TARI TOPENG KLANA GANDRUNG GAYA WANGI INDRIYA DI SANGGAR MULYA BHAKTI DESA TAMBI KECAMATAN SLIYEG KABUPATEN INDRAMAYU
Ada beberapa Dalang Topeng di Indramayu yang terdapat di Indramayu, diantaranya Dalang Topeng Mimi Rasinah (Almh.), Dalang Topeng Mama Carpan (Alm.) dan Dalang Topeng Wangi Indriya. Dari ketiga Dalang Topeng tersebut, yang masih aktif dalam menari, yaitu Dalang Topeng Wangi Indriya. Tari Topeng Gaya...
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2018-08-28.
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| Summary: | Ada beberapa Dalang Topeng di Indramayu yang terdapat di Indramayu, diantaranya Dalang Topeng Mimi Rasinah (Almh.), Dalang Topeng Mama Carpan (Alm.) dan Dalang Topeng Wangi Indriya. Dari ketiga Dalang Topeng tersebut, yang masih aktif dalam menari, yaitu Dalang Topeng Wangi Indriya. Tari Topeng Gaya Wangi Indriya adalah Tari Topeng yang bukan dari keturunan asli, karena hasil berguru dari Dalang Topeng yang ada di Indramayu dan Tari Topeng Gaya Wangi Indriya yang digemari adalah Tari Topeng klana Gandrung. Tari Topeng Klana Gandrung merupakan Tari Topeng yang sangat sulit untuk ditarikan (dari segi koreografi). Dari segi busana, Tari Topeng ini adanya pensederhanaan busana yang digunakan. Hal ini sejalan dengan tujuan penelitian untuk mendeskripsikan Tari Topeng Klana Gandrung Gaya Wangi Indriya di Sanggar Mulya Bhakti Desa Tambi Kecamatan Sliyeg Kabupaten Indramayu. Pendekatan penelitian ini adalah pendekatan kualitatif dengan metode deskriptif. Data penelitian menggunakan teknik pengumpulan data pada observasi, wawancara, studi dokumentasi dan studi pustaka dengan instrumen penelitian menggunakan pedoman observasi, pedoman wawancara (tak terstruktur), pedoman dokumentasi, pedoman studi pustaka dan teknik validasi yang digunakan adalah triangulasi. Hasil Penelitian ini diperoleh data: (a) Penyajian Tari Topeng Klana Gandrung Gaya Wangi Indriya, (b) Struktur Koreografi Tari Topeng Klana Gandrung Gaya Wangi Indriya, (c) Tata Rias dan Busana Tari Topeng Klana Gandrung Gaya Wangi Indriya. Dengan demikian, tidak semuanya Tari Topeng itu adalah hasil dari keturunan asli, tetapi bisa juga dengan berguru kepada Dalang Topeng yang ada agar dapat dilestarikan dan agar Tari Topeng tidak punah seiring berkembangnya zaman.;---There are several Mask Puppeteers in Indramayu in Indramayu, including the Mastermind of the Mask of Mimi Rasinah (Almh.), The Mastermind of the Mask of Mama Carpan (the late) and the Mastermind of the Mask of Wangi Indriya. Of the three Masked Puppeteers, those who are still active in dancing are the Mastermind of the Mask of Wangi Indriya. Wangi Indriya style Mask Dance is a Mask Dance that is not of original descent, because the results of learning from the Mask Puppeteer in Indramayu and the style Wangi Indriya Mask Dance are favored by Klana Mask Dance. Klana Mask Dance is a Mask Dance that is very difficult to dance (in terms of choreography). In terms of fashion, Klana Gaya Wangi Indriya Mask Dance has the simplification of the clothing used. This is in line with the research objective to describe Klana style Wangi Indriya Mask Dance at Sanggar Mulya Bhakti Village, Tambi Subdistrict, Sliyeg District, Indramayu Regency. This research approach is a qualitative approach with descriptive methods. Research data using data collection techniques on observation, interviews, documentation studies and literature studies with research instruments using observation guidelines, interview guidelines (unstructured), documentation guidelines, literature study guidelines and validation techniques used are triangulation. The results of this study were obtained: (a) Presentation of Klana Gandrung Style Wangi Indriya Mask Dance, (b) Choreography Structure of Klana Gandrung Wangi Indriya style Mask Dance, (c) Makeup and Clothing of Klana Gandrung Wangi Indriya Style Mask Dance. Thus, not all Mask Dance is the result of indigenous descent, but it can also be learned by the existing Mask Mastermind so that it can be preserved and that Mask Dance is not extinct as the times develop. |
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| Item Description: | http://repository.upi.edu/45300/1/S_STR_1403321_Title.pdf http://repository.upi.edu/45300/2/S_STR_1403321_Abstract.pdf http://repository.upi.edu/45300/3/S_STR_1403321_Table_of_content.pdf http://repository.upi.edu/45300/4/S_STR_1403321_Chapter1.pdf http://repository.upi.edu/45300/5/S_STR_1403321_Chapter2.pdf http://repository.upi.edu/45300/6/S_STR_1403321_Chapter3.pdf http://repository.upi.edu/45300/7/S_STR_1403321_Chapter4.pdf http://repository.upi.edu/45300/9/S_STR_1403321_Chapter5.pdf http://repository.upi.edu/45300/10/S_STR_1403321_Bibliography.pdf http://repository.upi.edu/45300/11/S_STR_1403321_Appendix.pdf |