Jaipongan was a genre of dance art that was born from creativity of an artist from Bandung, Gugum Gumbira. His attention in the people's art that one of them was to knock on xOBJ made him knew and knew true perbendaharan patterns of the movement of the available tradition dance to Kliningan/Bajidoran or the Tilu Beat. The movements of the aperture, pencugan, nibakeun and several styles of the movement mincid from some art above was enough to have the inspiration to develop the dance or art that currently is known by the name of Jaipongan.HISTORY
Before the form of this performance art emerged, there were several influences that formed the background of the form of this social dance. In West Java for example, the social dance was the influence from Ball Room,
that usually in the performance of social dances is not free from the existence ronggeng and pamogoran. Ronggeng in the social dance no longer functions for the ceremony activity, but for entertainment or the method mixed. The existence ronggeng in performance art had the attraction that invited the sympathy of the group pamogoran. For example in the Tilu Beat dance that like that was known by the Sundanese community, it was estimated this art was popular around 1916. As performance art of the people, this art only was supported by simple elements, like waditra that covered the re-chapter, kendang, two kulanter, three beats, and the gong. Likewise with the movements of his dance that did not have the pattern of the standard movement, the dancer's costume that was simple as the populist reflection.Before the form of this performance art emerged, there were several influences that formed the background of the form of this social dance. In West Java for example, the social dance was the influence from Ball Room,
Together with faded him the artistic kind above, former pamogoran (the spectator who played an active role in performance art of the Beat of Tilu/Doger/Tayub) changed his attention in Kliningan performance art, that in the area of the Coast of Utara West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang) was known with the Kliningan Bajidoran term that the pattern of his dance and the performance incident him had the resemblance with art beforehand (knocked on xOBJ). In in that, the existence of the dance in the Banjet Mask was enough to be enjoyed, especially in Karawang, where several patterns of the Bajidoran movement were taken from the dance in this Banjet Mask. Choreographically the dance still menampakan patterns of the tradition (knocked on xOBJ) that contained the element of the movements of the aperture, pencugan, nibakeun and several styles of the movement mincid that in turn became the foundation of the Jaipongan dance creation. Several movements of the foundation of the Jaipongan dance apart from the Tilu Beat, Ibing Bajidor as well as the Banjet Mask were Tayuban and Pencak Silat.
The emergence of the work dance of Gugum Gumbira was initially acknowledged as the Tilu Beat the development, that indeed because of the foundation of the dance was the development from knocking on xOBJ. The first work of Gugum Gumbira was still being very thick with the colour ibing knocked on xOBJ, both from the aspect of the choreography and his accompaniment, that afterwards the dance became popular with the Jaipongan term.
JAIPONG NOW
The Jaipongan work first that began to be known by the community to be the "Pulus Keser Bojong leaves" dance and "Rendeng Bojong" that both of them were the kind and the teamed dance of the daughter's dance (Putra and the daughter). From the dance emerged several names of the dancer Jaipongan that was competent like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. The beginning of this dance emergence could become discussions, that rumours of his centre were the erotic and vulgar movement. However from exposing several print medias, the name of Gugum Gumbira began to be known by the community, everything after the Jaipongan dance during 1980 was staged in TVRI the Jakarta central station. The impact of this popularity more increased the frequency of the performance, both in the television media, hajatan and celebrations that were held by private enterprise's side and the government.
The Jaipongan presence gave the contribution that was quite big against the instigators of dance art to more again active dug up the kind of the people's dance that beforehand inattentive. With the Jaipongan dance emergence, was made use of by the instigators of dance art to hold Jaipongan dance courses, was made also use of by the businessman of night pubs as the guest decoy of the invitation, where the further development of the efforts opportunity of this kind was formed by the instigators of the dance as an effort to empowerment of economics by the name of the Dance Studio or groups in several areas of the West Javanese territory, for example in Subang with Jaipongan the style "kaleran" (north).
The typical Jaipongan characteristics the style kaleran, namely purity, eroticism, the humorist, the spirit, spontaneity, and simplicity (natural, the way it is). That was reflected in the pattern of the presentation of the dance in his performance, there were those who was given the pattern (Ibing Pola) like in Jaipongan art available in Bandung, also had also the dance that not dipola (Ibing Saka), for example in art of Jaipongan Subang and Karawang. This term could be experienced by us to Jaipongan the style kaleran, especially in the Subang area. In his presentation, Jaipongan the style kaleran this, as follows: 1) Tatalu; 2) the Gadung Flower; 3) Kawung Gopar; 4) the Pembukaan Dance (Ibing Pola), usually was brought by the single dancer or Sinden Tatandakan (attacked sinden but could not singing but danced the song sinden/juru kawih); 5) Jeblokan and Jabanan, was the performance part when the spectators (bajidor) sawer money (jabanan) while greetings tempel. The term jeblokan was interpreted as the couple who resided between sinden and the spectator (bajidor).
The further development of the Jaipongan dance happened in taahun 1980-1990-an, where Gugum Gumbira created the other dance like Toka-toka, Setra Sari, Sonteng, Pencug, Kuntul Mangut, Iring-escorted the Puring leaves, Rawayan, and the Kawung Anten Dance. From these dances emerged several dancers Jaipongan that was competent including Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and the smoke.
Today the Jaipongan dance might be acknowledged as one of the identities keseniaan West Java, this was visible in several important agendas that in connection with the guest from the foreign country that came to West Java, then was welcomed with the performance of the Jaipongan dance. Likewise with artistic missions to manca the country was always supplemented with the Jaipongan dance. The Jaipongan dance often influenced other arts available in the West Javanese community, both in performance art of the puppet, degung, genjring/terbangan, kacapi jaipong, and almost all the performances of the people and to music dangdut modern that dikolaborasikan with Jaipong became art of Pong-Dut.Jaipongan that has diplopori by Mr. Nur & Leni
The source of reconciliation
The gift reward. 2003. The description of West Javanese art. Officially Culture & West Javanese Tourism, Bandung.
The emergence of the work dance of Gugum Gumbira was initially acknowledged as the Tilu Beat the development, that indeed because of the foundation of the dance was the development from knocking on xOBJ. The first work of Gugum Gumbira was still being very thick with the colour ibing knocked on xOBJ, both from the aspect of the choreography and his accompaniment, that afterwards the dance became popular with the Jaipongan term.
JAIPONG NOW
The Jaipongan work first that began to be known by the community to be the "Pulus Keser Bojong leaves" dance and "Rendeng Bojong" that both of them were the kind and the teamed dance of the daughter's dance (Putra and the daughter). From the dance emerged several names of the dancer Jaipongan that was competent like Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. The beginning of this dance emergence could become discussions, that rumours of his centre were the erotic and vulgar movement. However from exposing several print medias, the name of Gugum Gumbira began to be known by the community, everything after the Jaipongan dance during 1980 was staged in TVRI the Jakarta central station. The impact of this popularity more increased the frequency of the performance, both in the television media, hajatan and celebrations that were held by private enterprise's side and the government.
The Jaipongan presence gave the contribution that was quite big against the instigators of dance art to more again active dug up the kind of the people's dance that beforehand inattentive. With the Jaipongan dance emergence, was made use of by the instigators of dance art to hold Jaipongan dance courses, was made also use of by the businessman of night pubs as the guest decoy of the invitation, where the further development of the efforts opportunity of this kind was formed by the instigators of the dance as an effort to empowerment of economics by the name of the Dance Studio or groups in several areas of the West Javanese territory, for example in Subang with Jaipongan the style "kaleran" (north).
The typical Jaipongan characteristics the style kaleran, namely purity, eroticism, the humorist, the spirit, spontaneity, and simplicity (natural, the way it is). That was reflected in the pattern of the presentation of the dance in his performance, there were those who was given the pattern (Ibing Pola) like in Jaipongan art available in Bandung, also had also the dance that not dipola (Ibing Saka), for example in art of Jaipongan Subang and Karawang. This term could be experienced by us to Jaipongan the style kaleran, especially in the Subang area. In his presentation, Jaipongan the style kaleran this, as follows: 1) Tatalu; 2) the Gadung Flower; 3) Kawung Gopar; 4) the Pembukaan Dance (Ibing Pola), usually was brought by the single dancer or Sinden Tatandakan (attacked sinden but could not singing but danced the song sinden/juru kawih); 5) Jeblokan and Jabanan, was the performance part when the spectators (bajidor) sawer money (jabanan) while greetings tempel. The term jeblokan was interpreted as the couple who resided between sinden and the spectator (bajidor).
The further development of the Jaipongan dance happened in taahun 1980-1990-an, where Gugum Gumbira created the other dance like Toka-toka, Setra Sari, Sonteng, Pencug, Kuntul Mangut, Iring-escorted the Puring leaves, Rawayan, and the Kawung Anten Dance. From these dances emerged several dancers Jaipongan that was competent including Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and the smoke.
Today the Jaipongan dance might be acknowledged as one of the identities keseniaan West Java, this was visible in several important agendas that in connection with the guest from the foreign country that came to West Java, then was welcomed with the performance of the Jaipongan dance. Likewise with artistic missions to manca the country was always supplemented with the Jaipongan dance. The Jaipongan dance often influenced other arts available in the West Javanese community, both in performance art of the puppet, degung, genjring/terbangan, kacapi jaipong, and almost all the performances of the people and to music dangdut modern that dikolaborasikan with Jaipong became art of Pong-Dut.Jaipongan that has diplopori by Mr. Nur & Leni
The source of reconciliation
The gift reward. 2003. The description of West Javanese art. Officially Culture & West Javanese Tourism, Bandung.
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