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TARI PENDET SEBAGAI TARI BALIH-BALIHAN ( Kajian Koreografi) (Pendet Dance As Welcome Dance Coreography Research)

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TARI PENDET SEBAGAI TARI BALIH-BALIHAN ( Kajian Koreografi) (Pendet Dance As Welcome Dance Coreography Research) HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI TARI PENDET SEBAGAI TARI BALIH-BALIHAN ( Kajian Koreografi) (Pendet Dance as Welcome Dance Coreography Research) Siluh Made Astini dan Usrek Tani Utina StafPengajar Jurusan Sendratasik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang ABSTRAK Tari Pendet merupakan salah satu jenis tari putri yang biasa ditarikan secara berkelompok dan atau berpasangan, dengan menggunakan properti berupa bokor. Pendet termasuk jenis tarian Bali yang memiliki susunan gerak yang simpeL Pada awahiya tari Pendet tergolong ke dalam jenis tari Wali ( tarian sakral ), dengan ciri kesederhanaa penggarapan koreografinya. Sifat kesederhanaan muncul pada susunan gerak yang selalu berjalan beriringan dengan penggunaan ruang dan waktu serta tata rias dan busana. Terjadinya perubahan koreografi tari Pendet disebabkan pula oleh adanya penyesuaian terhadap kepentingan pemenuhan kebutuhan akan hiburan, hal ini menuntut seniman Bali untuk dapat kerkreasi pada tataran yang lebih tinggi, sesuai dengan perubahan fungsinya dari tari Wali ( sakral) menjadi tari balih-balihan (tarian hiburan atau tarian ucapan selamat datang). Kata Kunci: Tari Pendet, koreografi, Tari Balih-balihan A. Pendahuluan perubahan di bidang politik dan ekonomi. Perubahan bidang politik dan ekonomi Perkembangan pertunjukan tari di dapat mempengaruhi ter-jadinya Bali dari masa lampau sampai pada era perubahan selera masyarakat penikmatnya. globalisasi ini sangatiah berarti bagi Perubahan juga sangat mungkin disebab- eksistensi sebuah kesenian Bali. kan oleh keberadaan seni tari yang tidak Perkembangan tersebut merupakan wujud mampu lagi bersaing dengan seni dari kreatifitas seniman Bali. Wujud pertunjukan lain. kreatifitas dituangkan melalui ide-ide baru sehingga menghasilkan karya seni lama Akibat dari hadirnya era globalisasi, yang bernuansa baru. Karya seni lama para seniman memiliki ke bebasan untuk yang dimunculkan dalam bentuk koreo- menampilkan gaya yang mereka inginkan. grafi baru di-harapkan masih tetap Akibatnya, timbulah semacam arus menarik, sehingga dapat mem-pengaruhi perkembangan seni yang lazim kila sebut jiwa penonton dan penikmat seni lainnya. sebagai Multikulturalisme ( Multiculturalism ) Munculnya ide-ide dari para atau pluralisme, yang menghargai karya seni seniman disebabkan oleh beberapa faktor dengan gaya apapun dan dari negara manapun. diantaranya adalah adanya Seni istana sudah tidak menjadi kiblat, demikian pula Volume VIII No.2 / Mei-Agustus 2007 170 HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI aliran-aliran seni dari mancanegara. di halaman Pum(jeroan ), atau halaman Dalam bidang seni pertunjukan, setiap tengah (jdba tengah ), dan diiringi oleh kelompok etnis di Indonesia ingin gamelan berlaras pelog atau gamelan gong menampilkan jati diri mereka ( kebyar. Soedarsono, 2002:112) Pada jaman dahulu tari Pendet Pendet merupakan salah satu merupakan tarian Pura yang fungsinya contoh bentuk seni pertunjukan yang untuk memuja para dewa-dewi yang telah mengalami perkemba-ngan dalam berdiam di Pura selama upacara odalan dua dekade. Perkembangan ditandai berlangsung (Kusmayati dkk ,2003:78). dengan munculnya kembali tarian Seiring dengan perkembangan jaman, Pendet baru yang memiliki bentuk, isi, kebutuhan akan hiburan semakin banyak dan tata penyajian serta fungsi yang diperlukan oleh sebagian besar berbeda dengan tarian Pendet pada masyarakat Bali, sehingga sekarang waktu sebelumnya. Tari Pendet baru Pendet beralih fungsi menjadi tari disajikan dalam bentuk, isi, dan struktur hiburan atau tari penyambutan. Sebagai penyajian yang terpola. Unsur-unsur seni tari penyambutan, Pendet difungsikan yang terkandung dalam tari seperti : untuk menyabut kedatangan tamu atau musik, gerak, pola lantai, level, ruang, sering disebut dengan istilah tarian dan waktu diatur dengan sebuah tatanan selamat datang. Ungkapan kegembira an, yang terstruktur, sehingga dapat me- kebahagiaan, dan rasa syukur munculkan sebuah sajian tari yang diwujudkan melalui gerak-gerak yang menarik. lembut dan indah. Menurut Dibia (1993:31) ada Tari Pendet merupakan salah satu sejumlah tari-tarian hiburan/ jenis tari yang bisa dijadikan inspirasi tontonan yang biasa disebut dengan oleh seniman Bali untuk dikembangkan tari BaHh-Balihan. Tarian ini baik dari gerak, ruang, dan waktu. biasanya dipentaskan sebagai seni Dilihat dari beberapa aspek hiburan, baik bagi masyarakat Bali pertunjukannya selain yang telah sendiri maupun masyarakat di luar disebutkan di atas, seperti iringan, rias, pulau Bali ( wisatawan ) yang dan busananya juga sudah ditata dengan berkunjung di pulau Dewata dengan apik. tujuan untuk menghibur atau sebagai suguhan hasil kreatifitas B. Proses Garap Tari Pendet seni berkualitas tinggi. Jenis tarian Pemikiran dan perenungan tidak bisa hiburan meliputi berbagai jenis tari ditampik lagi dalam penggarapan gerak tari klasik tradasional, seperti : tari Pendet, sehingga satu dengan yang lainnya Telek/jauk, Topeng, Arja, Wayang saling jalin menjalin membentuk satu tarian wong dan Legong, serta tari lepas yang utuh. Menurut Hawkins (dalam lainnya seperti tari Baris tunggal, Murgiyanto, 1983:39-40) proses garap tari Pendet, Gabor, dan lain-Iain. melalui tahap eksplorasi, improvisasi, dan Peranan tari Pendet sangat penting komposisi. Berikut ketiga tahap dalam dalam kegiatan sosial dan keagamaan, proses garap tari Pendet sebagai tari Balih- karena itu tari Pendet masuk dalam Balihan atau sebagai tari hiburan. golongan tarian suci .Tari Pendet sering dijumpai pada saat upacara-upacara keagamaan (bebali), yang biasanya dipentaskan Volume VIII No.2 / Mei-Agustus 2007 171 HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI l. Eskplorasi agem, angsel, megol, nyeregseg, ngumbang dan lain-lain. Ada beberapa Beberapa seniman Ball yang gerakan menarik yang bisa dilihat pada namanya tidak disebutkan mulai tari Pendet sebagai hiburan seperti : gerak terinspirasi untuk mengembangkan tari ngelung, melincer sambil nyeregseg, Pendet. Sejalan dengan teori Smith gerakan metimpuh sambil sembahan, (1985:20-23) bahwa rangsang dapat gerak tabur bunga sebagai simbol ucapan didefinisikan sebagai sesuatu yang selamat datang. Ruang dan Tempo membangkitkan fikir atau semangat atau gerakan sudah bervariatif. mendorong kegiatan. Eksplorasi sebagai pengalaman pertama bagi seorang penari c. Rangsang Audio atau Rangsang dan penata tari untuk menjajagi ide-ide, Dengar rangsang dari luar bagi penata tari. Tari Pendet sebagai tari upacara Tahap ini dapat dipersiapkan terlebih diiringi dengan gamelan berlaras pelog dahulu, atau sama sekali belum dan berlaras slendro. Gamelan berlaras terencana dan atau distrukturkan yang pelog terdapat pada gamelan gong berarti koreo-grafer sudah mempunyai Kebyar, sedangkan gamelan berlaras rencana-rencana tari, ide-ide serta slendro terdapat pada gamelan gong rangsang-rangsang apa yang dibutuhkan Semar Pegulingan. Tari Pendet sebagai tari (Hadi,1996:40). hiburan, gamelannya tidak ter-pancang Ketika melihat tari Pendet yang dengan dua jenis gong di atas, akan tetapi belum dan yang sudah di kembangkan, bisa diiringi dengan jenis gamelan kita akan bisa meraba-raba rangsang yang angklung dan jenis gamelan yang lainnya. digunakan oleh beberapa seniman Bali Pendengaran seniman-seniman begitu jeli untuk mengembangkan tari Pendet yang hingga durasi waktupun diperpanjang lazim dipentaskan sekarang. sampai 8 menit, yang dulunya hanya a. Rangsang ide atau gagasan kurang lehih 3-4 menit. 2. Improvisasi Rangsang ide muncul ketika beberapa seniman Bali melihat ke- Improvisasi diartikan sebagai sederhanaan gerak, ruang, dan waktu penemuan gerak secara kebetulan atau yang ditampilkan oleh tari Pendet yang spontan, walaupun gerak-gerak tertentu difungsikan untuk upacara agama. Rias muncul dari gerak-gerak yang pernah dan busanapun tidak luput dari dipelajari atau ditemukan sebelumnya, pengamatannya. Bokor sebagai properti tetapi ciri spontanitas menandai hadirnya tari ini dialih fungsikan, yang dulunya improvisasi (Hadi,1996:43). Kecen- sebagai tempat sesaji sekarang berfungsi derungan dari seniman-seniman Bali sebagai tempat bunga -bunga yang siap melakukan improvisasi ketika ditaburkan. mendengarkan musik. Gerakan yang didapat lewat improvisasi terkadang b. Rangsang Kinestetik dievaluasi terlebih dahulu kemudian Beberapa gerak tari yang ada pada dikomposisikan sesuai dengan tempo tari Pendet sebagai tari upacara masih di iringannya. pakai pada tari Pendet sebagai tari 3. Komposisi hiburan, seperti Volume VIII No.2 / Mei-Agustus 2007 172 HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI Berdasarkan teori Hadi (19%:33- Gerak tari Pendet Balih-balihan 37) komposisi tari atau tatanan tari sudah mengalami per-kembangan yang merupakan penyelek-sian atau maksimal ,artinya tidak hanya gerak agem, pembentukan gerak menjadi wujud megol, nyeregseg, dan angsel saja tarian, tujuannya adalah mengembang melainkan di dalamnya sudah disisipi kan aspek-aspek ruang, waktu, dan dengan gerak lain yang membuat energi yaitu gerak itu sendiri sebagai koreografi tari Pendet lebih terlihat materi tari. Pengembangan materi tari menarik. Gerak tersebut adalah gerak dalam koreografi tari Pendet terdiri atas melincer ( gabungan dari gerak pengembangan ruang, waktu/ dan nyeregseg yang dilakukan dengan energi. Menurut Hadi (1996:12-13) tari memutar di tempat 360 derajat ),gerak dapat dipahami dari bentuk dan teknik ngumbang ( jalan memutar membuat yang berkaitan dengan komposisinya lingkaran besar ), ngumbang di tempat (analisis bentuk atau penataan diikuit dengan perubahan arah hadap koreografi) atau
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