The Legitimacy of Classical Dance Gagrag Ngayogyakarta

Y. Sumandiyo Hadi Institut Seni (ISI) Jalan Parangtritis Km 6,5, Sewon, Bantul Yogyakarta

ABSTRACT

The aim of this article is to reveal the existence of classical dance style of Yogyakarta, since the government of Sultan Hamengku Buwono I, which began in 1756 until now in the era the government of Sultan Hamengku Buwono X. The legitimation of classical dance is considered as “Gagrag Ngayogyakarta”. Furthermore, the dance is not only preserved in the palace, but living and growing outside the palace, and possible to be examined by the general public. The dance was fi rst considered as a source of classical dance “Gagrag Ngayogyakarta”, created by Sultan Hamengku Buwono I, i.e. Beksan Lawung Gagah, or Beksan Trunajaya, Wong or dance drama, and Bedaya dance. The three dances can be categorized as a sacred dance, in which the performances strongly related to traditional ceremonies or rituals. Three types of dance later was developed into other types of classical dance “Gagrag Ngayogyakarta”, which is categorized as a secular dance for entertainment performance.

Keywords: Sultan Hamengku Buwono, classical dance, “gagrag”, Yogyakarta style, legitimacy, sacred, ritual dance, secular dance

INTRODUCTION value because it is produced by qualifi ed Yogyakarta as one of the regions in the artists from the upper-middle-class society, archipelago, which has various designa- and not from the proletarians or low class. tions, including a student city, a tourism The term of tradition is a genre from the city, and a cultural city. As a cultural city, past, which is hereditary from one gene- there are diff erent types of artwork. One of ration to generation. Moreover, there is an them is a classical traditional dance, which impression as if this concept is static, con- is often called Beksa Klasik Gagrag Ngayog- servative, and resistant to change. yakarta or Yogyakarta classical dance. This On the other hand, in many respects, art has a strong historical root and becomes the traditional performing arts are usually one of the tops of local culture that has been expressed through various forms as either experiencing the process of re-inventing sacred or ritual ceremony. Meanwhile, adi traditional culture. luhung (noble) means soft, elegant, complex This dance is often designated as adi lu- as well as an art form that is considered to hung (noble) traditional classic art because be completed (fi n esse). It has many rules, it is a palace classical art product. The word very binding one. The standard or the rules “classic” comes from the Latin word “clas- of Yogyakarta classical dance is guided by sisi”. This term emerged since the medieval the nature of its form which is based on period that is the Roman Empire era, to ca- philosophical foundations called Kawruh tegorize artwork, which has a high-quality Joged Mataram, that is the inspiration for a Panggung Vol. 27 No. 4, Desember 2017 389 dancer consisting of four main elements heritage; with each has own characteristic called sawiji, greged, sengguh, and ora ming- known as “Gagrag ” and “Gagrag kuh (see Suryobrongto, 1981: 88-93), as well Ngayogyakarta”. as the practical rule of aesthetic concepts “Gagrag” is understood as “a style” called wiraga, wirama, and wirasa. which leads to a characteristic context, or a The sawiji element is understood as a design, and a technique; whether involving full concentration or focusing his thoughts a personal or individual style of the creator, and actions without disturbing his soul. The as well as the socio-cultural features that greged element is understood as a spirit, a underlie the presence of that form. In this vigour, or inner dynamics, without being case, Beksa Gagrag Ngayogyakarta means the rude. The sengguh element is understood as style form and technique of dance move- an act of confi dence (self-confi dence), but ments, with a various cultural-social con- without being arrogant. While ora mingkuh text of Yogyakarta. element is the spirit of abstinence by which It is estimated that forming the Beksa or maintaining self-discipline. Gagrag Ngayogyakarta is in conjunction with The practical guidance of the aesthetic the establishment of concept of wiraga is concerned with the around 1756. And it can be assumed that whole arrangement of motion relations in the dance was created by Sultan Hameng- one unity of form so-called the fi gure of ku Buwono I himself, who was regarded dance. The wirama relates to the time as- as the heir artist of Mataram dynasty, who pect, which manages the short or length of has a big a ention to the arts. Successively the phrase of dance movements in this case the dance of beksa gagrag Ngayogyakarta con- concerning the rhythm of motion, rhythm, tinues to be preserved and developed until tempo and its conformity with the rhythm now (under Sultan HB X government) and of the dance accompaniment or gending ac- legitimized as a cultural heritage of the pa- companiment. Meanwhile, the sense of wi- lace of Yogyakarta Sultanate (Y. Sumandiyo rasa is related to the sense of motion or the Hadi, 2013: 13-14). purpose and content of a dance. The legitimacy of classical dance gagrag The process of creating a classic beksa Ngayogyakarta not only lives and grows gagrag Ngayogyakarta can be traced after in the palace but also develop outside the Gianti agreement in 1755. The Mataram palace of Yogyakarta since the era of Sul- kingdom was split into two areas, with tan Hamengku Buwono VII around 1918. the agreement of Kasunanan Keraton Sura- This is thankdues to the idea of two sons of karta Hadiningrat, which was still ruled by the Sultan namely Prince Tejokusumo and Susuhunan Paku Buwono III. Meanwhile, Prince Suryodiningrat, who founded an art his uncle Pangeran Mangkubumi then es- organization called Krida Beksa Wirama. tablished Kasultanan Keraton Ngayogyakarta Since the presence of the organization, and Hadiningrat, and then enthroned with the subsequently, the emergence of other arts title of Sultan Hamengku Buwono I. In ad- organizations, the classical dance of Yogya- dition to the political agreement, the divi- karta style can be learned by ordinary peo- sion of land, and its people, and other signs ple outside the palace (Hadi, 2013: 126). of power, the event also indirectly contains a cultural agreement, with agreements in METHOD the fi eld of art and culture, dance, music, The research on the legitimacy of clas- the art of dressing, and so forth. The two pa- sical dance Gagrag or Ngayogyakarta (Yog- laces still preserve the Mataraman cultural yakarta) style, uses a qualitative method in Hadi: The Legitimacy of Classical Dance Gagrag Ngayogyakarta 390 which the researcher is the main instrument dance as a symbol of personal representa- in the research process. Based on that ap- tives of the Sultan when he has a wedding proach, the researcher positioned himself ceremony of his sons and daughters in the as a participant observer, ge ing in as a par- reception of a royal wedding (Suryobrong- ticipant in the community of the research to, 1981: 30-31). In traditional wedding cere- subject that is the Yogyakarta palace. monies of the palace, this dance has a very The primary data collection is obtained high position, because it serves as a repre- through interviews with the informants, sentative or on behalf of the Sultan. When aimed at obtaining information and data the Sultan holds weddings of his sons and from individuals in general for informa- daughters, at the receptions or called leng- tion purposes; while through respondents, gahan ageng, it is usually held in Bangsal the interviews aim to obtain information Kepatihan. The Sultan himself did not at- or specifi c information about the personal, tend the event, so the dance is a symbol of a itudes, standpoints or views of the indi- the legitimacy of the Sultan’s presence, and viduals interviewed for comparative pur- brings the mandate to both the bride and poses. In order to make non-contradicted groom, especially for having a new life, as interpretations, the researcher then conduct- well as the heroism messages, chivalry de- ed crosscheck of the information through a scribed in the dance. The group of Lawung literature study. Most of the literatures are Gagah dancers departed from the palace to manuscripts, or chronicles in the Yogya- Bangsal Kepatihan with the procession of karta palace, especially those related to the horse riding with shaded by umbrellas, es- research topic. corted by several corps of a warrior, train Observations and research on classical convoy accompanied by relatives of the dance Yogyakarta style have been done for Sultan, and along the way accompanied by a long time; started from 2010 until now, Javanese gending karawitan. The dance form by making research road-map starting from has specifi c characteristic or “style” indi- the classical dance performances developed cated that it was created based on charac- both inside and outside the palace; and then teristics or the background of the creator, as analyze or identify its development, until well as the social background. the fi nal goal is to analyze the revitalization Beksan Lawung is a kind of strong male of the dance. Therefore, this qualitative re- dance, so it is called “Lawung Gagah”, search, trying to clarify, to explain all data which describes the practice of war using a obtained, so that the results of the research lawung weapon or a kind of spear with dull is valid. ends. The creation of this dance was driven by a tradition of play called sabtonan, that RESULTS AND DISCUSSION is a war exercise performed by the soldiers One of the dances that have been legiti- on horseback, using weapons called lawung mized as the cultural heritage of the Sulta- or watang, so it is often called watangan; nate palace since the government of Sultan which is done routinely on Saturdays, so Hamengku Buwono I until now includes it is called a sabtonan game (Kartodirdjo, et Beksan Lawung Gagah or Beksan Trunajaya. al., 1975: 249). This dance was created by Sultan HB I him- Lawung Gagah dance has a special cha- self, which becomes one of the characteris- racteristic or style of form and technique tics of “Gagrag Ngayogyakarta”. Until now, that is fi rm, solid, precise, fast, and mascu- the dance is one of the pride of Yogyakarta line, following the nature and character of palace, and has been made as a ceremonial Sultan Hamengku Buwono I. Since he was Panggung Vol. 27 No. 4, Desember 2017 391 with the title of Prince Mangkubumi, in rage, as well as to arouse the unity and fra- his rebellion against VOC who stood with ternity of fellow warriors. Therefore, in the his nephew Susuhunan Pakubuwono III, dances or Beksan Trunajaya, the inspiration and fi nally the VOC surrendered, and then of soldiers from Madura and Bugis areas, made a Gianti agreement; Prince Mang- embodied in the expression of dialogue or kubumi is depicted as a strong fi gure, fi rm, pocapan in the dance. strong determination, right and quick to In addition to Lawung Gagah dance as make decisions to accept the contents of the a dance, which is characterized by gagrag agreement that Mataram kingdom was di- Ngayogyakarta, there is also vided into two namely Surakarta, and Yog- form and Bedaya dance. Sultan Hamengku yakarta (Selo Soemardjan, 1986). Buwono I was also the fi rst to introduce the The dance is also called Beksan Truna- type of Wayang Wong or dance drama ga- jaya because it is inspired by the back- grag Ngayogyakarta with a lot of dialogue or ground of social-political situation at that pocapan and loaded with the values of the time. The Sultan greatly admired the hero- contents of the story. At the fi rst time, Wa- ism of Trunajaya, a prince of Madura who yang Wong was created by Sultan Hameng- persisted against Dutch colonialism in , ku Buwono I with the story of Gandawer- so that the image refl ected in the dance, daya, the story of carangan or composition wanted to instil a brave a itude against the taken from the epic of . Beside enemy. Besides, the name of Trunajaya can aesthetic purposes, creating the performing also be suspected because, at that time, this arts is also infl uenced by a social and politi- dance was performed by a palace soldier cal context. The gandawer’s story of power named Corps Nyutra section of Trunajaya is a depiction of the heroism of the ksatriya (Suryobrongto, 1981: 32). When it was still in the Mahabharata. This story actually in a situation of upheaval against invaders, depicts the history of Sultan Hamengku especially in Java many joined the soldiers Buwono I himself during a dispute or con- from Madura and Bugis, so that the pur- fl i ct with his brother Sunan Paku Buwono pose of the dance creation is to arouse cou- II, and when it is always mediated by the Dutch with social, economic, and politi- cal interests that always harm the palace. In the play, it was told that the characters of ksatriya Gandawardaya and Gandaku- suma are actually the same siblings of Ar-

Image 2. Beksan Lawung Gagah was performed at Image 1. One of Lawung Gagah dancers is riding Bangsal Kepatihan, Wedding ceremony of Sultan a horse, from the palace to Bangsal Kepatihan HB X (GKR Bendara) princess (Dok.Foto: S. Hadi, 2011) (Dok. Foto: Eff y WP, 2011) Hadi: The Legitimacy of Classical Dance Gagrag Ngayogyakarta 392 juna from a diff erent mother; when both = dancer direction wanted to fi nd their parents, and when the 1 = Dancer endhel pajeg 6 = Dancer apit ngajeng 2 = Dancer batak 7 = Dancer apit wingking two brothers met then there was a confl ict 3 = Dancer gulu 8 = Dancer endhel wedal- (Soedarsono, 2000: 33-58). 4 = Dancer dhadha an ngajeng 5 = Dancer buntil 9 = Dancer endhel wedal- Another dance that became characteris- an wingking tics of gagrag Ngayogyakarta is Bedaya dance. If the Lawung Gagah dan Wayang Wong dance The depiction of this dance is full of so- has more characteristic of a male or mascu- cial values and norms, humanity, and has line character because it is danced by men; a dramatic type, so it contains themes fol- Bedaya dance is characterized by female lowing the contents of the story. For exam- characters. Although, at fi rst, the Bedaya ple, Bedaya Semang, which was created by dance was performed by men (called Bedaya Sultan Agung, and then continued by the Kakung), who portrayed female characters or Sultan HB I, considered as a Mataram heri- transgender, this dance was categorized as a tage dance. The theme of the story depicts female dance. It was because at that time, in a mysterious, sacred encounter between his the era of HB I - HB VIII, all female charac- ancestor Panembahan Senopati and Ratu ters played by men who imitated women; Kidul as the ruler of the southern sea. As women have not been allowed to perform in the dance is considered a heritage dance a dance performance. of Mataram, it is categorized as a sacred This dance is performed by 9 dancers, dance, whose performances are only for each with its own character or role, symbol- certain ceremonies such as the anniversary ically representing the symbols of human commemoration. limbs embodied in one of the fl oor pa e rns The three types of dance performances or Bedaya formations called “raft lanes” (see are continuously preserved and developed scheme). Dancer no.1 endhel pajeg; no. 2. by the Sultanate of Yogyakarta as a dance Batak; no. 3. jangga symbolizes the “head” gagrag Ngayogyakarta; even it is consider- part; then dancer no. 4. dhadha,; no. 5. buntil ed as a dance of ancestral cultural heri- symbolizes body or bloat; dancer no.6. apit tage, to legitimize or validate the existence ngajeng; and no. 7. wingking apit symbolizes of the palace. Like Wayang Wong, Bedaya the right hand and the left hand; while the dance is performed for the anniversary of second part of the foot denoted dancer no. the Ascension of the Sultan or Pawiwahan 8. endhel wedalan ngajeng; and number 9. en- Jumenangan Dalem. In fact, the dance func- del wedalan wingking dancers. Nine dancers tions as the king’s greatness. The dance is are also often denoted by 9 holes that exist equally aligned with other magical tools in perfect humans. that have magical powers such as vari- ous weapons (spears, keris, swords, etc.), 9 7 umbrellas of greatness, crowns, and other objects. The dances and those objects with their magical powers serve as “regalia”, a 5 4 3 2 1 kind of “heirlooms of the kingdom”, which always guard and strengthen and provide protection, peace, welfare, the prosperity of 8 6 the king, the state, and all of its people. In- deed, such beliefs have the meaning of the Schema: Floor pa ern or dance formation “cosmic” role of the king, the court and his of Bedaya Rakit Lajur government, that is the parallel between the Panggung Vol. 27 No. 4, Desember 2017 393 understanding of “microcosm” and “mac- rocosm.” In this case, the palace as a mic- rocosm trying to fi nd harmony, harmony, and harmony of life with the macrocosm, which is expecting sustainability to achieve welfare and the prosperity of the kingdom (von Heine-Gelden, 1982: 25). Since the reign of Sultan Hamengku Buwono I until now, in the era of the Sultan Image. 3. Harjunawiwaha in Rakit Kapang- Hamengku Buwono X, the continuity or kapang majeng was performed at Bangsal Kencana, sustainability of tradition to show Wayang on Pahargyan Jumenengan Dalem, and Tumbuk AgengKelahiran Sultan HB X Wong and Bedaya continue to perform. Each (Dok. Foto: Mashoeroel, 2007) Sultan or jumeneng nata deliberately cre- ates or performs such dances, which is not merely a ma er of substantial contexts of performances but it functioned as an “au- thoritative” tradition or for a traditional ceremony. For example, Sultan Hamengku Buwono X created Bedhaya called Harju- nawiwaha and used to perform Wayang Wong with Ciptaning Mintaraga or Har- junawiwaha. The story of Harjunawiwaha taken from the epic Mahabharata, and Image. 4. Sultan BH X and his wife GKR. Hemas commonly called the Ciptaning Mintaraga on Pahargyan Jumenengan Dalem, and Tumbuk Ageng Kelahiran in 2007, were watching per- story, which is essentially when Harjuna, formance of Bedhaya Harjunawiwaha (Dok.Foto: the ksatriya from Pandawa, after defeating Mashoeroel, 2007) the giant king of Niwatakawaca enemies of the gods, he was given a gift of weapons and the princess Dewi Supraba. The story is symbolically performed in the Bedhaya dance, usually manifested in the fi nal com- position of the Bedhaya dance called the title raft. Dance Bedaya Harjunawiwaha once is staged for ritual customs of the palace, which is to commemorate the ascension of the throne or Pawiwahan Jumenengan Dalem Sultan Hamengku Buwono X, and birth Image. 5 Wayang Wong performance with Cipataning anniversary or Pahargyan Tumbuk Ageng Mintaraga at Pagelaran Keraton Yogyakarta, in com- memoration of Keraton Kasultanan Yogyakarta Sultan Hamengku Buwono X on 7 April (Dok. Foto: Y.S Hadi, 2006) 2007 (Hadi, 2013: 56). Then, Wayang Wong with Ciptaning Mintaraga story was once macy of Sultan’s empowerment as king in performed in Pagelaran Keraton Yogyakarta Yogyakarta Sultanate. for the commemoration of the founding of In addition to the three dances of Beksan Yogyakarta Sultanate palace or Pengetan Lawung Gagah, Wayang Wong, and Bedaya, Adeging Negari Dalem, in 2006. Such events which become the pride of the palace, and were essentially functioning as the legiti- considered as the source of all the dances Hadi: The Legitimacy of Classical Dance Gagrag Ngayogyakarta 394 in the Sultanate Palace of Yogyakarta, then is still being developed and enhanced in evolved other types of dance that also be- the search for the motives. In 1987, the type came wealthy as a classical dance gagrag of dance received special a ention from Ngayogyakarta. The types of dances include the Sultan. On May 18, 1987, and on 29th group dances such as Segara Guntur Sega- - 30th December 1987, there was a meeting ra, Beksan Etheng, Beksan Enjer Perangan, discussed about Beksan Menak, held in Ja- and solo dances such as Klana Raja Gagah, karta, by bringing dance groups to exhibit Klana Raja Alus, Golek Putri (Hadi, 2013: their creations, such as from the Indonesian 69-89). The three dances of Beksan Lawung Art Institute of Yogyakarta, Siswo Among Gagah, Wayang Wong, and Bedaya, are Beksa Yogyakarta Foundation, and Pencak often legitimized as sacred dances for the Silat group from Padang (See Dinusato- purposes of ritual ceremonies; while some mo, 1987). In the workshop, Sultan HB IX of the la er dances are more secular. himself was pleased to give suggestions, The legitimacy of a classical dance ga- and comments, even giving examples of grag Ngayogyakarta since the reign of Sultan creations that need to be developed in the HB I until now continues to grow; beside dance. (See Soedarsono, et al, 1989: 17-30). preserving the dance and using it to legiti- In the current administration of Sultan mize what has been inherited from their Hamengku Buwono X, the Pethilan Beksan ancestors, each sultan also has ideas to de- Golek Menak also becomes the pride of the velop. Like Sultan HB IX, at the beginning Yogyakarta court, includes Pethilan Beksan of his reign around 1941, created a dance Golek Menak Adaninggar Kelaswara. This form known as the Beksan Golek Menak ori- dance is about the ba le between the Dewi ginating from the Menak or Menak Men Adaninggar of China against the Dewi Kit. This story came from Persian land, tell- Kelaswara because of jealousy of Ada- ing Hikayat Amir Hamzah (Uncle Prophet ninggar to Kelaswara who is successfully Muhammad). Along with the development married by Amir Ambyah or Wong Agung of Islam in Java, the story was translated Jayengrana, then ended with the defeat of in Javanese to Serat Menak Amir Ambyah Dewi Adaninggar. The dance is often per- or Serat Menak Wong Agung Jayengra- formed mainly for entertainment purpose na (Poerbatjaraka and Hadidjaja, 1952: for the community, as well as show pre- 123-126). The creation of the Golek Menak sentation for guests who visit the palace of dance originated from the idea of Sul- Yogyakarta. The dance is usually performed tan after watching the Wayang show Golek with an eagle (burung garuda), which be- Menak or Beksan Menak means to model or dance like a Menak that was made of wooden dolls, played by a dalang. The Dance or Beksan Golek Menak was fi rst staged at the palace for Tingalan Dalem in 1943, a ended by nobles, regents, and other relatives of the palace (Kandha Serat and Se- rat Pocapan, Beksan Menak, Keraton Yogyakar- ta: Kridhamardawa, MS T. 56). Beksan Golek Menak is a hallmark of the Image 6. Beksan Golek Menak Putri Dewi Yogyakarta palace style, which is not in Adaninggar (left) – Dewi Kelaswara (right); the palace or any other palace. The dance riding Garuda bird. The performance since the reign of Sultan HB IX until now was in Keraton Yogyakarta (Dok. Foto: Mashoeroel, 2010) Panggung Vol. 27 No. 4, Desember 2017 395

Image. 7. Klana Topeng Gagah or Klana Sewandana Image 8. Klana Topeng Alus or Klana Gunungsari (Dok. Foto: Yudiaryani, 2016) (Dok. Foto: Agus Yuniarso, 2010) comes a symbol of the palace. The costume ter of Onengan, sister Raden Panji. The two of this garuda character is unique which was dances began to develop in the Yogyakarta created since the reign of Sultan Hamengku palace around 1941 and had already been Buwono VIII (Hadi, 2013: 135-136). developed by one of Yogyakarta’s classical In addition to dance or Beksan Golek dance organization Krida Beksa Wirama Menak, Sultan Hamengku Buwono IX also around 1938, led by two sons of Sultan HB permits the dance form called Klana Topeng, VII, namely Prince Tejokusumo and Prince developed inside the palace. Klana Topeng Suryodiningrat. Through an organization is a single dance of both the types of the that developed outside the palace, and also putra gagah (strong man) and the putra alus got support from the palace, then this type (soft man), it is a part of the dance drama of Klana can develop also or Wayang Topeng derived from the type of inside the palace. Two types of dance, Bek- populist dance. Wayang Topeng is a kind of san Menak and Klana Topeng that belong to dance drama that brings the story of Panji, the secular type of dance, have been legiti- and all the dancers use or face masks mized as a classical dance gagrag Ngayog- made of wood. Part of the Wayang Topeng yakarta that continues to be preserved and show called Klana Topeng Gagah depicts a developed. fi g ure called King Sewandana of the king- dom of Bantarangin, who travels (hence CONCLUSION often called Klana Sewandana), and falls Legitimacy or legalization of classical in love with Dewi Sekartaji or Candraki- dance Gagrag Ngayogyakarta as a traditional rana, the wife of Raden Panji. While Klana cultural heritage has fairly strong historical Topeng Alus depicts a character from the roots, as it gets the support of the Sultanate Panji story, a subtle character named Raden Palace Ngayogyakarta Hadiningrat. The in- Gunungsari, the sister of Dewi Sekartaji, stitutionalization began after Gianti Agree- who is in love with with the sis- ment in 1755, a regional political agree- Hadi: The Legitimacy of Classical Dance Gagrag Ngayogyakarta 396 ment, as well as a cultural treaty, when the a legitimacy of the inauguration of Sultan’s New Mataram kingdom was broken into authority as a king in the Sultanate of Yog- two palaces, namely Ngayogyakarta Hadi- yakarta. In addition to legitimize certain ningrat Sultanate and Surakarta Hadining- performances, every Sultan who is on the rat Sultanate Palace. Keraton Kasultanan throne also has a tradition of creating Be- Ngayogyakarta under Sultan Hamengku daya dance which is considered as one of Buwono I, until the successive Sultan who the dances fi lled with philosophical values is now entitled Sultan Hamengku Buwono of humanity, as showing in the example of X, is considered as one of the legitimated Sultan Hamengku Buwono X who reigns classical art and cultural centre, in addition today. He created Bedaya Harjunawiwaha to Keraton Kasunanan Surakarta. and Bedaya Sang Amurwabumi. Since then, Gagrag Ngayogyakarta clas- The type of dance, both sacred and se- sical dance, which developed inside the cular, has been legitimated as a classical palace, is an art that has standards or rules dance Gagrag Ngayogyakarta. Yogyakarta applied strictly. Classical dance Gagrag Palace also recorded its own history to Ngayogyakarta reinforces his standardiza- develop the type of dance Klana Topeng as tion as a noble dance, based on the philo- part of the Wayang Topeng derived from the sophical foundations called “Kawruh Joged popular dance and created a dance called Mataram” which is the art of inspiration for Beksan Golek Menak. Both types of dance are a dancer consisting of four main elements also legitimized as classical dance Gagrag called sawiji, greged, sengguh, and ora ming- Ngayogyakarta. The Beksan Golek Menak, that kuh, and the rule is practically the aesthetic is created by Sultan Hamengku Buwono IX concepts called wiraga, wirama, and wirasa. in 1941, until now becomes a unique cha- Various types of classical Gagrag Nga- racteristic or dance style of the palace of yogyakarta dance that developed until now Yogyakarta. can be divided into two categories, namely the types of sacred dance that is functioned Bibliography for traditional ceremonies or rituals, and GBPH Suryobrongto secular dance for entertainment purpose 1981 “Sejarah Tari Klasik Gaya Yogyakar- or spectacle for guests and tourists who vi- ta”, dalam Fred Wibowo, (ed)., Me- sited the palace of Yogyakarta. The classic ngenal Tari Klasik Gaya Yogyakarta. Gagrag Ngayogyakarta dance, that has been Yogyakarta: Dewan Kesenian Prop. created since the reign of Sultan Hamengku DIY. 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