black means indonesian or original article
blue means google translation
purple means my own translation 😁
Tari Tradisional
Tulungagung Lelangen Beksa (Tayub)
Tari Tradisional
Tulungagung Lelangen Beksa (Tayub)
Tulungagung
Traditional Dance Lelangen Beksa (Tayub)
Banyak
masyarakat Tulungagung beranggapan bahwa Tayub sebagai tarian mesum. Sebenarnya
Tayub memiliki bergai makna dalam kehidupan. Tayub terkesan tarian mesum karena
munculnya buku karangan GG Rafles dari Inggris,bukunya berjudul ''History of
Java'', menulis Tayub sebagai tarian ronggeng mirip pelacuran terselubung.
Kesan sama juga dituliskan oleh peneliti asal Belanda, G Geertz dalam bukunya
''The Religion of Java''.
Tapi, menurut koreografer Tayub Wonogiren, S Poedjosiswoyo
BA, orang Jawa akan protes bila kesan Rafles dan Gertz itu diterima secara
utuh., Kesan mesum yang diberikan pada Tayub hakikatnya terbatas pada pandangan
sepintas yang baru melihat kulitnya saja, tanpa mau mengenali isi maupun
kandungan nilai filosofisnya.
Many
people assume that tayub Tulungagung as a bawdy dance. Tayub actually have
various meaning in life. Tayub impressed bawdy dance since the advent of the
book by GG Rafles of England, his book entitled 'History of Java' ', writes
tayub as the dancers dance like karaoke bars. The same impression written by
Dutch researchers, G Geertz in his book '' The Religion of Java ''. But,
according to choreographer Tayub Wonogiren, S Poedjosiswoyo BA, Javanese people
will protest if the impression Rafles and Gertz was received in full.,
Impression bawdy given in tayub essentially limited to glimpses of a new look
at their complexion, refusing to recognize the contents or value content
philosophical.
Many
people assume that Tayub- traditional dance of Tulungagung as an erotic dance.
Actually, Tayub has great meanings in people’s life. Tayub considered as an
erotic dance because of a book titled “History of Java” by GG Rafles from
England, he written Tayub as Ronggeng dance which have shrouded meaning in
prostitution. The same impression written by Dutch researcher, G Geertz in his
book “The Religion of Java”. But according to Tayub choreographer, Wonogiren S
Poedjosiswoyo BA, Javanese would get mad and complain if the impression of
Rafles and Gertz about the dance received in full meaning without
consideration. Tayub image as erotic dance received basically because people
only see a glimpse of it without identify the meaning and philosophical
value.
Dalam buku
''Bauwarna Adat Tata Cara Jawa'' karangan Drs R Harmanto Bratasiswara
disebutkan, Tayuban adalah tari yang dilakukan oleh wanita dan pria
berpasang-pasangan. Keberadaan Tayub berpangkal pada cerita kadewatan (para
dewa-dewi).
lahir sebagai tarian pada abad Ke XI. Waktu itu, Raja Kediri
berkenan mengangkatnya ke dalam puri keraton dan membakukannya sebagai tari
penyambutan tamu keraton. Betapa Tayub memiliki kandungan nilai adiluhung,
kiranya dapat disimak dari tulisan dalam buku ''Gending dan Tembang'' yang
diterbitkan Yayasan Paku Buwono X.
In the book ''Indigenous Bauwarna Java
Procedures'' Drs R Harmanto Bratasiswara mentioned, Tayuban is a dance
performed by women and men in pairs. Tayub existence stems from the story
kadewatan (deities). Born as a dance at Ke XI century. At that time, the King
of Kediri pleased to lift him into the castle palace and membakukannya as
welcoming guests dance palace. How Tayub contains valuable value, presumably
can be seen in the writings in the book '' Gending and Song '' is published
Foundations Pakubowono X.
Drs. R
Harmanto Bratasiwara in his book “Bauwarna Adat Tata Cara Jawa” (Encyclopedia
of Java Custom Procedures) mentioned, Tayuban or Tayub is a dance performed by
pairs of women and men. The existence of Tayub itself originates from story of
kedawetan (deities), born as a dance in 10th century. At that time, King of
Kediri pleased to bring tayub dance into the castle’s Palace and standardized
as a welcoming dance. Tayub can be seen as a dance with great value as quoted
in the book “Gending dan Tembang” (Music Instrument and Song) published by
Pakubuwono X Foundations.
Dalam buku
itu disebutkan, Tayub telah dipakai untuk penobatan Prabu Suryowiseso sebagai
Raja Jenggala, Jawa Timur, pada abad XII. Keraton Jenggala kemudian kemudian membakukan
Tayub sebagai tari adat kerajaan, yang mewajibkan permaisuri raja menari ngigel
(goyang) di pringgitan untuk menjemput kedatangan raja.
Budaya kejawen penganut paham tasawuf menilai Tayub kaya
kandungan filosofis akan gambaran jati diri manusia lengkap dengan anasir
keempat nafsunya. Dalam tarian itu selalu ada penari pria yang menjadi tokoh
sentral, sebagai visualisasi keberadaan Mulhimah. Kemudian dilengkapi dengan
empat penari pria pendamping, yang disebut sebagai pelarih, sebagai penggambaran
anasir empat nafsu manusia, terdiri atas aluamah (hitam), amarah (merah),
sufiah (kuning) dan mutmainah (putih).
In the
book mentioned, Tayub has been used for the coronation of King Suryowiseso as
King Jenggala, East Java, in the XII century. Keraton Jenggala then later
standardize Tayub as indigenous dance kingdom, which obliges the king consort
dancing ngigel (shake) in pringgitan to pick up the arrival of the king.
Javanese culture adherents understand Sufism assess tayub rich philosophical content
will complete picture of human identity with the four elements of passion. In
the dance there is always a male dancer who became a central figure, as
visualization Mulhimah existence. Then fitted with four male dancers companion,
who called pelarih, as depictions of the four elements of human passion,
consisting of aluamah (black), anger (red), sufiah (yellow) and mutmainah
(white).
Tayub as
mentioned in “Gending dan Tembing” has been used for the coronation of Prabu
Suryowiseso as King of Jenggala, East Java, in 12th Century. Later, Keraton
Jenggala (Jenggala Kingdom) standardized Tayub as Kingdom traditional dance
which the consort of king obligated to dance ngigel (shake) to welcome the
arrival of The King. Javanese culture adherent Sufism assess Tayub with
plentiful philosophical value of human identity complete with four elements of
passion. There is always a man as a main dancer, he is a visualization of
Mulhimah existence. Then fitted with four other men dancer who called pelarih,
they are represention of four elements of human passion, consist greed (black),
anger (red), beauty (yellow), and goodness (white).
Tayub juga
dikenal sebagai Lelangen Beksa. Kesenian ini berpotensi sebagai sarana
pergaulan yang merakyat dan aktual. Hampir di setiap bulan "baik",
Lelangen Beksa digelar untuk acara hajatan di daerah pinggiran Tulungagung.
Tayub also
known as Lelangen Beksa. Art has the potential as a means of populist and
actual association. Almost every month "good", Lelangen Beksa for
celebration events held in the outskirts of Tulungagung.
Tayub also
known as Lelangen Beksa. This custom has a potential as a tool of humble
society and actual. Almost in every “good” month, Lelangen Beksa held for
celebration in outskirts of Tulungagung.
