Kacapi From West Java

Kacapi a Sundanese musical instruments being played as the main instrument in Sundanese or Mamaos Tembang Kacapi Cianjuran and flute.
Kacapi the Sundanese word also refers to plants Sentul, who believed the wood used to make musical instruments Kacapi.Kacapi parahu is a resonance box of the bottom of a hole resonance to allow the sound out. The sides of this type Kacapi formed such that it resembles a boat. In the past, Kacapi is made directly from a carved wooden blocks.
Kacapi siter is a resonance box with a flat field that is parallel. Similar to Kacapi parahu, the hole is placed at the bottom. The top and bottom sides of the trapezoid shape.
For both types of these Kacapi, each string was tied to a small screw on the top right side of the box. They can be tuned in a variety of systems: pelog, sorog / madenda, or salendro.
Currently, resonance box made by gluing Kacapi sides of the six areas of the wood.

According to its function in the accompaniment of music, played Kacapi as:

1.  Kacapi parent or Indung Kacapi
2.  Kacapi rincik or Anak Kacapi

1. Kacapi Indung

Kacapi ovaries leads the music by giving intro, bridges, and interludes, as well as determine the tempo. For this purpose, use a large Kacapi with 18 or 20 strings.
2. Kacapi rincik

Kacapi rincik enriching musical accompaniment by filling the space between the tones with higher frequencies, especially in the songs remain as in Kacapi bermetrum distilled or Panambih Sekar. For this purpose, use a smaller Kacapi with strings of numbers to 15.

Sumber : http://id.wikipedia.org/wiki/Kacapi

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Saron From Java

Saron or ricik also called, is one of the gamelan instruments including balungan family.
In one set of gamelan usually have 4 saron, and all have versions and slendro slendro. Sharon produces a tone an octave higher than demung, with a smaller physical size. Saron drum usually made of wood, with a shape like a hammer.
Of left-right; saron panerus, saron barung, and demung, of STSI Surakarta
There is the usual way menabuhnya appropriate tone, a tone which returns, or alternating between beating saron saron 1 and 2. Slow and fast depending on the playing of loud weak command of the drums and the type gendhingnya. On the piece Gangsaran describing the battle for example, ricik sounded loud and fast. Gati on the nuances of the piece of military, ricik beating slow but hard. When accompanying the song sounded softly.
In the play saron, your right hand hitting wilahan / sheet metal with a drum, then the left hand punch that knocked wilahan previously to eliminate the hum tone left over from previous beatings. This technique is called memathet (basic words: pathet = push)

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Bonang From Java

Barung Bonang is one part of a set of Javanese gamelan, is divided into two: Bonang Bonang Bonang barung and successor.

Bonang barung-sized, middle-to high beroktaf, is one of the leaders of the instruments in the ensemble. Especially the percussion techniques pipilan, tone patterns are always anticipating the notes that will come to lead the song other instruments .  the type of the piece bonang, bonang barung opener plays the piece (specify the piece to be played) and the guiding groove track piece.  In return wasp-exchange technique, bonang barung not serve as a guide track; he formed patterns songs intertwine with bonang panerus, and the accent accent may make important bonang have now (the songs garnish), usually in a sentence ending song.

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Kendang From West Java

Kendang , Kendhang, or gendang is a Central Javanese gamelan instruments in which one of its main functions to set the rhythm. This instrument sounded by hand, without tools bantu.Jenis a small drum called ketipung, a medium called the drum ciblon / Chebar. The couple have one named ketipung gedhe drums called kalih drums. Kalih played drums on the song or the piece of fine character like Ketawang, gendhing kethuk kalih, and rhythm ladrang dadi. Can also be played on the downbeat quick launch type, ladrang rhythm responsibility.

Kendang played by the most professional gamelan players, who have long plumbed the Javanese culture. Played drums most appropriate pengendang instinct, so when it is played by one person premises anyone else it will be different shades.

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Tari Topeng From West Java

Tari Topeng Cirebon is one of the dances in tatar Parahyangan. Tari Topeng Cirebon, art is original art Cirebon area, including Indramayu and Jatibarang. Mask dance called, because the dancers use masks when dancing. This mask dance yourself a lot of variety, and to experience growth in terms of movement, and the story to be conveyed. Sometimes the mask dance performed by dancers dance solo indecent, or it could be played by several people.

Any other kind of dance this mask is a mask dance wanderer Wungu golden mask is a series of dance styles to tell the queen Kencana Parahyangan Wungu who was being chased by an infatuated Minakjingga prabu addicted to it. Basically each of the masks that represent each character describes the human disposition. Wungu golden, with blue mask, representing the character of a lively but graceful. Minakjingga (also called a wanderer), with a red mask represents the character of the hot-tempered, and impatient tempramental. This dance work Soeradiredja Nugraha.

Hand and body movements are graceful and the music that is dominated by drums and rebab, is another hallmark of a mask dance.

Tari Topeng is art still exists learned in dance studios that exist, and are often staged at the formal occasions, or in other areas of traditional moments.

One is a mask dance maestro Rasinah Mimi, an active dance and teaches art at the Mask Dance Mask Dance studio Mimi Rasinah Pekandangan located in the village, Indramayu, Indramayu. Since 2006, Mimi Rasinah paralyzed, but he is still eager to berpentas, danced and taught dance until his death mask, Rasinah Mimi died in August 2010 at age 80.

 

Sumber : http://id.wikipedia.org/wiki/Tari_Topeng_Cirebon

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Tari Merak From West Java

Tari Merak is one of the various dances that express the creation of new animal life, which peacocks. The procedure and its motion is taken from the life of a peacock who was appointed to the stage by Sundanese artist Raden Tjetje Somantri.

Peacock is beast of chicken, soft fur and have her head like a crown. Life of peacock tail feathers that always develop in order to attract female peacock meninspirasikan R. Tjetje Somantri to make this Tari Merak.
In the show, features that it is visible from the dancers wear clothes that have motifs like peacock feathers. Cain and describe the shape and color of her dress peacock feathers; blue green and / or black. Plus a pair of wings which depict the wings or peacock’s tail is being developed. Peacock picture will be clear by wearing a crown that is placed at the head of each dancer.
This dance is usually danced in unison, usually three or it could be better dancers, each of which has a function as a female and male. Accompaniment tracks that song Tiger Ucul gendingnya usual. In a scene a certain movement waditra bonang sometimes beaten in the timber is very hard to sound hard, it is the movement that was making a pair of peacocks.
With so many dances that were created by Raden Tjetje Somantri, peacock dance is probably the famous dance in Indonesia and abroad. No wonder the Balinese artists as well, including Denpasar ASKI students create a concept Swamp Manuk dance and movement is almost like a Tari Merak

 

Sumber : http://id.wikipedia.org/wiki/Tari_Merak

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Jaipongan From West Java

This dance was created by an artist from Bandung, Gugum Gumbira, circa the 1960s, with the aim of creating an association of music and dance were excavated from the wealth of folk art traditions of the archipelago, particularly in West Java. Although the art of dance including a relatively new creations, jaipongan developed based on folk art that has been developed previously, such as Tap tilu, Kliningan, and Ronggeng. Gumbira attention on folk art tilu Tap one of them is making Treasury know and know very well the patterns of dance traditions that exist in Kliningan / Bajidoran or Tap tilu. Opening movements, pencugan, and several kinds of motion nibakeun mincid of some art was the inspiration for developing the arts jaipongan.

Prior to this emerging form of performance art, there is some influence behind the formation of this social dance. Priangan in urban areas, for example, the elite society, social dance influenced dance Ball Room of the West. While the folk arts, social dance influenced by local traditions. Performances of traditional social dances inseparable from the existence and pamogoran ronggeng. Ronggeng in social dance is no longer working for the ceremony, but for entertainment or to socialize. Ronggeng existence in the performing arts has an appeal that invites sympathy for the pamogoran. For example in tilu Tap dance is so well known by the Sundanese, estimated this art popular around the year 1916. As a folk art performances, art is only supported by simple elements, such as waditra which includes fiddle, drums, two kulanter, three percussion, and gong. Similarly, the dance movements that do not have a standard pattern of motion, a simple dancer costume as a reflection of democracy.

Along with the waning of the above types of art, a former pamogoran (audience participation in the performing arts Tap tilu / Doger / Tayub) turned his attention to performing arts Kliningan, which in the north coast of West Java (Karachi, Jakarta, Purwakarta, Indramayu, and Subang ) known as a pattern Kliningan Bajidoran dance performances and events have in common with the previous art (Tap tilu / Doger / Tayub). In the meantime, the existence of the mask dances Banjet quite popular, especially in Karachi, where some of the motion pattern of dances Bajidoran taken in this Banjet mask. In koreografis dance was still reveal the patterns of tradition (Tap tilu) that contains elements of the motions of opening, pencugan, and some range of motion nibakeun mincid which in turn became the basis of the creation of dance Jaipongan. Some of the basic movements of dance Jaipongan apart from Tap tilu, Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat.

This dance began widely known since the 1970s. The emergence of dance works Gugum Gumbira was originally called Tap tilu development, which is due to basic dance is the development of Tap tilu. The first work is still very strong Gugum Gumbira ibing Tap tilu colors, both in terms of choreography and iringannya, which later became popular dances as Jaipongan.

Jaipongan works first began to be known by the public is dancing “leaves Pulus Keser Bojong” and “Rendeng Bojong” both of which type of dance and dance daughter pairs (male and female). From dance came a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Dedi Pepen Kurniadi. Early occurrence of the dance had become the talk, the central issue is the movement of the erotic and vulgar. However, exposure of some print media, has become a popular name Gumbira Gugum society, especially after the dance was staged in 1980 Jaipongan TVRI station in central Jakarta. The impact of further increasing the popularity of the frequency of performances, both in television media, as well as a celebration of celebrations organized by the private sector and government.

Jaipongan presence has contributed greatly to the activist art of dance to more actively explore the types of folk dances that were previously less attention. With the advent of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by employers pubs invited guest nights as a decoy, wherein the further development of this kind of business opportunities created by the instigators of dance as an economic empowerment venture with Dancing names or groups in some areas of West Java, for example in Subang with Jaipongan style “kaleran” (north).

Characteristic style Jaipongan kaleran, the fun, erotic, humor, passion, spontaneity, and simplicity (naturally, as it is). This was reflected in the pattern of presentation of dance on the show, there is a given pattern (Ibing pattern) as in art Jaipongan in Bandung, there are also dances that are not patterned (Ibing Saka), for example in art Jaipongan Subang and Falkirk. This term can be found in Jaipongan kaleran style, especially in Subang. In its presentation, this kaleran Jaipongan style, as follows: 1) Tatalu; 2) Develop Gadung; 3) Fruit Kawung Gopar; 4) Opening Dance (Ibing pattern), usually performed by a single dancer or Sinden Tatandakan (sinden attack but can not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, when the show is part of the audience (bajidor) Sawer money (jabanan) as regards the outboard. Jeblokan term is defined as a couple who lived between sinden and the audience (bajidor).

Further developments occur in taahun dance Jaipongan 1980-1990’s, where Gugum Gumbira create a dance-like Toka Toka, Setra Sari, Sonteng, Pencug, Heron dazed, procession-the procession leaves Puring, Rawayan, and Dance Kawung Anten. Dances of several dancers appeared reliable Jaipongan include Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.

Today Jaipongan dance should be called as one of identity keseniaan West Java, it is evident in several important events pertaining to guests from foreign countries who come to West Java, it was greeted with a dance performance Jaipongan. Similarly with art missions to foreign countries, always equipped with a dance Jaipongan. Jaipongan dance-art influences many other arts in the community of West Java, both in the art of wayang, gamelan, Genjring / flying, Kacapi jaipong, and almost all the performances and the music of the people who collaborated with the modern dangdut Jaipong Pong-Dut into art. Jaipongan has diplopori by Mr. Nur & Leni

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