Kholik Muslim Falah, - (2024) KAJIAN BENTUK, FUNGSI, SIMBOL DAN MAKNA DALAM TATA RIAS DAN BUSANA TARI BEDAYA RIMBE DI KERATON KANOMAN CIREBON. S2 thesis, Universitas Pendidikan Indonesia.
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Abstract
Seni pertunjukan di Indonesia bisa diidentikkan dengan kegiatan seremonial yang kaya akan makna dan simbolisme. Salah satunya sebagai warisan budaya di Jawa Barat yang bentuk pertunjukan dilakukan secara seremonial adalah Tari Bedaya Rimbe. Tari Bedaya Rimbe di Keraton Kanoman Cirebon memerlukan pemahaman mendalam mengenai elemen-elemen tata rias dan busana yang digunakan dalam setiap pertunjukannya. Penelitian ini bertujuan untuk menganalisis bentuk, fungsi, eknik, dan makna dalam tata rias busana Tari Bedaya Rimbe di Keraton Kanoman Cirebon menggunakan pendekatan kualitatif dengan eknik wawancara, observasi, dan studi dokumentasi. Penelitian menemukan bahwa busana yang dikenakan oleh penari Tari Bedaya Rimbe bersumber dari busana pengantin putri gaya Cirebon kebesaran dengan riasan wajah, mata, hidung, pipi, bibir, dan kening yang memiliki makna simbolik. Fungsi tata rias mencakup aspek praktis, estetis, dan simbolis. Riasan memperbaiki kekurangan wajah dan tahan lama selama pertunjukan, memperindah dan menonjolkan keanggunan wajah penari, serta mengandung nilai spiritual dan budaya keraton. Simbol dan atribut tata rias busana membentuk sikap dan perilaku penari, mencerminkan nilai-nilai luhur keraton. Tata rias dan busana ini mengajarkan penari menjaga sikap sopan dan anggun, baik di dalam maupun di luar pertunjukan, serta menginternalisasi nilai-nilai keraton dalam kehidupan sehari-hari. Tarian ini menjadi media penghormatan dan pelestarian budaya yang kaya makna, memperkuat identitas budaya dan moral penari sebagai bagian dari Keraton Kanoman Cirebon. Performing arts in Indonesia can be identified with ceremonial activities that are rich in meaning and symbolism. One such cultural heritage in West Java, performed ceremonially, is the Bedaya Rimbe dance. The Bedaya Rimbe dance at the Kanoman Palace in Cirebon requires a deep understanding of the makeup and costume elements used in each performance. This research aims to analyze the form, function, symbols, and meanings in the makeup and costumes of the Bedaya Rimbe dance at the Kanoman Palace in Cirebon using a qualitative approach with interview, observation, and documentation study techniques. The study found that the costumes worn by the Bedaya Rimbe dancers are derived from the grand bridal costumes of the Cirebon style, with facial, eye, nose, cheek, lip, and forehead makeup that holds symbolic meaning. The functions of makeup include practical, aesthetic, and symbolic aspects. The makeup corrects facial imperfections and is long-lasting during performances, enhances and highlights the dancers’ facial elegance, and contains the spiritual and cultural values of the palace. The symbols and attributes of the makeup and costumes shape the dancers’ attitudes and behavior, reflecting the noble values of the palace. This makeup and costume teach dancers to maintain a polite and graceful demeanor both inside and outside performances, as well as to internalize the palace’s values in daily life. This dance serves as a medium for honoring and preserving a culture rich in meaning, strengthening the cultural and moral identity of the dancers as part of the Kanoman Palace in Cirebon.
| Item Type: | Thesis (S2) |
|---|---|
| Additional Information: | https://scholar.google.com/scholar?hl=id&as_sdt=0%2C5&q=kholik+muslim+falah&btnG= ID SINTA Dosen Pembimbing Trianti Nugraheni: 5995195 Tati Narawati: 5995150 |
| Uncontrolled Keywords: | Kata Kunci: Rias, Busana, Bedaya Rimbe, Fungsi, Simbol, Makna Keywords: Makeup, Costume, Bedaya Rimbe, Function, Symbol, Meaning |
| Subjects: | L Education > L Education (General) > N Visual arts (General) For photography, see TR > NX Arts in general |
| Divisions: | Sekolah Pasca Sarjana > Pendidikan Seni S-2 |
| Depositing User: | Kholik Muslim Falah |
| Date Deposited: | 29 Aug 2024 07:01 |
| Last Modified: | 29 Aug 2024 07:01 |
| URI: | http://repository.upi.edu/id/eprint/121605 |
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