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

Muhammad Jazuli Semarang State University, Sekaran Gunungpati, Semarang 50229, 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, ) 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. For examp- theme, number of dancers, moves, pat- le, how pose and form of movies, and terns, the floor pattern, and the dance per- chronology of movements and continuity formance equipment. Both of them will be between the movies, and so on. studied with the theory of functional and Wirama intended to assess the abili- aesthetic theory consisting of aspects of ty of the dancer in mastering the rhythm, wholeness, the dominance, and balance. both the rhythm of music accompani- Starting from the aforementioned ment and rhythm of moves performed by concepts, the strategy of aesthetic study of the dancers. For example, a dancer has to Prajuritan dance is to locate two compo- understand when a proper move to the nents, namely the knowledge about a va- sound of gong instruments, kenong, kem- lue system and dance choreography. The pul, and when the moves should be ap- frame of thinking can be described as fol- propriate and not in accordance with the lows Figure 1. rhythm of the accompaniment. Wirasa are all wirama activities and its implementati- METHOD on should always be associated with the meaning, intent, and purpose of the dance. This research uses a descriptive qua- To achieve this it need a good appreciation litative method, with the purpose of desc- of the dancer, as appreciation toward the ribing and explaining a situation as it really role of the character presented, the type is. The location of the research is a Getasan Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 19

Figure 1. Thinking of Aestheties of Prajuritan Dance

Notes: Choreography inside the dance encompasses means of performance, theme, number of dancers, moves pattern, dance floor pattern, and dance properties; whereas, value symbols include the essence of dance, source of idea, meaning and function of dance. Both of them will be analysed in terms of functional and aesthetic theories. district of Semarang regency. Getasan is a of data reduction, data presentation, and district, which has intensively conducted conclusion drawing processes. Prajuritan dance performance and regene- rative acts of the dance up to this present. RESULT AND DISCUSSION The collection of research data uses the observation method, interview, and Choreography of Prajuritan Dance document analysis. Observation was done Choreography of Prajuritan dance in a direct and planned way towards the covered includes dance background, form Prajuritan dance to obtain a rigorous view and meaning of dance symbols, theme, about roles in the dance, moves pattern, number and formation of dancers, moves, dance floor pattern, make-up and costume. musical accompaniment, and dance floor The interview was done directly pattern. toward informant, Mr. Salerno as dance instructor/trainer, Mr. Suroyo and Ms. Background of Prajuritan Dance Sugiyati as dancers. Documentation was According to oral tradition develo- conducted by examining documents about ped in Semarang regency, Prajuritan dan- Prajuritan dance. The documents obtained ce previously grew and developed in Ge- in the field include articles, photos, and tasan district. This dance shows the strides news. of soldiers of Prince Sambernyawa (king To obtain a valid and accountable KPAA Mangkunagara I in Mangkunaga- data, I did an evaluation of field data va- ran royal palace, Surakarta) in performing lidity, namely triangulation of source and duty and responsibility as soldiers against method. Techniques of data analysis are the Dutch colonialists. At that time (1755), descriptive and content analyses. Meanw- the charismatic heroes rebelled and fought hile, the steps of analysis refer to Miles’ against the Dutch colonies. The prince’s and Huberman’s theory (1994) by means rebel perturbed and caused the Dutch 20 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 to go through a great loss. Therefore, to more Prajuritan dancers have to go to war avoid a greater loss, the Dutch agreed to by carrying swords and armours. The main cease the war. The agreement between task of the soldier is to be always ready for the Dutch and Prince Sambernyawa took making war and protecting Prince Sam- place at . Nevertheless, to antici- bernyawa. Soldiers are symbols of kawula pate any trickery that the Dutch often did cilik (common folks) who are loyal to their in each agreement with the rebels, seve- leader and dare to die; (d) two dancers of ral tough and loyal soldiers of the prince Pekathik as tricksters with comic and farci- were assembled to guard the agreement. cal expressions and gestures. Their perfor- The duty of the soldiers was to guard the mance sometimes wears masks and comic security and safety of the leaders (Prince make-up representing symbolization of a Sambernyawa and his attendants) in the detective role whose tasks are to monitor process of agreement. Some other soldiers and analysis their enemies’ strength; (e) made a temporary base camp in a Getasan four as Pradangga (musicians) whose task area with a cautious manner in case of un- is to accompany Prajuritan dance. Pra- desirable events. The soldiers’ watchful- dangga is a masquerade symbolization of ness was manifested in a Prajuritan title the tough and loyal soldiers who are ready to show their warring vigilance as well as to disclose important information and rea- their show of force to their enemies. This dy to war for defending their mother land. was what became a beckoning amuse- ment for people at Getasan and those from Themes nearby areas. People at Getasan were very The Prajuritan dance theme is the enthusiastic about observing each move heroic story of the struggle sourcing from of the soldiers, even more so mimicking Prince Sambernyawa as described above. their moves. The people’s great interest in Sambernyawa, the charismatic fighter, the soldiers inspired them to eternalize the has famous advice (sesanti) in the struggle, soldiers’ moves as a monument in the form namely “tiji tibeh” (noble one means for of Prajuritan dance. the glory of all) and the soldiers’ Tridhar- ma (three duties) rumagsa melu handarbe- Form and Symbolic Meaning of Prajuri- ni, melu hangrungkebi, mulat sarisa hangrasa tan Dance wani, meaning feeling belonging, sense of Prajuritan dance is a dance, which protecting and knowingly dare do anyt- has simple features as it looks in its mo- hing to defend their homeland. Therefore, ves, make-up, costume, dance floor pat- the theme of Prajuritan dance brings mis- tern, and musical accompaniment. Those sion meaning loyalty, responsibility, cou- aspects are presented through the whole rage, and love of country. performance of wiraga, wirama, and wirasa so that it looks harmonious in its perfor- Number of Dancers mance. Choreography of Prajuritan dance In Prajuritan dance there are cha- is classified as group dance performed racters with certain roles, including: (a) a by 25 to 30 dancers done in the open field. Manggalayuda dancer who roles as a chief In its development, the number of dancers of war. The symbolic meaning of this role can be minimized from 10 to 15 or 4 to 6 is to describe a leader who could protect, dancers in accordance with the needs and rule, guide his attendants and show good forms of stage performances. Details of the manners; (b) two dancers of Wirapati play 25 dancers are one Manggalayuda dancer, roles as dexterous troops and standing in two Wirapati dancers, sixteen or more the forefront by riding horses. Wirapati soldier dancers, two Pekathik dancers, symbolizes a responsible commander, da- plus four people as Pradangga (musician). ring to take risks, a discipline and exemp- Thus, the number of players are tewenty lary figure for his attendants; (c) sixteen or five, namely twenty one dancers and four Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 21 musicians. Gelar Sawojajar Gelar Sawojajar floor pattern with Moves formation forms a vertical line, two lines Prajuritan dance moves are inspired are lined back. The dancers are divided by the soldier moves of soldiers when into two, right and left, to form a vertical they exercise with swords and shields. line moving from the back forward. The moves motif looks simple and is al- ways tied to the theme of the story. Broad- Gelar Kuntul Nebo ly speaking, the style of the moves can be Kuntul Nebo describes a group of divided into three main parts, namely (a) birds that comes suddenly and rushed to the style of sword and shield Beksan (dan- the damaged crops in the fields, meaning ce), (b) style of moves without the sword a group of enemy soldiers attacking sud- and shield, (c) style of moves of sword and denly and simultaneously. The aesthetic shield moment. value of gelar Kuntul Nebo is X-shaped formation, the dancers split into two di- The floor pattern (dancer formation) rections, then forward it to the right corner The Prajuritan dance floor pattern is and left to form a diagonal line and bum- varied. Each form of dance floor pattern ped into each other in the middle. is called gelar (formation) in accordance with the composition of dance moves na- Gelar Wulan Tumanggal mely gelar diratameta, gelar supit urang, ge- Gear wulan tumanggal is a war strate- lar sawojajar, gelar kuntul nebo, gelar wulan gy likened to a beginning of the month. tumanggal, and gelar garuda nglayang. The The moon shape as if no harm, but actually floor pattern variations of Prajuritan dan- very deadly because at the end of a corner ce are described as follows. and in the middle of the lineup that is al- ways ready to move (attack) is easy to do. Gelar Diratameta This crescent-shaped formation in Bara- Diratameta means an angry elephant tayuda used by Pandavas where Arjuna is (raging). This war tactic illustrates the placed in the middle as the executor of the anger of an elephant that its trunk and attack which is accompanied by Krishna. tusks are very dangerous and incredible Yudhisthira accompanied by Nakul and strength. In this formation the position of Sahadev is at the back of the moon as the trunks serves as a buffer that disrupt the playmaker. Bima is at the right end and enemy line. Left and right tusk as the at- Setyaki is on the left one acting as a clamp tacker, and the head as a play maker. In a on the line. war story of Baratayuda, gelar Diratameta is often used by Kaurava forces. The aest- Gelar Garuda Nglayang hetic value of the formation appears on a Gelar Garuda Nglayang denotes a rectangular floor pattern. semicircular formation as a continuation of gelar Sawojajar. After the dancers form Gelar Supit Urang a vertical line up to the back and then turn Supit Urang describe a shrimp mo- outwards and curved back. Gelar Garuda ving its both chopsticks deftly and careful- Nglayang on Prajuritan is inspired from a ly. The end of the left and right chopsticks gelar in Baratayuda war. This gelar has an function to strike by pincering enemy aggressive character that all soldiers must attact and shrimp body as a play maker. move quickly. The aesthetic value of formation appears on the dancer formation from the right and Dance Music Accompaniment left and then meet in the middle. In Bara- Music that accompanies the dan- tayuda, this form is used by the Pandavas ce consists of several forms and types and Kauravas. of instruments, namely bendhe, trendeng 22 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24

(Dheng-thek), and jidur (small bedhug). Makeup and Pekanthik are: (a) the Bendhe instrument pitches slendro (Java- head using iket, (b) armor vest, (c) the pan- nese Scale System) which it consists of ji trousers (breeches), (d) cloth with supit four types, namely (a) Featured Bendhe urang model, (e) belt. Dressing funny mo- pitched 6 (nem) functions as stakehol- tif, like shaving moustache is just in the ders rhythm, (b) Nyelo Bendhe pitched 5 middle, reduction lip shape. (ma) functions as insertion between one tone with another tune, (c) Penitir Bend- Value System he pitched 3 (lu) functions as kerepan (A The value system of Prajuritan dan- fast and constant hit), (d) Jur Bendhe pit- ce encompasses the value of dance con- ched 2 (ro) functions as a gong (a sign of tent, source of stories and communicated the end of each verse). Trendheng instru- dance symbols, and functions of dance for ment is a musical instrument shaped like a supporting the community. Content value truncated ketipung and made of lambskin. of the dance denotes an expression result Jidur instrument is an additional musical of public spirit owners that it contains its instrument that functions as a dynamist intended purpose. The purpose and ob- of music accompaniment and encourage- jectives Prajuritan is stated by Sularno as ment to look dynamic motion. follow: Tari Prajuritan menika kangge keba- Make Up and Dance Clothing tahan masyarakat mriki utaminipun kangge Makeup and costume of Prajuritan kelangenan, lan tanda bilih dsa mriki wonten dance are distinguished by its role. Each kesenian tradisi ingkang dipun lestariaken… role has different costume. Manggalayuda biasanipun kangge ngramekaken hajatan, ugi role with makeup and fashion details con- peringatan hari nasional, lan sanesipun (Pra- sist of : (a) the head using blangkon, (b) juritan dance is needed here, especially beskap clothes/surjan, (c) the panji trousers for a vehicle of expression, pleasure and a (breeches), (d) cloth with cancutan model, sign that in this village there is tradition art (e) belt, (f ) uncal, (g) epek timang, (h) the that has been preserved ... usually for the furnishing consists of necklaces scrubs, purposes of a celebration and national day kris, binggel (anklet), sumping (ear), and car- commemoration, and others). rying a trumpet. The motif of manly men The word ‘kelangenan’ is the symbolic makes up tends to be hard and authorita- meaning of the system of cultural values tive. associated with the function of dance as Equipment makeup and costume a means of pleasure (entertainment fun- of Wirapati role consist of: (a) the head ctions) and for the purposes of celebra- using blangkon, (b) beskap clothes / surjan, tion (ritual function). This clearly shows (c) panji trousers (breeches), (d) cloth that what is valuable and meaningful in with cancutan model (e) cindhe belt, (f) people’s lives has been expressed in sym- equipment that consists of kace necklaces / bolic forms such as Prajuritan dance. This scrubs, keris, binggel (anklet), sumping (ear), means that there is a ‘message’ that it will and sometimes use a horse or without a be communicated to others or the next ge- horse. The motif of manly men makes up neration. The message is in the form of the tends to be hard and authoritative. symbolic value of dance Prajuritan itself, Makeup and fashion soldiers are: (a) such as planting value of the struggle of the head using iket, (b) vest dress (wear or courage, discipline, responsibility, and so without clothes), (c) the banner trousers on. The value of such a struggle is very im- (breeches), (d) cloth with supit urang mo- portant in the lives of Getasan community del, (e) sampur, (f) equipment that consists considering the hilly Getasan geography of kace necklaces, kris, binggel (feet), and with winding roads and up and down. Li- carrying a sword and shield. Make motif is ving in a state of nature as it really takes manly and hard. passion and perseverance in every effort Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 23 to meet the necessities of life. Naturally, leness, protrusion, and the balance shows it needs an unyielding attitude to achieve that the tree covered in Prajuritan dance is the goals desired by the Getasan commu- interconnected, correlative, and comple- nity. ment each other in creating an expression Source of Story and Symbol of Pra- of art and culture of a society. Wholeness juritan Dance Sources of story of Prajuri- of Prajuritan dance, especially apparent tan dance come from the story of Prince from the choreography of the dance con- Samber nyawa struggle against the Dutch sisting, dance form, theme, number of in Semarang residence. From the sour- dancers, structure moves, formation of ce of this story, it arises the idea to crea- dancer, accompaniment, makeup and dan- te a monument to recallthe struggle of ce costume. the populist and charismatic hero, Prin- It departs from the data obtained to ce Sambernyawa. The monument is rea- elucidate and analyse it one by one the ae- lized in a dance work called Prajuritan. sthetics of Prajuritan dance. Actually, there are three aspects that cannot be separated Functions Dancing Prajuritan in the analysis the Prajuritan dance. Howe- Prajuritan dance functions can be ver, for the sake of clarity and firmness or divided into two aspects, namely the ri- an analysis, it is presented below by going tual and entertainment. The function of to each aspect of its depiction of the out- the rituals associated with the celebrati- line elements of dance that exist in every on namely sadranan ceremony and bersih aspect. It looks simple, dynamic, and mo- desa (clean the village) usually served in notonous, but rousing in all performances the field with a complete number of dan- of the Prajuritan dance. Such performance cers complete around 25 to 30 dancers as may only be done when each dancer has noted by Ms. Sugiyanti (Interview July 9, the discipline, courage and responsibility 2012) following. to achieve compactness in a group dan- Tari prajuritan ingkang wetah meni- ce. Prajuritan balance can be seen from the ka biasanipun kangge keperluan bersih desa, combination of hard and soft moves (uni- kadang sadranan…dipun tampilaken wonten fication in diversity), harmony between lapangan supados para warga saged mriksani moves patterns with accompaniment pat- lan dereng nyengkuyung babagan kelestarian terns along with makeup and costume that kesenian kita piyambak tari Prajuritan (the is stable impression of simplicity, dynamic full Prajuritan dance which is usually expression, and monotonous in disclos- displayed at the village clean and someti- ure (wiraga, wirama, and wirasa). Balance mes sadranan ... held in the open field so or harmony of that dance performance is that all citizens can see and belonging and certainly an attractive and entertaining then to preserve our own art, Prajuritan spectacle. As told by Parker (1980), that dance). the balance as a principle form denotes an equation of the aesthetic elements of oppo- Entertainment functions are typical- sing or resistance but need each other to ly associated with the performing arts in deliver a whole. order to celebrate Indonesia’s Indepen- dence Day, Wasana Warsa, circumcision, CONCLUSION welcoming guests and so on. In Prajuritan dance, entertainment functions is perfor- The conclusions of this study are med in accordance with the requirements, that the aesthetics of Prajuritan dance are meaning not as complete as ritual events. formed from different elements of dance choreography, harmony with the source Aesthetics Dance Prajuritan of the story and the value system in the Based on the analysis of the scientific, form of symbols and values that live in the aesthetic theory, including aspects of who- community and functional for both sub- 24 HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-24 sistence of the communities and entertain- Sontoloyo Giyanti . Jurnal ment, social integration, and mode of the Seni Tari. 1(1), 20-27 ongoing fulfilment of ritual in the cultural Meyer, Leonard P. (1970). Music, The Arts, environment of the Getasan district, in Se- and Ideas, Chicago, London: Univer- marang regency. sity of Chicago Press. Based on the result above it suggest: Miles, M.B. & Huberman. (1994). Qualita- First, the pattern of the choreography of tive Data Analysis. London. New Del- Prajuritan dance need to be styled to be hi: SAGE Publications. more varied and interesting (not monoto- Parker, De Witt H. 1980. Dasar-dasar Es- nous). Second, Prajuritan dance as a form tetik. Translated by D. Humardani. of traditional performing arts should be Surakarta: Akademi Seni Karawitan developed and are performed to make in- Indonesia (ASKI). creased community participation so that Ratih, E. (2004). Penanaman Nilai Tari they really feel to have thus it can reinfor- Prajuritan pada Siswa Sekolah Dasar ce the dance as one of cultural identity in di Kabupaten Semarang. Thesis. Se- Semarang Regency. marang: Program Pasca Sarjana Un- nes. REFERENCE Sahman, U. (1993). Estetika: Telaan Sistemik dan Historik. Semarang: IKIP Sema- Djelantik. (1999). Aesthetics: An Introduc- rang Press. tion. 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