Jaipong Dance, Traditional Dances From West Java
Jaipong dance known as Jaipongan is a traditional dance created in 1961 by Gugum Gumbira. At that time, President Soekarno banned rock and roll music and other western music from playing in Indonesia, local artists were then challenged to compensate for the ban by reviving the traditional art. Jaipong dance is a blend of tapu tilu movement, mask dance banjet, and also pencak silat (martial arts).
Ketuk tilu is very popular in the village, but at the time it is considered bad among urban communities, due to its sensual and erotic movements. Not infrequently the dancers ketuk tilu doubles as a prostitute. In his work, Gugira's Gugum was trying to preserve the basic form of tap, but with the accelerated music tempo. So it can make the dancers become more active. He also retained the traditional form of ketuk tilu, in which the dancers acted as singers, but combined with the urban gamelan and augmented by the drums. The name of this jaipong is the onomatope of the drum sound that is often heard among these dances. The mouth of the audience and also the musicians usually shout out the artificial accents of the drum sound, ie ja-i-pong, ja-ki-nem, or ja-i-nem. But there is also a saying that this jaipong name refers to the sound of drums, namely plaque, ping, pong.
At the beginning of its emergence, this jaipong is a modern dance different from the previous traditional Sundanese dance that put forward the courtesy and refinement of the dancers. Dancers (who are usually women) even lowered their eyes, and should not look at their partner. Another with the jaipong dance that at that time has been influenced by the culture of Western dance in the ballroom, the dancers are required to focus on looking at their partner as a form of visual communication.
Jaipong dance began to appear publicly in 1974 in the Hong Kong Arts Festival, involving singers-dancers Tatih Saleh, Gugum Gumbira as a choreographer, and also Nandang Barmaya, a musician as well as a puppeteer. At that time the government had tried to ban this dance because it felt tend to be immoral and sensual. But instead of dimming, this jaipong even more popular, especially in the 80s. The form of jaipong dance at that time is no longer presented as a social dance like ronggeng, tayub or ketuk tilu, where the position of the audiences parallel to the dancers, but as a stage dance. Jaipong is usually performed by female dancers, but can also be done in pairs.
Jaipong dance has two categories in its movement:
1. Ibing Pattern (Patterned Dance)
This dance is generally performed in a ruptured or choreographed group, presented onstage only for spectacle purposes only.
2. Ibing Saka (Random Dance)
Presentation of this type of jaipong popular in Subang area and also in Karawang, also known as Bajidor. The Bajidor itself is often associated as the Barisan Jelama Boraka acronym, the Durhaka People's Barisan. This dance is more populist because the position of the audience is parallel to the dancers. And the audience can join the dance.
Jaipong dance movement series can be divided into 4 (four) parts:
Basic movements in this dance are often called 3G acronyms from Geol, which is the rotating hip movement, Gitek, which is the movement of hips stomping and swinging, Goyang, the movement of the hips swing without stomping. Currently, jaipong dance may be called as one of the identities of West Java, it is seen in some important events in West Java. Guests from foreign countries who come to West Java will usually be greeted with performances of jaipong dance. Likewise with the arts missions to foreign countries.
Jaipong dance also influences many other arts in West Java society, whether it is in wayang art performance, degung, genjring or terbangan, jaipong, and also almost all popular performances and modern dangdut music that collaborated with Jaipong.
Ketuk tilu is very popular in the village, but at the time it is considered bad among urban communities, due to its sensual and erotic movements. Not infrequently the dancers ketuk tilu doubles as a prostitute. In his work, Gugira's Gugum was trying to preserve the basic form of tap, but with the accelerated music tempo. So it can make the dancers become more active. He also retained the traditional form of ketuk tilu, in which the dancers acted as singers, but combined with the urban gamelan and augmented by the drums. The name of this jaipong is the onomatope of the drum sound that is often heard among these dances. The mouth of the audience and also the musicians usually shout out the artificial accents of the drum sound, ie ja-i-pong, ja-ki-nem, or ja-i-nem. But there is also a saying that this jaipong name refers to the sound of drums, namely plaque, ping, pong.
At the beginning of its emergence, this jaipong is a modern dance different from the previous traditional Sundanese dance that put forward the courtesy and refinement of the dancers. Dancers (who are usually women) even lowered their eyes, and should not look at their partner. Another with the jaipong dance that at that time has been influenced by the culture of Western dance in the ballroom, the dancers are required to focus on looking at their partner as a form of visual communication.
Jaipong dance began to appear publicly in 1974 in the Hong Kong Arts Festival, involving singers-dancers Tatih Saleh, Gugum Gumbira as a choreographer, and also Nandang Barmaya, a musician as well as a puppeteer. At that time the government had tried to ban this dance because it felt tend to be immoral and sensual. But instead of dimming, this jaipong even more popular, especially in the 80s. The form of jaipong dance at that time is no longer presented as a social dance like ronggeng, tayub or ketuk tilu, where the position of the audiences parallel to the dancers, but as a stage dance. Jaipong is usually performed by female dancers, but can also be done in pairs.
Jaipong movement
Jaipong dance has two categories in its movement:
1. Ibing Pattern (Patterned Dance)
This dance is generally performed in a ruptured or choreographed group, presented onstage only for spectacle purposes only.
2. Ibing Saka (Random Dance)
Presentation of this type of jaipong popular in Subang area and also in Karawang, also known as Bajidor. The Bajidor itself is often associated as the Barisan Jelama Boraka acronym, the Durhaka People's Barisan. This dance is more populist because the position of the audience is parallel to the dancers. And the audience can join the dance.
Jaipong Pattern
Jaipong dance movement series can be divided into 4 (four) parts:
- Aperture, the opening movement,
- Pencugan, which is part of the collection of movements,
- Ngala, can also be called a point that is the dismissal of a series of dances, and
- Mincit, ie displacement or transition.
Basic movements in this dance are often called 3G acronyms from Geol, which is the rotating hip movement, Gitek, which is the movement of hips stomping and swinging, Goyang, the movement of the hips swing without stomping. Currently, jaipong dance may be called as one of the identities of West Java, it is seen in some important events in West Java. Guests from foreign countries who come to West Java will usually be greeted with performances of jaipong dance. Likewise with the arts missions to foreign countries.
Jaipong dance also influences many other arts in West Java society, whether it is in wayang art performance, degung, genjring or terbangan, jaipong, and also almost all popular performances and modern dangdut music that collaborated with Jaipong.
