KAJIAN ETNOKOREOLOGI TARI WAYANG INDRAJIT DI SANGGAR KENCANA UNGU DESA MERTASINGA KECAMATAN GUNUNG JATI KABUPATEN CIREBON

• Main Author: Bernita Kirana Lestari, - (Author)
• Format: Book
• Published: 2019-07-24.
• Subjects: Thesis; NonPeerReviewed
• Online Access: Link Metadata
• Notes: http://repository.upi.edu/38465/1/S_STR_1504398_Title.pdf; http://repository.upi.edu/38465/2/S_STR_1504398_Chapter1.pdf; http://repository.upi.edu/38465/3/S_STR_1504398_Chapter2.pdf; http://repository.upi.edu/38465/4/S_STR_1504398_Chapter3.pdf; http://repository.upi.edu/38465/5/S_STR_1504398_Chapter4.pdf; http://repository.upi.edu/38465/6/S_STR_1504398_Chapter5.pdf; http://repository.upi.edu/38465/7/S_STR_1504398_Appendix.pdf
• Keywords: GR Folklore; NX Arts in general

ABSTRAK Tari Wayang Indrajit merupakan kesenian tradisional yang tumbuh dan berkembang di kalangan Keraton Kasepuhan Cirebon dan kemudian direvitalisasi kembali oleh Bapak Elang Panji Jaya di Sanggar Kencana Ungu Desa Mertasinga Kecamatan Gunung Jati Kabupaten Cirebon. Tari Wayang Indrajit ini menggambarkan tokoh pewayangan Indrajit saat sedang berperang melawan Sri Rama. Penelitian ini menggunakan deskirptif analisis yang dikaji mellaui Kajian Etnokoreologi untuk menggambarkan dan menjelaskan masalah-masalah yang berkaitan dengan struktur penyajian Tari Wayang Indrajit. Berdasarkan gerak, rias dan busananya serta nilai yang terkandung di dalamnya. Teknik Pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi, dan studi pustaka serta analisis data menggunakan triangulasi. Berdasarkan pengkajian etnokoreologi pada Tari Wayang Indrajit maka dapat disimpulkan bahwa kategori gerak locomotion (berpindah tempat) diwakili oleh gerak Gedig, gerak gesture (maknawi) diwakili oleh gerak Cimande, gerak pure movement (gerak murni ) diwakili oleh gerak Adeg-adeg, dan gerak botton signal (gerak penguatan) diwakili oleh gerak Adeg-adeg Variasi. Rias pada Tari Wayang Indrajit mengacu pada rias karakter, sedangkan busananya mengimitasi karakter Wayang Indrajit dan lebih menonjolkan identitas daerah dengan penggunaan kain batik motif mega mendung khas Cirebon. Berdasarkan hal tersebut dapat disimpulkan bahwa Tari Wayang Indrajit merupakan salah satu tarian wayang Cirebon yang tumbuh dan berkembang dilingkungan keraton dengan menonjolkan ciri khas kental kebudayaan cirebon. Kata kunci : Etnokoreologi, Tari Wayang Indrajit, Cirebon ABSTRACT Indrajit Puppet Dance is a traditional art that grew and developed among the Cirebon Kasepuhan Palace and was later revitalized by Mr Elang Panji Jaya in Sanggar Kencana Ungu Village Mertasinga Gunung Jati District Cirebon. This Indrajit Puppet Dance depicts Indrajit puppet characters while fighting Sri Rama. This study uses deskirptif analysis which is examined through the Ethnochoreology Study to describe and explain problems related to the structure of presentation of Indrajit Puppet Dance. Based on motion, makeup and fashion and the values contained in it. Data collection techniques used include observation, interviews, documentation, and literature studies and data analysis using triangulation. Based on ethnocoreological studies on the Indrajit puppet dance it can be concluded that the locomotion (displaced) motion category is represented by the Gedig motion, gesture (meaning) motion represented by the motion Cimande, the pure movement motion represented by the motion of Adeg-adeg, and motion botton signal (strengthening motion) is represented by the motion of Adeg-adeg Variation. Rias in Indrajit Puppet Dance refers to character makeup, while the fashion imitates the character of Indrajit Puppet and further highlights the identity of the area with the use of Cirebon mega mendung batik's motif typical of Cirebon. Based on this, it can be concluded that Indrajit Puppet Dance is one of the Cirebon puppet dances that grows and develops in the palace environment by highlighting the thick characteristic of Cirebon culture. Keywords: Ethochoreology, Indrajit Puppet Dance, Cirebon