ABSTRAKTari Nirbaya karya Setyastuti, merupakan sebuah karya tari yang terinspirasi dari ‘edan-edanan’. ‘Edan-edanan’ merupakan rangkaian upacara yang harus ada saat ritual upacara temanten agung di Kraton Yogyakarta. Proses terciptanya tari Nirbaya diawali saat Setyastuti melihat secara langsung rangkaian upacara perkawinan yaitu ‘edan-edanan’ dalam prosesi pernikahan GBPH Cokroningrat, yaitu putra Sri Sultan Hamengkubuwana IX. Keberadaan ‘edan-edanan’ dalam upacara temanten agung Kraton Yogyakarta merupakan sebuah ritual adat yang berfungsi sebagai penolak bala. Figur yang unik yang bertugas sebagai cucuk lampah dan diperankan oleh abdi dalem khusus yang dipercayai dapat mengusir hal-hal gaib yang dapat menganggu acara. Nirbaya dalam bahasa Jawa yang artinya ora ana alangan; ora ana bebaya (tidak ada halangan; tidak ada bahaya), sehingga kata Nirbaya dapat diterjemahkan sebagai sesuatu untuk menolak bahaya atau menghalau dari yang sifatnya negatif. Ditarikan oleh sepasang penari laki-laki dan perempuan, dengan tidak melupakan esensi gerak tari gaya Yogyakarta yang dirancang dengan nuansa komikal yang diwarnai gerak-gerak improvisasi.Terinspirasi dari tradisi itulah, tari Nirbaya diciptakan untuk mewakili Daerah Istimewa Yogyakarta dalam rangka Festival Tari Nusantara pada tanggal 31 Desember 1989. Dalam perspektif fenomenologi penelitian ini menampakkan sebuah fenomena kondisi faktual di masyarakat, setelah tari Nirbaya dipentaskan di Jakarta menampakkan tari Nirbaya tetap difungsikan untuk keperluan upacara pernikahan dan berkembang sampai sekarang. Dalam berbagai peristiwa tersebut menampakkan unsur gerak improvisasi, menyebabkan terjadinya perubahan sesuai dengan kreativitas penarinya. Perubahan yang mencolok adalah pada gerak improvisasi, pelaku, pola lantai, penari, rias dan busana sehingga bentuk penyajiannya mengalami perubahan.ABSTRACTNirbaya dance by Setyastuti, is a new dance work inspired by 'edan-edanan'. 'edan-edanan' is a series of ceremonies that must be present during the ritual of the temanten agung ceremony, especially at the Yogyakarta Palace. The creation process of the Nirbaya dance began when Setyastuti saw firsthand the series of wedding ceremonies, namely 'edan-edanan' in the wedding procession of GBPH Cokroningrat, the son of Sri Sultan Hamengkubuwana IX. The existence of 'edan-edanan’ in the ceremony of temanten agung Kraton Yogyakarta is a traditional ritual that functions as a repellent to disaster. The unique figure who serves as a cucuk lampah and is played by the abdi dalem, specifically becomes the figure of a lunatic who is often called 'edan-edanan' '. This figure portrays a figure as ‘edan-edanan’ just acting, but not crazy. It is the form of a madman that is believed to be able to ward off magical things that can interfere with the event. According to Setyastuti, 'edan-edanan' is a unique figure, when a dance is made it looks interesting without forgetting the nuances of classical dance in Yogyakarta style and the nuances of the rituals of the great temanten ritual in the Yogyakarta Palace. Inspired by this tradition, Setyastuti finally created the Nirbaya dance in the framework of the Festival Tari Nusantara in Jakarta representing the Special Region of Yogyakarta on December 31, 1989. Nirbaya is in Javanese which means ora ana alangan; ora ana bebaya (no obstruction; no danger), so that the word Nirbaya can be translated as something to reject danger or drive away from negative things. Danced by a pair of male and female dancers, not forgetting the essence of Yogyakarta-style dance movements designed with comical nuances tinged with improvised movements. In a phenomenological perspective, this research shows a phenomenon of factual conditions in society, after the Nirbaya dance was staged in Jakarta, it shows that the Nirbaya dance is still used for the purposes of wedding ceremonies and is developing until now. In various events, the elements of improvisational motion are seen, causing changes to occur according to the creativity of the dancers. The striking changes are in the improvisation movement, actors, floor patterns, dancers, make-up and clothing so that the form of presentation changes.
Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu
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