SOFTSKILL PENERJEMAHAN BERBANTUAN KOMPUTER : BUDAYA

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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.

Source: http://holatulungagung.blogspot.com/2015/10/tari-tradisional-tulungagung-lelangen.html