DINAMIKA TARI JAWA GAYA SURAKARTA DI LUAR KERATON DEKADE 1940-2000

SILVESTER PAMARDI, Prof. Dr. Timbul Haryono, M.Sc.

2015 | Disertasi | S3 Pengkajian Seni Pertunjukan dan Seni Rupa

Penelitian berjudul Dinamika Tari Jawa Gaya Surakarta Di Luar Keraton Dekade 1940-2000 ini merupakan usaha untuk menelusuri dan menemukan perubahan-perubahan bentuk, tema dan fungsi dalam waktu tersebut. Pada awalnya tari gaya Surakarta merupakan budaya simbolik sebagai pusaka dan pertunjukan tari di keraton. Pertunjukan itu berupa tari bedaya, srimpi, wireng dan petilan. Tari-tarian tersebut setelah keluar keraton mengalami perubahan bentuk dalam proses adaptasinya. Hal itu terlihat dari munculnya tari dasar Rantaya, yang bersifat teknis. Rantaya ini kemudian menjadi titik tolak perkembangan tari gaya Surakarta. Gejalanya menunjukkan arah yang kian menjauhi dasar-dasar kulturalnya. Tulisan ini untuk mengetahui arah perubahan itu, tujuannya menemukan nilai-nilai substantif tari pada setiap perubahan bentuk, fungsi dan temanya. Pendekatannya berpayung pada Etnokoreologi yang menekankan pada pentingnya pemahaman mengenai bahan dan materi yang terkait dengan pola persebaran gaya, sejarah tradisi lisan, teori tindakan, teori gerak, dan konsep estetis koreografis. Pada dimensi historis dilakukan dengan pendekatan multidimensional yaitu tidak hanya berhenti pada hasil deskripsi fakta kronologis, tetapi diteruskan dengan pencarian jawaban atas pertanyaan “mengapa terjadi : perkembangan?; kesinambungan?; pengulangan?; perubahan?; Langkah-langkah ini perlu agar hasilnya menjadi pengetahuan yang bermakna dan dapat dijelaskan secara lebih luas dan mendalam. Hasil penelitian menunjukkan bahwa dekade 1940-1950an tari keraton terpecah menjadi aliran-aliran tari pendapan, misalnya Aliran Jogomatayan yang gesit dan lincah. Dekade 1950-1970 ditandai dengan berdirinya KOKAR, berubah bentuk menjadi tari gaya Surakarta sebagai ekspresi seni yang bertolak dari tari dasar Rantaya dan Hasthasawanda. Dekade ini mengerucut menjadi dua aliran yaitu gaya Konservatori dan gaya Luar. Dekade 1970-1980an, ditandai dengan berdirinya PKJT, terjadi proses reorientasi tari yaitu memadukan unsur tari keraton, tari rakyat dan tari modern. Masa ini bermuara pada kegiatan tari di Sasonomulyo (1980-2000an) yang melakukan proses reorientasi teknik-teknik baru disebut latihan “injeksi,” kemudian melahirkan gaya Sasonomulya. Pada masa ini fenomena tari gaya Surakarta menjadi tiga bentuk yaitu (1) tari tradisi yaitu gabungan dari gaya Konservatori dan gaya Luar; (2) tradisi baru yaitu gaya Sasonomulya; dan tari Modern yang berorientasi pada nilai-nilai kontemporer.

The research entitled The Dynamics of Surakarta Style Javanese Dance Outside the Keraton during the Decades from the 1940s to 2000s is an attempt to investigate and discover the changes in form, theme, and function that have taken place during this period of time. In the beginning, Surakarta style dance was a symbolic culture that was an heirloom in the form of dance performances inside the palace, or keraton. These performances included bedaya, srimpi, wireng and petilan dances. After leaving the palace, these dances underwent a change in form as a result of their process of adaptation. This is evident in the appearance of the basic dance Rantaya, which was technical in nature. This Rantaya dance subsequently became the foundation for the development of Surakarta style dance. Its phenomena pointed in a direction that led further away from its cultural foundations. In an attempt to discover the direction of these changes, this work hopes to find the substantive values of dance in each change of form, function, and theme. An ethnochoreological approach is used, which emphasizes the importance of understanding the material that is related to the pattern of distribution of a style, the history of oral traditions, the theory of actions, the theory of movements, and the concept of choreographic aesthetics. The historical dimension uses a multidimensional approach which does not end with a description of chronological facts but also continues with a search for the answers to questions such as “why do development; continuity; repetition; change; and dissemination take place?” These steps are needed so that the results will provide knowledge that is meaningful and can be explained extensively and in depth. The results of the research show that during the decade from the 1940s to the 1950s, court dance was divided into different styles of pendapan dance, such as Jogomatayan style, which showed skill and agility. The period between 1950 and 1970 was marked by the birth of KOKAR and the change in form to a Surakarta style dance that was an artistic expression founded on the basic dances, Rantaya and Hasthasawanda. This decade witnessed a concentration of two main styles, namely Conservatory Style and Outside Style. The decade from the 1970s to the 1980s was marked by the opening of PKJT and the process of reorientation of dance to combine elements of court dance, folk dance, and modern dance. This period culminated in the dance activities at Sasonomulyo (1980s-2000s), in which there was a process of reorientation towards new techniques, known as “injection” training, which ultimately gave rise to a new Sasonomulyo Style. During this period, the phenomenon of Surakarta style dance manifested into three forms: (1) Traditional Dance which was a combination of Conservatory Style and Outside Style; (2) the new tradition of Sasonomulyo Style; and (3) Modern Dance that was oriented towards contemporary values.

Kata Kunci : Tari, KOKAR, PKJT, Sasonomulyo, tradisi, modern