TARI TOPENG KLANA GAYA MAMA CARPAN DI SANGGAR SENI ASEM GEDE DESA MUNTUR KABUPATEN INDRAMAYU

Khotijah, Siti (2017) TARI TOPENG KLANA GAYA MAMA CARPAN DI SANGGAR SENI ASEM GEDE DESA MUNTUR KABUPATEN INDRAMAYU. S1 thesis, Universitas Pendidikan Indonesia.

[img]
Preview
Text
S_STR_1305334_Title.pdf

Download (354kB) | Preview
[img]
Preview
Text
S_STR_1305334_Abstract.pdf

Download (214kB) | Preview
[img]
Preview
Text
S_STR_1305334_Chapter1.pdf

Download (424kB) | Preview
[img] Text
S_STR_1305334_Chapter2.pdf
Restricted to Staf Perpustakaan

Download (388kB)
[img]
Preview
Text
S_STR_1305334_Chapter3.pdf

Download (436kB) | Preview
[img] Text
S_STR_1305334_Chapter4.pdf
Restricted to Staf Perpustakaan

Download (4MB)
[img]
Preview
Text
S_STR_1305334_Chapter 5.pdf

Download (256kB) | Preview
[img]
Preview
Text
S_STR_1305334_Bliblioraphy.pdf

Download (257kB) | Preview
[img] Text
S_STR_1305334_Appendix1.pdf
Restricted to Staf Perpustakaan

Download (251kB)
[img] Text
S_STR_1305334_Appendix2.pdf
Restricted to Staf Perpustakaan

Download (250kB)
Official URL: https://repository.upi.edu

Abstract

Skripsi ini berjudul Tari Topeng Klana Gaya Mama Carpan di Sanggar Seni Asem Gede Desa Muntur Kabupaten Indramayu. Tari topeng ini merupakan karya Carpan yang struktur pertunjukan, koreografi, rias dan busananya ditata ulang oleh Dede Jaelani Solichin. Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis struktur pertunjukan, koreografi, rias dan busana Tari Topeng Klana Gaya Mama Carpan. Metode penelitian yang digunakan yaitu metode deskriptif analisis melalui pendekatan kualitatif. Berdasarkan hasil penelitian, struktur pertunjukan Tari Topeng Klana Gaya Mama Carpan di Sanggar Seni Asem Gede mengalami perubahan pada pra pertunjukan dan pertunjukan inti tarinya. Pada pra pertunjukan tidak ada ritual puasa yang dilakukan terlebih dahulu oleh penari, sedangkan pada pertunjukan inti, keberadaan penari bodor digantikan oleh penampilan tari Trebang Randu Kentir dan Samba Merah. Tari Topeng Klana Gaya Mama Carpan memiliki gerakan yang unik karena mengadopsi beberapa gerak dari kehidupan masyarakat pertanian dan dari seekor kuda. Gerak khas yang terinspirasi dari kehidupan masyarakat pertanian dalam tarian ini dinamakan gerak ojeng-ojeng, sedangkan gerak yang terinspirasi dari kuda dinamakan jaran kuningan. Gerak ojeng-ojeng terbagi menjadi 4 macam motif yaitu ojeng-ojeng bahu, ojeng-ojeng sepak soder, ojeng-ojeng dengkul dan ojeng-ojeng bokong. Gerak ojeng-ojeng melambangkan seorang petani sedang marah karena sawahnya terkena hama, sedangkan jaran kuningan menggambarkan seekor kuda yang sedang menggamuk. Dilihat dari tata rias dan busananya, tarian ini tidak mengalami perubahan sama sekali, dengan kata lain masih tetap mempertahankan ketradisiannya. Dari hasil penelitian, dapat ditarik kesimpulan bahwa Tari Topeng Klana Gaya Mama Carpan secara struktur pertunjukan mengalami perubahan dari pertunjukan tradisi menjadi sarana pertunjukan, namun dari sisi koreografi, rias dan tata busananya tarian ini tetap mempertahankan sifat-sifat tradisinya.;--- The title of this research proposal is Topeng Klana Dance of Mama Carpan Style at Asem Gede Art Theater, Muntur, Indramayu Regency. This Topeng dance is a creation of Carpan, which its performance structure, choreography, make-up and its dress are re-arranged by Dede Jaelani Solichin. The purposes of this research are to describe and analyze the performance structure, choreography, make-up and its dress of Topeng Klana dance of Mama Carpan Style. The research method used in this research is analysis descriptive through qualitative approach. According to the result of the research, the performance structure of Topeng Klana dance of Mama Carpan Style at Asem Gede Art Theater has changed on its pre and main dance performance. There is no fasting ritual by the dancer on pre-performance, while on main performance, the position of bodor dancer is repositioned by the performance of Trebang Randu Kentir and Samba Abang dance. Topeng Klana dance of Mama Carpan Style has a unique movement since it adopts some movements from the agriculture society life and a horse. The special movement of this dance which inspired by an agriculture society life is named ojeng-ojeng movement, while the movement which inspired by a horse is named jaran kuningan. The ojeng-ojeng movement is divided into four types namely ojeng-ojeng bahu, ojeng-ojeng sepak soder, ojeng-ojeng dengkul, and ojeng-ojeng bokong. The movement of ojeng-ojeng symbolizes a mad farmer which his rice field is attacked by pests, while jaran kuningan describes a raging horse. From the make-up and its dress side, the dance is no changes at all, in other words, it retains the traditions. So, according to the result of research data, it can be concluded that Topeng Klana dance of Mama Carpan style has changed from the tradition performance to performance medium in the performance structure, while from the side of choreography and make-up and its dress that the dance still retains its tradition characteristics.

Item Type: Skripsi,Tesis,Disertasi (S1)
Additional Information: No. Panggil: S STR KHO t-2017; Pembimbing: I. Frahana Sekarningsih, II. Sri Dinar.
Uncontrolled Keywords: Tari topeng klana,stuktur pertunjukan, koreografi,rias dan busana, Topeng Klana dance, performance structure, choreography, make-up and its dress.
Subjects: N Fine Arts > NX Arts in general
Divisions: Fakultas Pendidikan Seni dan Desain > Jurusan Pendidikan Seni Tari
Depositing User: Mr mhsinf 2017
Date Deposited: 23 Apr 2018 02:44
Last Modified: 23 Apr 2018 02:44
URI: http://repository.upi.edu/id/eprint/30091

Actions (login required)

View Item View Item