Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama

Ciclia Indraningsih Jeno; Ni Made Arshiniwati; Ida Ayu Trisnawati

doi:10.31091/mudra.v38i4.2038

Symbolic Meaning Relationship between the Condong Character and the Putri in the Gambuh Batuan Dance Drama

Authors

Ciclia Indraningsih Jeno Institut Seni Indonesia Denpasar
Ni Made Arshiniwati Institut Seni Indonesia Denpasar
Ida Ayu Trisnawati Institut Seni Indonesia Denpasar

DOI:

https://doi.org/10.31091/mudra.v38i4.2038

Keywords:

Gambuh, Condong, Putri, Symbolic Meaning, Dance Drama

Abstract

Gambuh is the oldest Balinese theatrical dance drama, with a rich repertoire of dance movements, music, dramaturgy, and costume design, making it the source of Balinese performing arts that emerged later. The main story is about the journey of Prince Panji to find his lover, Princess Candra Kirana. There are two important female characters, namely Condong (servant) and Putri (Princess), who have different social statuses but have a close relationship and play a key role at the beginning of the drama, making them the determinant of the success of the performance. The research aims to reinterpret the meanings contained in the Gambuh dance drama, especially the relationship between Condong and Putri, to offer a living interpretation of local wisdom, pass them on to the next generations, and contribute to building the character of the nation that has nobility and refinement of character. The research was conducted using a qualitative research method, including a literature review, participatory observation, and in-depth interviews in Batuan Village, Gianyar Regency, Bali. The research process begins with a formal description of the characters, dance movements, costumes, and antawacana (dialogue), then the symbolic meaning analysis is carried out using Aesthetic Theory and HG Gadamer and Paul Ricoeur's Hermeneutics approach. The results of the study show that the relationship between the two characters, Condong and Putri, carries the meanings of dedication, sincerity, ethics, and the strength of women - values that are local wisdom but very relevant to women today. The elements of Rwa Bhineda, which are two opposing forces, Trihita Karana, which is harmony with nature, God, and humans, and the Hindu concept of Satyam Sivam Shundaram, which embodies ethical and pure values wrapped in beauty in the Gambuh dance drama - are the essence of Gambuh that is relevant to the present day, making it universal, transcending time and distance.

Downloads

Download data is not yet available.

References

Arini, A.A.A.K. (2011). Gambuh Sebagai Inspirator Seni Pertunjukan Bali - ISI Denpasar | Institutional Repository. https://repo.isi-dps.ac.id/714/

Ariyanto, M. (1985). Gambuh: The Source of Balinese Dance. Asian Theatre Journal, 2(2), 221–230. https://doi.org/10.2307/1124073 DOI: https://doi.org/10.2307/1124073

Arshiniwati, N.M. (2017). Sakralisasi Tari Andir : Wujud, Ideologi, dan Maknanya Bagi Masyarakat Desa Tista Kerambitan, Tabanan. Pusat Penerbitan LP2MPP ISI Denpasar.

Bandem, I.M. (1975). Panitithalaning Pegambuhan. Proyek Pencetakan/ Penerbitan Naskah-Naskah Seni Budaya dan Pembelian Benda-Benda Seni Budaya.

Bandem, I.M (1983). Ensiklopedi Tari Bali. Akademi Seni tari Indonesia (ASTI) Denpasar Bali.

Bandem, I.M., & deBoer, F.E. (2004). Kaja dan Kelod Tarian Bali dalam Transisi, Badan Penerbit ISI Yogyakarta.

Bandem, N.L.N.S.W. (2012). Dharma Pagambuhan. BP Stikom Bali.

Budiarsa, I.W. (2022). Tirta-Rakta-Sastra: Simbolisme Air Dalam Dialog Dramatari Gambuh Gaya Batuan Gianyar. Prosiding Seminar Bali-Dwipantara Waskita, 2(1), 143–151. Retrieved from https://eproceeding.isi-dps.ac.id/index.php/bdw/article/view/342

Dana, B.M. (2022). Identitas Seniman Tari Barong dan Keris terhadap Komodifikasi Tari Sakral di Batubulan. Mudra Jurnal Seni Budaya, 37(3), 265–270.https://doi.org/10.31091/mudra.v37i3.1702 DOI: https://doi.org/10.31091/mudra.v37i3.1702

Dibia, I.W. (2013). Puspasari Seni Tari Bali. Institut Seni Indonesia Denpasar UPT.Penerbitan.

Djelantik, A.A. (1999). Estetika Sebuah Pengantar. MSPI Bandung.

Eiseman JR., Fred B. (1988). Bali Sekala & Niskala, Tuttle Publishing.

Formaggia, M.C. (2000). Gambuh Drama Tari Bali (Jilid 2). Yayasan Lontar.

Adi Gunarta, I.W., & Wayan Arya Satyani, I.A. (2020). Tari Rejang Pala Di Desa Nongan, Kecamatan Rendang, Kabupaten Karangasem: Kajian Bentuk Dan Fungsi. Mudra Jurnal Seni Budaya, 35(2), 172–181. https://doi.org/10.31091/mudra.v35i2.1049 DOI: https://doi.org/10.31091/mudra.v35i2.1049

Indra Wirawan, K. (2021). Teo-Estetika-Filosofis Topeng Sidakarya Dalam Praktik Keberagamaan Hindu Di Bali. Mudra Jurnal Seni Budaya, 36(2), 230–236. https://doi.org/10.31091/mudra.v36i2.1283 DOI: https://doi.org/10.31091/mudra.v36i2.1283

Kieven, L. (2018). Menelusuri Panji dan Sekartaji; Tradisi Panji dan Proses Transformasinya Pada Zaman Kini. Penerbit Ombak.

Kusuma, P., Dharsono, D., Dwi Marianto, M., & Guntur, G. (2022). Analisis Hermeneutika Maskot Osi dan Ji. Mudra Jurnal Seni Budaya, 37(3), 281–288. https://doi.org/10.31091/mudra.v37i3.1889 DOI: https://doi.org/10.31091/mudra.v37i3.1889

Linggih, I. N., & Muka, I. K. (2021). Sasolahan Legong Dedari di Pura Luhur Catur Kanda Pat Sari Pangideran Dewata Nawa Sanggha (Kajian Teo- Estetik). Mudra Jurnal Seni Budaya, 36(1), 81–95. https://doi.org/10.31091/mudra.v36i1.1330 DOI: https://doi.org/10.31091/mudra.v36i1.1330

Sachari, A. (2002). Estetika : Makna, Simbol, dan Daya. Penerbit ITB.

Spies, W., & Zoete, B.D. (2002). Dance & Drama in Bali. Periplus Editions.

Sudana, I.W, dkk. (1992). Laporan Penelitian : Upaya Melestarikan Dramatari Gambuh Pedungan Denpasar – Bali. Dilaksanakan atas Biaya Proyek Operasi dan Perawatan Fasilitas STSI Denpasasr DIP No.443/XXIII/3/-/1992 Tanggal 14 Maret 1992. Direktorat Jendral Pendidikan Tinggi Departemen Pendidikan dan Kebudayaan.

Sudarsana, I. M. (2019). Dramatari Gambuh Gaya Batuan. Widyanatya, 1(1), 108-117. https://ejournal.unhi.ac.id/index.php/widyanatya/article/download/275/221/ DOI: https://doi.org/10.32795/widyanatya.v1i1.275

Sugiartha, IGA. Seramasara, IGN. Dibia, IW. Sudirga, IK. Suartaya, K. Suteja, IK. Suweca, IW. Arshiniwati, NM. Wicaksana, IDK. Garwa, IK. Setem, IW. Sustiawati, NL. Yulianti, NKD. (2019). Sejarah Seni Pertunjukan Kabupaten Gianyar. Pusat Penerbitan LP2MPP Institut Seni Indonesia Denpasar bekerjasama dengan Dinas Perindustrian dan Perdagangan Kabupaten Gianyar. https://repo.isi-dps.ac.id/id/eprint/4596

Suryajaya, M. (2016). Sejarah Estetika. Gang Kabel.

Susilo, E. (1997). Gambuh: A Dance-Drama of the Balinese Courts Explorations in Southeast Asian Studies. Journal of the Southeast Asian Studies Student Association 1(2). https://scholarspace.manoa.hawaii.edu/server/api/core/bitstreams/91248bf3-8ec0-419d-b6cc-c163593ca315/content

Wardizal. (2017). Seni Pertunjukan Gambuh Kajian Makna Dan Nilai Budaya. Kalangwan : Jurnal Seni Pertunjukan, 3(1). https://doi.org/10.31091/kalangwan.v3i1.161

Widjaja, N.L.N.S. (2007). Dramatari Gambuh dan Pengaruhnya pada Dramatari Opera Arja. Desertasi untuk memperoleh Derajat Doktor dalam Ilmu Budaya pada Universitas Gadjah Mada, Yogyakarta.

Wiratini, N.M. (1991). Condong and Its Role in Balinese Dance-Drama. Thesis in University of California, Los Angeles.

Yuliadi, K. (2013). Dari “Arca” ke Arja : Adaptasi “Panji” dalam Pertunjukan Arja di Bali. Berkala Arkeologi, 33(1), 109–120. https://doi.org/10.30883/jba.v33i1.9 DOI: https://doi.org/10.30883/jba.v33i1.9

Zimermann, J. (2015). Hermeneutika Sebuah Pengantar Singkat. Terjemahan dari : Hermeneutics : A Very Short Introduction. Oxford University Press.