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Aesthetics of Prajuritan Dance in Semarang Regency

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Aesthetics of Prajuritan Dance in Semarang Regency HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 16-24 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i1.3692 AESTHETICS OF PRAJURITAN DANCE IN SEMARANG REGENCY Muhammad Jazuli Semarang State University, Sekaran Gunungpati, Semarang 50229, Indonesia E-mail: [email protected] Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances cho- reography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sam- bernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. Keywords: Prajuritan dance; choreography; cultural value systems How to Cite: Jazuli, M. (2015). Aesthetics of Prajuritan Dance in Semarang Regency. Harmonia: Journal of Arts Research And Education, 15(1), 16-24. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3692 INTRODUCTION culture, and community of a country (Ja- zuli, 2001, p. 24). The views of Kaeppler This research was triggered by my and Lomax show that cultural value con- intention to promote a model of aesthetic text is interrelated with one understanding study in dance performance. An aesthe- of a work of art. tic study can be traced through aesthetic The object of this research is a tra- views of its artist, doer, and observer. The ditional Javanese Prajuritan dance in Se- goal of aesthetic view is to understand and marang regency. Prajuritan dance is a conduct an evaluation of dance being ob- traditional folk art, which grows and de- served. Kaeppler (1992) stated that to be velops and becomes a part of social life in able to understand a dance, one needs the Semarang regency; it is an inherited an- cultural background of the dance since a cestral art, which has been bequeathed for dance is a cultural product and creative generations. Since 1995, Prajuritan dance process of its community. Alan Lomax in has been publicized as a typical dance of his experiment called Choreomatrics pro- Semarang regency, and by dint of Sema- ved that art style is determined by honour, rang regent, Mr. Hartomo’s instruction, 16 Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 17 Prajuritan dance was established as a lo- asymmetric harmony gives a dynamic, cal content-based subject in elementary moving, and versatile senses. schools with the purpose of promoting Choreography is understood as kno- nation’s cultural values (Ratih, 2004). Pra- wledge about dance composition and for juritan dance has typical features in its per- naming dance arrangement. Dance creator formance, such as showing character and or arranger is called a choreographer. Dan- personality of its supporting community. ce choreographer can be reviewed in terms The moves are characterized with moves of performance pattern, theme, number of of feet, hands, and head performed in vi- dancers, moves pattern, and dance floor gorous, splintery, and energetic ways. The pattern. aesthetic values of the Prajuritan dance In terms of its performance pattern, appear in the harmony between violence there are two kinds of dance: traditional and mild elements, which are expressed and creative dance. Traditional dance is aesthetically in its moves (Sujendro, 2002, a dance, which grows and develops in a p. 15). Considering that reason, this paper community and that it is then bequeathed is meant to discuss how the aesthetics of continuously for generations (Jazuli, 2008). Prajuritan dance are implemented in Se- In view of the number of dancers, dance marang regency. performance can be categorized into two, Aesthetics is a study dealing with mono and group dance. Mono dance is a things related to beauty. In dance arts, dance, which is performed by a dancer, John Martin explained that all dancing mo- though it is often performed in groups or tions that give an inward satisfaction is re- by more than one dancer. Group dance is a garded beautiful. The motions, including dance performed by more than one dancer. smooth, tender, rough, violent, powerful, Group dance can be divided into three: pai- and bizarre can be beautiful ones (Soedar- red dance, mass dance, and dance drama. sono, 1987: 6). According to Parker (1980), In terms of dance theme, it can be categori- beauty is an appealing, touching, and thril- zed into three, namely pantomime, dance, ling thing as it is valuable for anyone. erotic dance, and heroism dance. In view Aesthetics in this paper is understood of its moves style, it is distinguished into as a pleasant, appealing, touching/thril- two, meaningful motion and pure motion. ling, and it gives an inward satisfaction. In Meaningful motion is a motion with certain aesthetics, there are two aspects that can be purposes; whereas, pure motion is a moti- used to appreciate a work of art, namely on for artistic purposes. In view of dance scientific aspect and philosophical aspect floor pattern, there are linear and curved (Djelantik, 1992: 9-11). This writing uses patterns. Both floor lines are passed by or scientific aspect, which consists of unity, made by the dancers. From the two lines, intensity, and harmony as perspectives of one can vary other lines, such as zig-zag, aesthetic study of Prajuritan dance. Unity diagonal, circular ones, etc. Usually befo- or integrity refers to a whole thing, a mea- re a work is realized, a choreographer will ningful relationship, significant among share some reflection and experience about all elements; it means that one element himself/herself or his/her surroundings. complementary needs another element. Nevertheless, a dance choreography will Intensity means that a work of art directs find its whole performance and meaning people’s attention to focus their view on when it is supported with complementary something important than another. Har- elements of dances. Among the elements mony is achieved through symmetry and are musical accompaniment, theme, cos- asymmetry; both indicate a complexi- tume, make-up, stage, lighting and sound ty. Symmetry is a harmony of two equal effects. The presence of these elements will parts, like human’s body split into two enable various relations in a dance, such as or butterfly’s wings. Symmetric harmony the dynamic aspect (velocity, complexity, gives a relief and it looks stable; whereas, strength), dances hip aspect (number and 18 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 sex of dancers), visual aspect (setting, pro- and character of the moves to be carried, perty), and environmental aspect (music, the expression should be raised. Any ap- lighting, and sound effects) (Jazuli, 2008). preciation always involves a sense though. Each dance form will be bound up In this case the role of feelings should be in with a cultural value system of a com- one match with wiraga and wirama so that munity that produces the dance. Cultural produce harmony between the presentati- values have always influenced the most on, matters relating dance skills, and dan- typical dance form and style of the com- ce quality. munity (Jazuli, 2001). Behind all the form Rationale of functional is society is and style is a cultural value system, or a a social system consisting of the parts or number of concepts about what live in the elements that are interconnected and in- minds of most community members about terdependent in the balance. The assump- what they consider valuable, meaningful, tion is that the society is seen as a system influential in their lives (Koentjaranin- like organisms formed from the basis for grat, 1980: 204). The cultural value system self regulated, self-maintaining, towards can function as a guideline that gives di- equilibrium, homeostasis. The purpose of rections and orientation in the respective system establishing is to maintain normal social life. Cultural value system in dan- conditions, not pathological in the balan- ce includes dance essence, source of idea, ce system. Statements of functional theory symbols, and functions that are expressed are used for analyses with a lower Prajuri- in dance performance. tan dance by identifying the word ‘com- Understanding aesthetic values of a munity’ with ‘Prajuritan dance forms’ as a dance is not apart from the cultural pat- system. tern of community from where the dance Prajuritan dance as a form of artwork is derived, grows and develops. Evaluati- system denotes medium of content pou- on towards Javanese dance in particular ring and values (life experience) that can and other dances in Indonesia in general be observed by the senses. The content and uses criteria, namely wiraga, wirama, wirasa value encompass dance values, a source of (Jazuli, 2008). ideas, symbolic systems, and functions of Wiraga is a way of evaluating a tan- dance. In the choreography of Prajuritan gible and perceivable dance form (physi- dance encompasses forms of presentation, cal) performed by the dancers.
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