ORIGINAL CULTURE GAMBYONG DANCE FROM CENTRAL JAVA
Gambyong dance is one of the traditional forms of Javanese dance, especially Central Java. Gambyong dance is the result of a combination of folk dance and court dance. The origin of the word 'Gambyong' is the name of an elected woman or woman (entertaining woman) who is clever and skilled in performing beautiful and agile dances. The full name of waranggana mentioned above is Mas Ajeng Gambyong. Initially, this gambyong tariff only applies as part of tayub dance or it can be called taledhek tariff. This taledhek term is defined as the denominator of taledhek dancers, tayub dancers, and gambyong dancers. The history of Gambyong Dance originating from Central Java can also be interpreted as a dance that can be performed by women or dancers who are exchanged as the beginning of a dance performance or can be called a dance party. Gambyongan itself means golekan or 'puppets made of wood' and shows women dancing in wayang kulit work at closing.
Along with the development of an increasingly advanced era, this history also includes development, especially in the form of presentation. Initially, this form of gambyong dance presentation was only published by the creativity and interpretation of the dancers with their own restraints. In any of its sequences, dance movements are presented by dancers on patterns and music from drums. The next or current development, gambyong dance is more assertive than the choreographies of gambyong dance. The development of this choreography, originally started will light up the Gambyong Parareom dance in 1950, precisely in Mangkunegaran, also composed by Nyi Bei Mintoraras. After this appearance, the Gambyong Pareanom dance. Ranging from dancing outside Mangkunegaran, to Gambyong Pangkur, Gambyong Ayun-ayun, Gambyong Sala Minulya, Gambyong Mudhatama, and Gambyong Gambirsawit, Gambyong Campursari, and Gambyong Dewandaru
From the beginning to the initial stage, the development of gambyong dance in the 1980s and was very strong. It is also possible with more forms of offerings that move from the number of movements with volume, tempo, quality of motion, dynamic, and so on. Increasingly involved in the frequency of presentation and number of dancers, can make prices better in terms of the history of the Gambyong Dance in Central Java in a social life. Gambyong dance was only limited to entertainment and entertainment venues, now it has developed into a welcoming facility both in various formal events or not. In addition, with the addition of the number of dancers as an effect of the form of the mass-designed dish and added with distinguishable costs. From children, girls, to mothers or adults. At present, there is nothing interesting even now that it has mingled in various levels of existing education, namely starting PAUD to Higher Education. Likewise gambyong dance is still a sign that the history of ga dance, byong has njawani and thick Javanese characteristics. Still preserved by the younger generations. Yes, who else will maintain and preserve the richness of Javanese art and culture, Indonesia is not from the young generation itself. May be in terms of modification and dance innovation. Although the dance is still the same, by means of innovation and modification, some can be called flexible and will not falter quickly overtaken by the condition of world depravity. To be sure, there is still a handle on Indonesian cultural roots. Later, surely the values of the nation's ancestors will be the most beautiful heritage for the nation.
Along with the development of an increasingly advanced era, this history also includes development, especially in the form of presentation. Initially, this form of gambyong dance presentation was only published by the creativity and interpretation of the dancers with their own restraints. In any of its sequences, dance movements are presented by dancers on patterns and music from drums. The next or current development, gambyong dance is more assertive than the choreographies of gambyong dance. The development of this choreography, originally started will light up the Gambyong Parareom dance in 1950, precisely in Mangkunegaran, also composed by Nyi Bei Mintoraras. After this appearance, the Gambyong Pareanom dance. Ranging from dancing outside Mangkunegaran, to Gambyong Pangkur, Gambyong Ayun-ayun, Gambyong Sala Minulya, Gambyong Mudhatama, and Gambyong Gambirsawit, Gambyong Campursari, and Gambyong Dewandaru
From the beginning to the initial stage, the development of gambyong dance in the 1980s and was very strong. It is also possible with more forms of offerings that move from the number of movements with volume, tempo, quality of motion, dynamic, and so on. Increasingly involved in the frequency of presentation and number of dancers, can make prices better in terms of the history of the Gambyong Dance in Central Java in a social life. Gambyong dance was only limited to entertainment and entertainment venues, now it has developed into a welcoming facility both in various formal events or not. In addition, with the addition of the number of dancers as an effect of the form of the mass-designed dish and added with distinguishable costs. From children, girls, to mothers or adults. At present, there is nothing interesting even now that it has mingled in various levels of existing education, namely starting PAUD to Higher Education. Likewise gambyong dance is still a sign that the history of ga dance, byong has njawani and thick Javanese characteristics. Still preserved by the younger generations. Yes, who else will maintain and preserve the richness of Javanese art and culture, Indonesia is not from the young generation itself. May be in terms of modification and dance innovation. Although the dance is still the same, by means of innovation and modification, some can be called flexible and will not falter quickly overtaken by the condition of world depravity. To be sure, there is still a handle on Indonesian cultural roots. Later, surely the values of the nation's ancestors will be the most beautiful heritage for the nation.
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