Jaipong dance

Arranged by :
1. Selpia
2. Asty amanda
3. Anisa afrida
4. Alya attasya
5. Angela amanda
 Foreword
We offer our thanks to the presence of allah SWT, thanks
to his grace and grace, so that l can complete it in order to
fulfill the task of basic cultural studies. L hope this paper
can be used as a reference or guide for the readers.
Knowledge about basic culture in indonesia is very
much, one of them is jaipong dance. This paper is
presented based on observations from various sources of
information, references, and news. Hopefully this paper
can provide broader insights and make knowledge for
readers, especially students, l realize that this papers on
the art of jaipong dance can be learned and its benefits
can provide inspiration for us all.

cup tau ga tarian jaipong yang

Wah iya jadi kemarin kita lihat itu ternyata
penasaran? mempunyai sejarah loh!

Kalo penasaran yuk kita

belajar!
 history

Jaipongan was born through a creative process from

the cold hands of H. Suanda around 1976 in
karawang, jaipongan is a claim that combines several
elements of the karawang tradition of arts such as
martial arts, wayang golek, banjet masks, tap tilu and
others. jaipongan in karawang grew rapidly in 1976,
marked by the emergence of the recording jaipongan
suanda grup with simple instruments consisting of
drums, percussion, kecrek, goong, rebab and sinden or
interprters. the media label (indie label) jaipongan began to be distributed independently by H
suanda in the karawang region and surrounding areas. Unexpectedly jaipongan received a
warm walcome, then jaipongan became a means of entertaiment for the karawang
community and received a sizable appreciation from all the karawang people and bacame a
new phenomenon in the arst and culture space of the karawang culture, especially the
performing arts of folk entertaiment. Jaipongan’s position at that time was an alternative
entertaiment performace art from traditional arts that had grown and developed first in
karawang such as martial arts, benjet mask, tilu tap, tarling and wayang golek. The existence
of jaipong gives a new and different color and style in its packaging from, starting from the
arrangement of the musical composition ot the dance compostion.
Meybe some of us noly know the origin of the jaipong dance from bandung or don’t even
know where it came from. Quoted from the statement of the head of the karawang culture and
tourism office (disbudpar), acep jamhuri “jaipong is orginally from karawang. Born since
1979 from topeng mask. Then brought to bandung by an artist there, gugum gumilar. Finally
it is packed with suwanda. When successful, the good thing is bandung. Karawang is only
known for its drum or nayaga (music player). So now we at disbudper will try to explore
again the jaipong dance art that this is the real art that comes from karawang”. This dance
was brought to the city of bandung by gugum gumbira, around the 1960s, with the aim of
developing dances from karawang in the city of bandung, which created a type of social
music and dance that was unearthed of the pepole of the arhipelago, especially wast java.
Although it is a relatively new dance creation, jaipong is developed besed on folk art that has
developed previously, such as tuk tilu, kliningan, and ronggeng. Gumbira’s attention to folk
art, one of which is the tap tilu, made him well aware of the vocabulary of traditional dance
patterns that existed in kliningan / bajidoran or tap tilu. Opening movements, picking,
nibakeun and various mincid motions from several arts become inspiration to develop
jaipongan art.
 Before thia from of performance art emergend, there were several influences that formed the
basis of the formation of this social dance.
In the urban area of priangan, for example, in elite
societies, social dance is influenced by western ball room
dances. While in filk art, socila dance is influenced by
local traditions. Performances of traditional social dances
are inseperable from the existence of ronggeng in social
dance on longer functions for ceremonial activities, but
for entertainment or socializing. The existence of
ronggeng in the performing arts has an attraction that
invitrs sympathy of the pamogorane. For example, in the
krtuk tilu dance, which is so well known by the sundanese
people, it is estimated that this art was popular around
1916. As a folk performing arts, this art is only supported
by simple elements, such as waditra which includes
fiddle, kendang, two culinary, three per cussion and gong.
Likewise, the dance movements that do not have a standard pattern of motion, simpie dancer
costumes as a reflection of domocracy.
Along with the fading type of art above, the former pamogoran (audience who played an
activerole in the performing arts of tapuk tilu / dogar / tayub) shifted his attention to the
performing arts of cliningan, which in the north coast of west java (karawang, bekasi,
purwakarta, indramayu, and subang) known as ciliningan bajidoran whose dance patterns and
event events have similiarities to previous art (tap tilu / doger / tayub). In the meantime, the
existence of dences in the banjet mask is quite popular, especially in karawang, where some
bajidoran movement patterns are teken from the dance in the banjet mask. Cchoreographcally
the dance still shows traditional patterns (tap tilu) which contain elements of opening,
picking, nibakeun and various mincid movements which in turn become the basis for the
cration of the basic movements of the jaipongan dance aside from tuk tilu, lbing bajidor and
mask are tayuban and martial arts.
 This dance began to be wideiy known since the 1970s. The
emergence of a dance by gugum gumbira was originally called
the tilu tilu develpoment, which was because the dance’s
foundation was the tilu tap. The first work of gugum gumbira
is still very thick with the color ibing in terms of choreography
and accompaniment, whch later the dance became popular as
jaipongan.

The first jaipongan works that began to be known by the public are the dance “daun pulus
kaser bojong” and “rendeng bojong”which are both types of female dance and paired dance
(male and female). From the dance emerged several names of reliable jaipongan dancers such
as tati saleh, yeti mamat, eli somali, and pepen dedi kurniadi. The biginning of the
appearance of the dance had become a conversation, ulgar. However, from the exposure of
several print media, the name gugum gumbira began to be known to the public, especially
after the jaipongan dance in 1980 was staged on tvri jakarta central station. The impact of this
popularity has further increased the frquency of performaces, both in television media,
celebrations and celebration organized by the private sector and government.

The presence of jaipongan contributed signifificantly to dance activists to be moe active in

exploring the types of folk dancers that were previously lacking in attention. With the
emergenceof jaipongan dance, utilized by dance activists to hold jaipongan dance courses, it
is also used by businessmen at night pubs as invited
guests, where further development of business
opportunities of this kind is formed by dance activists
as an economic empowerment effort by the name of the
dance studio or groups in several regions of west java,
for example in subang with the style “kaleran”
jaipongan (north).

Characteristics of jaipongan kalerang style, namely cheerfulness, erotic, humorous,

uplifting, spontaneity, and simplicity (natural,as is). This was reflected in the dance
presentation patterns in the performance, some were given a pattern (lbing pattern) as in the
jaipongan art in bandung, there were not patterned (lbing saka), for exampie in the jaipongan
subang and karawang. This term we can find in jaipongan kaleran style, especially in the
subang area. In its presentation, jaipongan kaleran style, as follows:
 1) Tatalu
2) Gadung flower
3) Goper kawung fruit
4) Opening dance (lbing pola), usually performed by a single dancer or sinden
tatambat (attacking sinden but not able to sing but dancing to the song sinden /
interpreter)
5) Jeblokan and jabanan, are part of the show when the audience (bajidor) sawer
money (jabab) while greeting sticky. The term jeblokan is defined as a cuple
who settled between sinden and the audience (bajidor).

The development of the jaipongan dance took place in the 1980-1990s, where gugum
gumbira created other dances such as toka-toka, setra sari, sonteng, pencug, egret mangut,
puring daun puring, rawayan, and kawung anten dance. From these dances emerged several
reliable jaipongan dancers inculding lceu effendi, yumiati mandiri, miming mintarsih, nani,
erna, mira tejaningrum, ine dinear, ega, nuni, cepy, agah, aa suryabrata, and asep.
Today jaipong dance may be called as one of the identity of the beauty of west java, this is
seen in several impotant events relating to
guests from foreign countries who come to
west java, than welcomed with jaipongan
dance performances. Likewise, art missions
to foreign countries are always equipped
with jaipongan dance. Jaipongan dance
influences many other arts in west java
society, both in wayang, degung, genjring /
float, jaipong kacapi, and almost all folk
performances as well as in modern dangdut
music collaborated with jaipongan, which
has been diplomatically promoted by Mr. Nur and leni.
 Moment

Usually the jaipong danced at certain events such as:

A. For traditional ceremonies

One of the functions of dance as a

means for traditional or religious
ceremonies, and always has special
criteria on the performance such as:
performed at a certain time, danced
by selected dancers, performed at
certain places, and generally use
offerings. Examples such as the
gantar dance originating from borneo.

1. Traditional or religious ceremonies

It is a dance that is used for the purpose of religious ceremonies, some examples
such as dances originating from the regions of bali such as sang hyang, gabor,
puppet uwong, gambuh, etc. Then from the the west java area ngalase dance, from
east java senyang dance, from sumatra tortor dance, from papua tri tewadan, etc.

2. Ceremonial greatness ceremony / palace

It is a dance that is used for the sake of the ceremony, for example such as the
legong kraton dance from the bali area, the bedoyo semang dance from
yogyakarta, bedoyo kesawang from surakarta, srimpi from east java, etc.

3. Important cermonies in human life

Is a dance that is considered important in human life. For example, such as the
harvest celebrated with pakerana dance from the southeast sulawaesi region, or
there is also a mamimbo dance that originates from the toraja region. Other
examples of dance art such as danxes at the death ceremony are the ma’bodang
dance from the sulawesi region, and work dances from the blood of east selawesi.

B. As a means of entertainment

Dances as a means of entertianment

generally dances are staged as a means
to entertain the audience, so that the
 audience feels entertained or happy because they watch the dance with beautiful body
movements.

C. As a show media

Dance as a means for performance media.

For example, like the ramayana ballet
dance, this dance is a media for
performance in the perambanan tample.

D. As a educational medium

Dance as a medium for education, usually

in dance there is a moral content in social
life.

E. As a means of cleansing the soul

Dance as a means to cleanse the soul,

meaning that the dance is played by artists
who aim to deepen the appreciation of the
art of dance.

1. Openings
This movement is an opening movement when the performance will begin. Usually the
dancers make a circular walk, while playing a shawl around the dancer's neck. The graceful
dancer's movement makes the audience immediately interested to see this dance.
2. Pencungan
This movement is a dance movement with a fast tempo, and accompanied by music and
songs that are fast too. This Pencungan Movement is a lively dance movement. The audience
also carried away and enjoyed this dance.
3. Ngala
This movement is a dance movement like broken. Switching from point to point is done with
a very fast tempo. Ngala movement is a movement that adds to the uniqueness of this dance.
4. Pinch
This movement is a movement from one variety of movements to another. When dancing,
this movement is carried out after there is a movement.
After the movement, let's listen to Jaipongan dancers' attire. The clothes that dancers wear
when performing are very diverse. Clothing in traditional dance and new style dance there are
different patterns. But the clothes worn during the stage remain traditional clothing such as
1. Sinjang
Although now there are many creations from this dance outfit. But at first the clothing worn
was cloth that resembled trousers. These trousers are called Sinjang.
2. Sampur
Long cloth resembling a shawl placed around the dancer's neck is called sampur. The cloth is
the main property in this dance, because every movement must play sampur. Dancers play
sampur with gracefully making this dance unique.
3. Apok
Apok is the tops of dancers. This outfit also has buttons like a piece of clothing in general.
Apok is decorated with floral embroidery on the corners of clothes.
Conclusion of jaipong dance
From the exlpanation above, it can beconcluded that the notion of dance is an art that uses
rhythmic gestures, carried out at a certin place and time with the aim as an expression of
feelings, intentions, and thoughts. The functiono ofdance in general is
1. As a means for traditional or religious ceremonies
2. As a means of entertainment
3. As an educational medium
4. As a show medi
The types of dance based on their photography are ceremony dance, social dance. While
based on the pattern dance, and creative dance.