Since departing from different communities, both Javanese culture on automatically also have different characteristics even contrast. Including dance, both have unique-uniqueness. To dance is included in the dictionary urban elite society and the court further highlight the value of the properties of Alus (smooth, soft), shift (quiet), calm (calm) and jatmika (always polite). Types of dances that go into this category such as dance Bedhaya, Srimpi and Beksan. This is different dances included in the list of culture suburb or rural community. Dance-dance type is characterized by its rough, brangasan, energetic, which all reflect the character or the character of small communities.
Gambyong dance is dance that emerged in the realm of Javanese society periphery but he was able to penetrate the area of special central Javanese kingdom. He is a product of grassroots culture that became the culture of the Javanese nobility. So dance Ganbyong, which originally existed as a small tradition, then in its development into the great tradition.
The ins and outs of this gambyong dance in depth can we telurusuri in his book Sri Rochana Widyastutieningrum (2004), entitled History of Dance Gambyong. In the book Sri Rochana argued that dance began to be used in Fiber gambyong Centhini written on XVVIII century. However, it is estimated gambyong dance dance tledhek or tayub development. This is a show that Gambyong dance is dance that was born from the womb of the periphery. Because tayub ledhek is a mirror of culture or society lower.
Tayub dance itself, in Fiber Sastramirada mentioned have been known since the days of empire Jenggala (around XII century), whereas tledhek dance known since the time of Demak (XV century), called by tledhek singing, which was shown to the accompaniment of tambourines and drums literature begins with vocals.
Gambyong term taken from the name of a dancer tledhek. Dancer named Gambyong this life at the time of Susuhunan Paku Buwana IV in Surakarta (1788-1820). Further, according to Sudibyo ZH, that the existence of a dancer named Gambyong ledhek who have proficiency in dancing and sonority of sound, making an idol of young people in those days.
Future developments
Gambyong dance began to flourish in the era of nail Susuhunan Buwana IX (1861-1893) for services KRMT Wreksadiningrat. Dance was introduced to the public and danced by a waranggana (pesindhen). Because I had switched to the structure of aristocratic society, then this dance experience modification that differentiates it from its original shape. The movements of this dance that was originally very rough start smoothed. This occurs, in particular, when the dance Gambyong emerged as Dance gambyong pareano created by Mrs. Bei Montoraras in 1950. From this, dance gambyong experiencing drastic changes such as dance composition, dance accompaniment, makeup and clothing.
In addition to its changing functions also began to change. When transformed into this Pareanom, dance gambyong which originally functioned only for entertainment or spectacle, then later converted to dance to welcome guests big. Dance Gambyong Mangkunegaran often displayed in the Japanese colonial period, to entertain the Japanese soldiers who came in Mangkunegaran.
In subsequent developments, gambyong dance is also able to stimulate the birth of new forms of dance Gambyong another, which is constructed by a compiler different dance. Like any dance gambyong pickaxe compiled by Soemardjo Hardjoprasanto in 1962, then dance gambyong Gambirsawit compiled by S. Ngaliman in 1970, gambyong dance, and dance gambyong Pancerana in 1981.
In addition to the composition of motion and function, the development of dance lies also gambyong intensifn community activities featuring dance gambyong as in celebration, wedding reception, opening, opening, penajmauan guests and at race events and festivals. This development was also marked by the swelling number of dancers, as dance Gambyong often displayed in bulk.
Things that cause gambyong dance can thrive and enthused by the wider community of which this dance is a form of aesthetic interest. It contains elements of insur skills, flexibility, and agility of a woman's prudery. Agile movement and tend to erotic. Aesthetic value is there in harmony and the harmony between movement and rhythm, especially between the motion and rhythm of the drums. Estetisme Gambyong dance will occur if the dancer is able to animate and express it perfectly, so melahoirkan dance movement is sensual and erotic. To achieve that expression, it is necessary to meet the dancers who jogged satndar Mataram and Hasta Swanda. Thus, allegedly, an expression of erotic, sensual dance Gambyong this is the major attraction in the Java community so easy berekembang. It is also influenced by its properties that njawani, flexible and conditional.
If traced back to the beginning of his birth that comes from dance or dance tayub teledhek, actually almost the same dance ronggeng, Lengger or kethuk Tilu, which is said to plant lust and erotic impressed (Edi Sedyawati: 1984). Or maybe, if for now, by comparing the motion energiknya and erotica and seksualita kevulgaran side, gambyong dance is similar to rocking ngebor.
Symbols entirely cultural authoritarianismIn general, this dance is a symbol Gambyong disappearance of cultural hierarchy. By this we know that the name of aesthetics could not be boxed-box, let alone dibag dikapling-plot-for the structural level of power. Spirit of aesthetics it is okay feriveral born in the territory, but he will bounce and break through the central region. Thus the culture of authoritarianism that is actually something that is ahistorical. Even if there is recognized, it is merely a formalism or institusionalismenya. While the culture itself a more bases itself on aesthetics, ethics and logic can never be strictly fenced.
In the spirit of this aesthetic eventually became unclear where the boundaries of grassroots culture and where the culture of nobles, where the tradition of the palace where the tradition of the periphery, where the treasures of the king where the repertoire of folk and beyond. Yet it turns out the feelings of the nobility also not be fooled if the brand is also interested in the tradition of the outskirts of society. The kings and nobles in the context of social stratification more empower ourselves as a boss that is higher than ordinary people, eventually also subject to the flexibility of movement and a touch of erotica, as well as sensualita seksualita Gambyong. This means that the substance of culture in the realm of logical, aesthetic and ethical is the universal character, dialogue and mutual influence. What a nonsense of a culture or civilization, one hundred percent, can stand as a neutral and autonomous. So if there is an elite class of society or another group that is still strong and uphold the culture of feudalism konserfativ aristokratismenya or lokalismenya blindly, so easy to create a chasm narcissism and anyone who I elo, it mirrors society uncivilized and uncultured.
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