Classical is Beautiful

Classical is Beautiful

Love is a double-edged sensation. He makes life beautiful, but it can also turn it into a tragedy. This theme is expressed by the organizers to dance through Aloysia Neneng Yuniati tarinya with her work, "Jati Kumandang", which was held at the Arena Theater in Central Java Cultural Park, Solo, Wednesday (30 / 9) night.

The theme of tragic love is reflected through the romance between Dewabrata and Amba. Puppet seemed able to articulate the human drama that is always repeated, because it always makes people falling in love.

The story of Dewabrata, knights of the kingdom of Astina, who managed to conquer the hearts of the Kingdom of Amba Kasipura, may only be a bitter romance narrative and classic. However, Neneng (27), with her cleverly lifted this repertoire in the form of dance bedhaya working.

Bedhaya is a genre of dance that spelled out "sacred", that should not be called a classic, which in the past could only be performed within the walls of the palace. Bedhaya dance in general as a means of meditation for the audience. The move is slow motion playing; accompaniment consists of the greatness song”Tembang Gedhe”.

Javanese sacred atmosphere intentionally built in crowded performances this audience. The whole wall covered in black cloth, while the stage floor littered with strips of pandanus leaves, fragrant smell of incense floated along on stage. No doubt, the concept of the show that "multimedia" This was a unique and special.

With the concept of working bedhaya dance, repertoire "Teak resonance" appears not as a coherent narrative and realist, but very subtle. This repertoire performed in bedhaya format, which relies on the seven female dancers dressed in the same; jamang serimpi, kemban merah, and purple cloth jarit. They carried bows as property, as well as keris tucked in the front waist.

With only seven female dancers that, Neneng "story" about the play of love Dewabrata-Amba. Neneng which serves as the main dancer Dewabrata and Dewi Amba are played by other dancers. Take the form langenswara, speech delivered by wiraswara story or singer. Once any form of dialogue sung by the dancers, either a nor shared.

Celibacy

The tragedy begins when Dewabrata won the competition and bringing entitled Amba. However, Dewabrata refused to marry because the vow of celibacy that made Amba hurt and disappointed. At the top of strife between them, Amba stabbed dead by Dewabrata keris.

Amba spirits condemned Dewabrata and promised to meet the lover later in the War Senapati Bharatayuda through a woman senopati. Dewabrata who later became Bhishma, elder of the Pandavas, eventually had died at the hands of Srikandi, the wife of Arjuna. Narrated, Bhishma submitted only when the thousands of arrows raining Amba herself because she knew would get him.

The entire drama, from scene to scene, arranged through working on the actual dance bedhaya quite strict in its raw pattern. The slow motion of movement is stayed up, so did the composition and the floor pattern. Whether describing scenes of love and the scene "war" was-once again rely only seven dancers, did not give the impression vulgar or loud, but still subtle.

"In this claim, my concept combines three elements, namely dance bedhaya or rather bedhayan, langenswara, and narrative puppet," said Neneng, a graduate of STSI Solo (2005) and was grow up as a dancer at the Palace Mangkunegaran.

Performance "Jati Kumandang" was special because it managed to take advantage, or more precisely to revitalize, the power of classical dance. Retno Maruti dance stylist ever worked on "Abhimanyu Gugur" (1976-2002) with a similar concept. In a repertoire, Maruti bedhaya featuring two rafts, each of which consists of nine dancers.

The success of "Jati Kumandang", are supported by the dancers who have average prime capability, in addition to sing ability, given that ability is rare now. Also support gising stylist Lukas Danasmara, which claim up with some bedhayan gising updates, among them include elements that diatonic music can not be ignored.

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