Deconstructing The Meaning Of The Representation Of The Sanghyang Gandrung Dance
DOI:
https://doi.org/10.31091/lekesan.v1i2.383Keywords:
sangyang gandrung, history, function, meaningAbstract
This present study explores Sanghyang Gandrung Dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The qualitative approach was employed to implement the critical ethnography of the existence of Sanghyang Gandrung Dance. The study focuses on the identification of the existence of Sanghyang Gandrung Dance and on the description of the form of its performance and meaning as the dance performed at Sidatapa Village, Banjar District, Buleleng, Bali. The result of the study shows that when Sanghyang Gandung Dance was created and how it has been developed cannot be definitely described; however, its existence at Sidatapa Village cannot be separated from the local people’s belief. It was created and has been performed as an attempt to ward off misfortune. It was created and performed to avoid disaster or epidemic locally referred to as mrana, whereas Gandrung Dance was created and performed to be offered to Gods for the abundant agricultural yield. It has usually been performed before Sanghyang Dance is performed. The ceremonial procession during which they are performed is initiated with several traditional activities, starting from a notification which is made for the local people to get involved in the event when cockfighting is held. Then, the procession, which lasts for 42 days (the Balinese calendar-based one month and seven days), is held. They are performed at night from 7.00 to 10 p.m. Indonesia Central Time. The procession starts with Gandrung Dance, which is performed with 9 dancing movements, and then Sanghyang Dance, which is performed with 11 dancing movements. After lasting for 42 days, the procession is closed with a rite locally referred to as tegen-tegenan procession in which agricultural products are carried by those involved in the procession. Sanghyang Gandrung Dance has religious, social and educational functions. The local people perform it to express their thanks to God, ethics and aesthetics, and to ward off misfortune.
Downloads
References
Bandem, I Made dan F. Eugene deBoer. 2014. Kaja dan Kelod Tarian Bali dalam Transisi. ( I Made Marlowe M.B penerjemah). Yogyakarta: ISI Yogyakarta
Brandon, James R. 2003. Jejak-Jejak Seni Pertunjukan di Asia Tenggara (Terj. Soedarsono). Bandung: Pusat Penelitian dan Pengembangan Pendidikan Sini Tradisional Universitas Pendidikan Indonesia (P4ST UPI).
Departemen Pendidikan dan Kebudayaan. (1990). Deskripsi Tari Gandrung Lombok Daerah Nusa Tenggara Barat. Kota Mataram: Depdikbud. Kantor Wilayah Provinsi Nusa Tenggara Barat (Proyek Pembinaan Kesenian NTB).
Foucault, Michel. (1969). The Archeology of Knowledge and the Discourse on Languange L’archeologie du Savior (penerjemah). London: Tavistock: Publications Limited.
Kodiran. (1998). “Kesenian dan Perubahan Masyarakat†dalam Kebudayaan Rakyat dalam Perubahan Sosial. Yogjakarta: Makalah disampaikan pada Simposium Internasional Ilmu-ilmu Humaniora ke-5 Fakultas Sastra Universitas Gadjah Mada, 8--9 Desember 1998.
Kusumawardani, Ida. (2012). Makna Simbolik Tari Sontoloyo dalam Jurnal Seni Tari volume I Nomor 1 tahun 2012 halaman 1-6.
Mas, Pinandita Arbawa Tanjung. (2015). Memahami Konsep Siwa-Budha di Bali. Surabaya: Paramita.
Miles, M. B. dan A. M. Huberman. (1992). Analisis Data Kualitatif. [penerjemah: Tjetjep Rohendi Rohidi]. Jakarta: UI Press.
Soedarsono.(2002). Seni Pertunjukan Indonesia di Era Globalisasi. Yogyakarta: UGM Press
Suharti, Mamiek. (2012). Tari Gandrung sebagai Objek Andalan Banyuwangi, dalam majalah Harmoni, volume 12 nomor 1 tahun 2012 hal.24-31
Tim Penyusun. (2008).Kamus Bahasa Indonesia. Jakarta: Pusat Bahasa.
Titib, I M. (2003). Teologi & Simbol-simbol dalam Agama Hindu. Surabaya: Paramita.
Trisnawati, Ida Ayu. (2016a). Marginalisasi Seni Pertunjukan Gandrung di Nusa Tenggara Barat. Disertasi. Denpasar: Program Doktor Pascasarjana UNUD tidak diterbitkan.
Trisnawati, Ida Ayu. (2016b). Pengkemasan Model Kesenian Tradisional Nusa Tenggara Barat Sebagai Sarana Penunjang Daya Tarik Wisatawan Di Kota Mataram. Laporan Penelitian (tidak terbit). Denpasar: ISI Denpasar.
Trisnawati , Ida Ayu. (2016c). Seni Pertunjukan Pariwisata Berbasis Kearifan Lokal “Nilai-nilai Kearifan Lokal dalam Pengkemasan Seni Pertunjukan Pariwisata.Makalah. Disampaikan dalam Seminar Nasional ISI Denpasar.
Trisnawati,Ida Ayu, dkk.( 2016d). “Stand Of Gumi Sasak Pears†Harnomy-based Torism Products in Mataram City, West Nusa Tenggara. Artikel . Majalah Mudra Volume 31, No.3 September 2016, halaman 295-307.
Yaningsih, Sri.(1990). Tari Gandrung. Proyek Penelitian dan Pencatatan Kebudayaan Daerah Departemen Pendidikan dan Kebudayaan RI. Jakarta
Yaningsih, Sri.(1994). Tari Gandrung Lombok. Jakarta: Departemen Pendidikan dan Kebudayaan.