. The body position to the backward and vice versa. The move- of the dancers is mendhak while the leg po- ment line created in this movement is one sition is gejug. It is done on the spot using straight line and direction toward straight low level movement. ahead with small movement volume. The position of the hand is folded upward and Lontang Sampur not widening either to the right or left This movement is emphasizing on side. This movement is employing low- the hand movement, kebyok, and pushing level movement since the knee is touching the hand downwards in turn while ended Dinar Ayu Sintho Rukmi & Indriyanto, The Analysis of Topeng Sinok Dance in Brebes ... 29 by seblak sampur without releasing the sam- is turning around. Round line gives the de- pur. Further, these movements implements licate impression towards this movement. parallel position for the leg and mendhak The movement volume employed in this for the body, while the shoulder is moved movemnet is medium. The level itself is to the right and left side in turns. The head high level. is then moved, facing to the right and left. Accent or pressure employed in this mo- Jinjingan vement is by pushing hard the hand to the Jinjingan comes from the word ‘jin- waist when taking the sampur right before jing’ which means lifting. Here, jinjingan doing lontang sampur. The dancers are fa- means lifting the right and left feet alter- cing forward with the head is placed ob- nately according to the counts. This move- liquely facing the hand which is pushed ment is done while the right hand is doing downward. The movement direction of menthang and the left one is ngrayung in the dancers is a straight line. It is clearly front of the stomach. It is conducted alter- seen as the body of the dancers is upright nately. The leg of the dancers in this move- facing forward. Here, the movement volu- ment is stepping aside which is usually cal- me is emphasized in mendhak position of led as enjer then one of the leg is lifted. The the leg movement. The power employed head is moving to the right and left while in the movement is medium, underlining the body is doing shoulder movement. It the hand movement. In the hand move- needs fast intensity since in every move- ment element, it moves diagonally for- ment, the dancer moves their legs, two ward in slow tempo in order to create a counts to the left and other two counts to delicate impression. the right. Medium intensity during enjer is medium since when enjer is done, the slow Jalan Balang Sampur tempo is employed. Medium movement The impression of cheerful and flir- volume is emphasized while stretching tatious can be seen from this type of mo- their arms. There is also the impression vement. The movement demands for high of foppery when the dancers are moving power especially when the dancers throw around their waist while doing enjer. Ac- the sampur and the leg is moving for coup- cent or pressure of the movement is seen le steps (double steps). The movement before the dancers are doing enjer, when volume is medium since the movement both arms are streched while moving the of the hand while throwing the sampur is head facing the right and left side alterna- fast upward oblique. This movement is the tely. At the same time, the palm is facing same as the previous movement, balang upward and the leg is pushed to give the sampur. The difference is on the moving show before turning the body around. movement. While balang sampur is done Another quality is seen when the shoul- on the spot without moving any single ders are pushed quickly while doing jinjin- step, in this movement, the dancers need gan. The line created from this movement to walk to move. The left hand of the dan- is a straight movement with wide volume cer is ngrayung while holding the sampur especially while menthang. This movement and the right hand is doing ngolong sam- has three directions, which are straight pur. This movement is done in with both forward, right and left side with the mo- hands alternately and added with the mo- vement is slightly oblique to the right and vement of seblak sampur without releasing left. The level of this movement itself is the sampur. The movement intensity is medium. high because the dancers need huge power to move from one place into another place. Timbangan Asta The movement intensity while the dancers This kind of movement is having the are throwing the dancers itself is medium. right and left hand in front of the stomach. Moreover, the direction in this movement Then, both hands are stretched to the right 30 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 25-33 and left side then back to the front of the and left side. The movement volume used stomach in ngrayung position, while almost in this movement is medium. However, in the same time they are doing gedhek and while doing mbabat, the position of the lenggut. The legs are stepping to the right hands is oblique to the up front, and the and left then standing parallel and stepping level of the legs is medium since the legs in backward to the right and left then stan- this position is doing mendhak. ding parallel. Timbangan asta movement is conducted while two dancers re facing Ukel Karno Ngunus Tutus one another and the hands are ngrayung to This movement is doing ukel on the the upward and then ngrayung in front of hand to the side of the right and left ear al- the stomach. The legs are stepping upward ternately. The body movement is ogek lam- and backward from 1 to 4 counts. This mo- bung. The head movement is to move the vement has big intensity since it tells about head to face the right and left side. The leg happiness between friends. The accent or movement is right gejug where the leg is pressure in this movement is emphasized stepping hard to the floor and on the fourth on the head movement, which are ghedek count, the dancers are timpuh where the and lenggut while moving the head to face legs are folded and the knees are touching the right and left side then to face the front. the floor while the body stays upright. It is The volume of this movement is wide vo- done in four counts alternately. Impression lume at medium level. raised from this movement is gentle which specifically tells about the gentleness of the Lontang Asta women while doing their work. This mo- In doing this movement, the dancers vement has a slow tempo in every move- have to do the movement as if they are ment done by the dancers. This movement chopping grass in the Indonesian traditio- is done with ukel movement where the nal way. While doing this movement, the hand is pulling back to the ears after that legs are mendhak and the hands are lontang it stretched with the right hand ngrayung while the right hand is malangkerik and the and the left hand is ngiting. The movement left hand is mbabat, and it is conducted al- intensity of this movement is small. There ternately. The legs are stepping the floor is movement accent or pressure in this mo- four times in four counts, then stepping to vement which is when the hands are about the right side and stepping the floor as the to reach the rope attached in the mask. Du- same as previous counts, and stepping to ring the time, the changing of music tempo the left side, and doing the same again in is happened and is faster. Therefore, the four counts. The impressions emphasized volume of the movement is getting bigger in lontang movement are delicate and flir- and the direction of the dancer is facing tatious. In lontang asta, the movement in- forward. The movement level is both me- tensity is big, it pictrurizes the movement dium and low. The medium level is when of chopping the grass with the position of the dancers are mendhak and the low level the hand is ngrayung and the other hand is is when the dancers are timpuh. Since the malangkerik. It is done alternately. The mo- movement is conducted in two levels, so it vement volume is medium wiht the hand is done alternately. It is done in four counts is ngrayung to the front in oblique position for the medium level when the dancers are and the other is doing malangkerik. The doing ukel karno while standing and four movement tempo is slow but dynamic. counts when they are doing obah lambung The accent or pressure of the movement in sitting position. is emphasized in the head. In this move- ment, the head is shooked around. The line Nandur emphasized in this movement is straight This movement has its own charac- line since the dancers are facing the front, teristics in Topeng Sinok dance. This mo- and the movement direction to the right vement draws a girl who is planting the Dinar Ayu Sintho Rukmi & Indriyanto, The Analysis of Topeng Sinok Dance in Brebes ... 31 rice. This movement is also the depection small in medium level. It is because even of most of Brebes women who are farmers. though the dancers are tiptoeing, howe- Here, the creator creates the movement at ver the dancers’ knee are folded. In this the same as the actual movement of plan- movement, the dancers are traced to the ting rice in order to make people under- backward with the oblique movement di- stand the dance easier. The movement here rection. The accent or movement pressure is ngiting, the right hand is moving oblique in this movement is medium, especially downward and the left hand is folded in when the dancers are turning around and front of the body. The body itself is mend- doing jengkeng when they are about to put hak with the body standing oblique slight- off the mask. ly aside. The impression of the movement Overall, the range of movement in is firm and dynamic since the intensity of this dance comprises 24 different move- the movement is big. Furthermore, as for ments which are divided into three parts. the movement volume in this moment is There are six movements in the initial part medium with on the spot movement. Du- of the dance, twelve main movements, and ring the shift of the movement, the dancers six as the closing movement of the dance. are moving slowly with jumping slightly In each range of motion, there are varia- aside. This movement has medium tem- tions to make the dance more interesting. po. The movement intensity is medium The range of movement gives the impres- with cheerful movement. There is medium sion of flexibility, gentle, and cheerful, so accent or pressure in seblak movement be- that people will not be bored. In other side, fore getting to nandur movement. It pur- doing all the movements need more time poses as the distinctive movement before to perform. From the total 8 minutes 30 and after the main movement. Movement seconds of performance, the dancers will volume during this movement is big. The have to wear the mask for 5 minutes. Ove- movement direction in the hand while rall, almost all movements in this dance nandur is heading aside backwardand ob- are in medium tempo since it gives the im- lique alternately. The hand is acted as if the pression of cheerful but calm at the same dancers are holding the seeds with the po- time. sition of the hand is folded to the front and Supporting aspects: Topeng Sinok the fingers are ngithing in front of the chest. dance has several supporting aspects. It Also, while doing this movement, the legs encompasses: (1) make up and costume (2) are moving double step to the right and music acompaniment (3) property, as well left side while doing gejug alternately. The as (4) Staging technique, as follows: direction of the dancers are facing to the bottom front and the level is medium. The Make Up and Costume head is nengkleng or moving to the right The dancers on Topeng Sinok dan- and left. ce are wearing corrective makeup, which is made up emphasizing the beauty of the Kebyok dancers. It beautifies the face of the dan- Intensity as well as tempo of this cers in order to make them look fresh and movement is big. It can be seen when the beautiful on the stage. Whereas, for the dancers are doing tracet oblique backward mask, character type makes up is app- in order to leave the stage. The move- lied. The character raised on the mask ment volume is medium. This movement is a cheerful but gentle type of women. comprises the movement of the hands by Through the mask’s make up, the creator doing ngrayung with the sampur. The legs of the dance can emphasize the character are tiptoeing and the head is facing the left of the Tobin Sinok dance. In other words, side. From the intensity point of view, this it can be said that the make up which is movement belongs to strong movement put on the mask has its own strength and in fast tempo. The movement volume is beauty which brings the character of the 32 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 25-33 dance. Moreover, for the costume worn “Sinok nok nok orang cantik tik tik tik by the dancers on stage, bright colours are Tersenyum tertawa menggoda hatiku chosen. It brings the impression of cheer- Sinok nok nok orang cantik tik tik tik ful and draws female figure well. Usually, Tersenyum tertawa menggoda hatiku the colours of the costumes are pink and Sinok nok nok orang cantik tik tik tik yellow. Tersenyum tertawa menggoda hatiku Sinok orang cantik siapa namamu Music Accompaniment Tidak senyum tidak tertawa menggoda hatiku Topeng Sinok dance uses Javanese Gimana inginmu mas apa suka aku rhythm, irama and tanggung. The tempo is Kalau suka aku bicara dengan orang tuaku” fast the dance is lively. There are high and low tempo dynamics in the middle of the “Beautiful girl song that makes the dance more attractive. is smiling and teasing my heart In addition, music accompaniment in To- Beautiful girl peng Sinok dance has its own characteris- is smiling and teasing my heart tics. The lyrics are used Brebes traditional Beautiful girl language, ngapak, and it is sung by a man is smiling and teasing my heart and woman singers. The aim is to introdu- Beautiful girl what is your name? ce Brebes’s traditional language. Music is is not smiling and is not teasing my heart started with kendang, which is to emphasi- What do you want, dear? Do you like me? ze the starting part of the music. Kendang If you do, go talk to my parents sunda is used in this music to emphasize the cheerfulness of the dance. Property The properties used in this dance is Lancaran Sinok PL Nem mask. It is used to support the expressi- Buka: kendang p t p t ppp on of the dancers. The mask itself is used . . . g1 gentle female make up with white as the . 1 .1 .12 32 1 .1 .12 35 g6 colour foundation. An impression of beau- . . 56 . .56 . . 56 54 6 g5 ty in the mask can be seen from the draw of A irama lancar (1) the curve eyebrow since it picturize cheer- [[ 1 5 5 5 5 4 5 6 6 6 6 5 6 -5 fulness in every movement of the dance. 6 -5 6 5 4 6 g5 ]] There are red and white circles in the ear Gerongan: of the mask. The colour background of the [[1 5 55 5 45 6 66 6 -5 6 -5 6 -5 65 mask is white, the eyes are small but wi- Sinok46 5]]noknoknok cah ayu yuyuyu Mesem guyu dening picturizes the tenderness and ele- menggoda hati ku gance of a princess. Different from other masks, the mask has a kind of head orna- B irama tanggung (1/2) ment attached to the mask. To be noted, in 4 6 5 - 4 6 5 - 4 6 5 2 4 5 6 Indonesia, the head ornament is normally 6 6 6 - 5456 - 6 66 5 4 2 4 worn by the dancers, however, in this dan- 5 4 2 - 5 4 2 - . 1 2 1 2 3 1 ce, it is attached to the mask instead of the . 2 1 - 2321 - 1 2 1 2 1 6 5 dancers.

Gerongan Stage [ .xxx4c65 .c4c65 .c4c65 245 6 Topeng Sinok dance can be perfor- Si nok cah ayu sa pa jenengan mu med in procenium type of stage which [6666 5456 .6.6 542 4 is stage which can be only view from the Ora me sem ora gu yu meng go da ha ti ku front side only. This also can be called as [ . 5 4 2 . 5 4 2 2 . 1 2 1 2 3 1 Kepriben ka rep mu mas a pa se neng aku framed stage. Further, this dance can be [ . . 2 1 2 3 2 1 . 1 2 1 2 1 6 5 also enjoyed in outdoor stage although the Angger seneng a ku ngmong a wong tu aku dancers can only face the front side. This Dinar Ayu Sintho Rukmi & Indriyanto, The Analysis of Topeng Sinok Dance in Brebes ... 33 dance is also static. It means, it can be only Hawkins, Alma M. (1988). Creating Through enjoyed when the dancers are on stage and Dance. New Jersey: Princeton Book cannot be enjoyed in series of parade. Company. Hersapandi, (2007). “Kehidupan Wayang CONCLUSION Wong Sriwedari dalam Perspektif Seni Pertunjukan dan Pariwisata. Ja- Topeng sinok dance movement is karta: Penelitian Hibah Kompetensi seen in the basic aspect of movement, cos- Dirjen Dikti. tume and make up, music accompaniment, Hutchinson, Ann. (1977). Labanotation or and property. Movements in Topeng Si- Kinetography Laban: The System of nok dance is done by body elements, such Analysing and Recording Movement. as: hands, legs, shoulders, and head with New York: Theatre Arts Books 153 small intensity, full of movement accent, Waverly Place. small movement volume with fast tempo Jazuli, M. 1994. Telaah Teoritis Seni Tari. and happy music atmosphere. A costume Semarang: IKIP Semarang Press worn in this dance is bright and the mask Murgiyanto, Sal. (1983). Koreografi. Ja- has white colour foundation on it with a karta: Dirjen Pendidikan Dasar dan black gold eyebrow. Among all, it shapes Menengah Depdikbud. a beautiful, elegant, tender, cheerful, and Mugiyanto, Sal. (2002). Kritik Tari Bekal Dan skilful dance. Kemampuan Dasar. Jakarta: Masyara- kat Seni Pertunjukan Indonesia. REFERENCE Prihatini, S. Nanik. (2008). Seni Pertunjukan Rakyat Kedu. Surakarta: Pasca Sarja- Adshead, Janet (Editor). (1988). Dance na and ISI Press Analysis. Cambridge: Oxford Uni- Ratnaningrum, Ika. (2011). Makna Simbo- versity Press. lis dan Peranan Tari Topeng Endel. Astiri. W. & Budiarto, C. (2013). Semiotika Harmonia: Journal of Arts Research and Rupa Topeng Malangan (Studi Ka- Education, 11(2), 125-129 sus: Dusun Kedungmonggo, Kec. Royce, A. P. (2007). Antropologi Tari. Ter- Pakisaji, Kabupaten Malang). Journal jemahan F.x. Widaryanto. Bandung: Ruas, 11(2), 89-98. STSI Press. Diah, A. (2007). Makna Simbolis pada Sedyawati, Edi. (1980). Pertumbuhan Seni Unsur Visual Kostum Tari Topeng Pertunjukan. Jakarta: Sinar Harapan Babakan Cirebon Keni Arja di Desa Suharto, Ben. (1990). Pengamatan Tari Slangit. Journal of Visual Art and De- Gambyong Melalui Pendekatan sign. 1(2), 224-245. Berlapis Ganda. Paper presented on Hadi, Y. Sumandiyo. (2003). Aspek-aspek Temu Wicara Etnomusikologi Indonesia Dasar Koreografi Kelompok. Yogya- 3, 2/5 February 3, 1987 in Medan. karta: Elkaphi