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Download Article Advances in Social Science, Education and Humanities Research, volume 271 2nd International Conference on Arts and Culture (ICONARC 2018) Golek Dance: between Surakarta and Mangkunegaran Style Malarsih*, UT Utina Department of Dance Education, Faculty of Languages and Art, Universitas Negeri Semarang Kampus Sekaran Gunungpati, Semarang, Indonesia *[email protected] Abstract—Golek dance in the Javanese dance world has Palace, Yogyakarta, and Mangkunagaran. The three palaces been widely known by the public. However, both Golek dance or the three powers initially came from one power of one of Surakarta and Mangkunagaran styles have not been well palace, the Keraton Mataram. The Keraton Mataram then understood. The purpose of this study is to analyze the became the Palace of Kartasura, and again changes into similarities and differences of Golek dance of Surakarta and Keraton Surakarta. After becoming the Surakarta Palace, the Mangkunagaran styles. The research method applied is interpretive qualitative. The objective of the study is to power was divided into three, namely Surakarta, Yogyakarta analyzet the Surakarta and Mangkunagaran Golek Dance’s and Mangkunagaran [2]. styles which include aspects of presentation, movement, What will be seen in this research plan are the Surakarta accompaniment, makeup, and costume. Observation, style dance and the Mangkunagaran style dance. These two interviews, and documentation studies are used in this research dance styles are seen because actually in the past, the as a data collection technique. The data validity technique used geographical area between Surakarta and Mangkunagaran in this research is triangulation. Meanwhile, the technique used were united. What does it mean by uniting is that the in data analyzis is content analysis. The results of the study Mangkunagaran region is only part of the Surakarta region show that the form of presentation between the Golek style of which its central government is still in one area with the Surakarta and Mangkunagaran styles has many similarities, with only a few differences, especially in the aspects of motion, Surakarta Palace. The meaning of this ‘one area’ does not accompaniment, and costume. The different aspects of motion mean one yard but a relatively very close which is still are primarily about movement. The main difference in become the part of Surakarta palace area. The place itself is accompaniment is the difference regarding rhythm pattern still becoming the central government of the Kasunanan regulation. Related to costume, the main difference is in the Surakarta Palace and the Kadipaten region or the fabric and “sampur” patterns worn by the dancers. Mangkunagaran Palace. Since those two places are so related, the researcher is Keywords— Golek dance, Surakarta, Mangkunegaran then interested in seeing the similarities and differences between those two. It is possible that the similarities will be found, since, in the past, Surakarta was divided into three; I. INTRODUCTION Surakarta Kasunanan, Mangkunagaran, and Yogyakarta. It Talking about traditional classical dance, it is closely is also possible that the dances will be different because as a related to the world of Javanese dance in general. The world center of government and authority that has been divided of Javanese dance is a unique world of art. The uniqueness and stands alone, they want a unique identity. For this of Javanese dance could be found in many aspects including reason, the researcher wants to know more and it was the history behind the emergence of a dance. Different considered important for researchers to see at least the side historical backgrounds give rise to different styles between of the dance pattern that belongs to the Kasunanan Surakarta places or regions with each other. The Javanese people or known as the Surakarta style dance and Mangku actually have a lot of different types of dance, whether it's nagaran's which is known as Mangkunagaran style dance. folk dance or commonly referred to as popular dance or There are many types of dance that are considered as classical dance or traditional dance that has been specifically Kasunanan Surakarta’s, which are known as the Surakarta worked on as an established dance form. It is considered as style dance and the type of dance that is considered as established because traditional dance has been cultivated in Mangkunagaran’s which are known as the Mangkunagaran such a way that it has been considered to have the highest style dance. In the past, both were similar. However, artistic peak, which is usually sourced from the Palace. Mangkunagaran tried to make its identity different. Initially, According to Khampa [1], the palace has pride in its it was stated to be the same because Mangkunagaran was a tradition, it promotes the arts, and teaches the arts to local part of Surakarta power, which of course was the original and international students. one. However, it is possible that Mangkunagaran also Speaking of the Palace, this type of Javanese classical creates a type of dance to distinguish Surakarta style dance dance cannot be separated from Surakarta, Yogyakarta and and Mangkunagaran style dance. Mangkunagaran palaces. It is because, in its history, this The type of dance that is owned by the Surakarta and classic type did appear and was created from the Surakarta Kadipaten Kasunanan Palace or the Mangkunagaran Palace Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 75 Advances in Social Science, Education and Humanities Research, volume 271 which is generally known by the wider community consists techniques, (3) gestures and techniques of hand movements, of several types of dances. Those are single dance, couple and (4) head motion attitude and techniques [9][10][11]. dance, and groups. Some of the single dances are First, specifically for footsteps techniques, the footsteps Gambyong, Menak Koncar, Gambir Anom, Retno for the Golek dance of the Surakarta style and the Pamudya, Merak, Gunungsari, Klana Topeng, and Golek. Mangkunagaran are the same, that is when the footsteps are The types of couple or pairing dance include Retno tanjak, then both feet mendhak (the position when the two Tinanding, Mandra Retna, Srikandi Mustakaweni, Sancaya legs are low/ bent). However, the foot movement techniques Kusuma Wicitra, Karonsih, and Srikandi Borisrawa. While, between the Surakarta and Mangkunagaran styles are the group dance types include Srimpi, Bedhaya, and different. The Surakarta dance style’s footwork technique is Langenndriyan. Regarding the type of dance that exists, the debeg and gejug, while the Mangkunagaran style is srimpet researcher is interested and will focus on one of the types of and gejug. This kind of difference is because the musical women's single dance, namely Golek dance. The researcher accompaniment of both dances is not exactly similar. will focus on Golek Putri dance type since she wants to Second is related to gestures. The gesture of the body for examine the style between the Golek dance of Surakarta the Surakarta woman dance style is condhong (mayuk) with dance style and the Mangkunagaran style that are both very the stomach position deflated. Meanwhile, for the similar. Mangkunagaran style, the body is upright with the stomach position deflated. Gesture for Surakarta woman dance style II. METHODOLOGY is when the hands move, the body will follow the direction The research method applied is interpretive qualitative. of the hand. As for the Mangkunagaran-style in woman The focus of this study is on the Surakarta and dance, when the hand moves, the part of the body that will Mangkunagaran Golek Dance styles which cover the aspects follow the movement is the stomach. Such gesture of presentation, movement, accompaniment, makeup, and techniques according to Sasmitamardawa [12] are due to the costume. Data collection techniques used in this research are presence of different feelings. observation, interviews, and documentation studies. The third is the hand gestures techniques. The hand Observation is carried out by seeing live performances held gesture is divided into two parts, namely: the gesture of the at the Mangkunagaran Temple and Kasunanan Surakarta. hand (starting from the shoulder to the wrist) and the gesture The entire composition of motion, makeup, and costume of the palm (fingers). The hand gesture for Surakarta woman worn by the dancers, and the music used to accompany the dance style is if the position of the hand is bent, then the dance was noticed during the observations. wrist is in front of the cethik with a distance of Interviews were carried out after the observation took approximately one hand held. As for the Mangkunagaran place. The interviewees were done to dance trainers, woman dance style, if the hand is bent, the gesture between dancers, dressmakers and dance fashion stylists as well as the wrist and the cethik is 45 degrees apart. For the gesture the musician. Interviews on dance trainers were related to of the palm, the Surakarta woman dance style is the gesture the elements used in the dance. The interview related of the right palm ngithing and the left palm is ngrayung, tomaking up talked about the type of dressing used in the while for the Mangkunagaran style dance, the gesture of the dance. Interviews of fashion organizers were conducted palm of the right hand and the left palm is ngruji. related to the fashion elements that were arranged for the Meanwhile, the hand motion for Surakarta and dancers. The data validity technique used in this research is Mangkunagaran style dance is the same, namely gestures triangulation, in which the data taken from observations, ukel and ukel wutuh. Those differences, based on Suharji interviews, and documentation were all cross-matched. [13] and Suharti [14], is related to the background of the Olsen [3] explained that “triangulation is not aimed merely creation that is indeed different.
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