Jaipongan, The Traditional Dance from Sundanese Indonesia

Jaipongan is a kind of traditional Sundanese dance, Karawang, West Java, which is very popular in Indonesia.

History

Jaipongan was born through the creative process of the cold hands of H Suanda around 1976 in Karawang, Jaipongan is a cultivation that combines several elements of traditional art karawang such as pencak silat, wayang golek, mask banjet, ketuk tilu and others. Jaipongan in karawang rapidly growth began in 1976, marked with the emergence of recording jaipongan SUANDA GROUP with a simple instrument consisting of drums, tap, kecrek, goong, rebab and sinden or interpreter kawih. With the tape recorder media without the label (indie label) jaipongan began to be distributed independently by H Suanda in the region karawang and surrounding areas. Jaipongan unexpectedly received a warm welcome, then jaipongan become a means of entertainment community karawang and get a considerable appreciation of all society karawang and become a new phenomenon in the art space of karawang culture, especially art entertainment folk. Jaipongan position at that time became the art of alternative entertainment performances of traditional arts that have grown and developed earlier in karawang such as penca silat, banjet mask, ketuk tilu, tarling and puppet show. The existence of jaipong gives new and different colors and patterns in the form of packaging, ranging from the arrangement of the musical composition to the form of the composition of the dance.

Maybe among us only know the origin of jaipong dance from Bandung or even not yet know where it came from. Quoted from the speech of the Head of Culture and Tourism (Disbudpar) Karawang, Acep Jamhuri "Jaipong is original Karawang. Born since 1979 which comes from tepak Topeng. Then taken to Bandung by the artist there, Gugum Gumilar. Finally packed with recording. Karawang artists were brought along with Suwanda. When successful, a good one even Bandung. Falkirk is known only drum or nayaga (music player). So now we at Disbudpar will try to dig back Jaipong dance art that this art that actually comes from Karawang ". This dance was brought to the city of Bandung by Gugum Gumbira, circa 1960s, with the aim to develop dance origin karawang dikota bandung which created a kind of music and social dance excavated from the wealth of art traditions of the people of Nusantara, especially West Java. Although the art of dance creations are relatively new, jaipongan developed based on the art that has been developed before, such as Ketuk Tilu, Kliningan, and Ronggeng. Attention Gumbira on folk art which one of them is Ketuk Tilu make it know and know very well the dance pattern of traditional dance that exist in Kliningan / Bajidoran or Ketuk Tilu. Movements of openings, pencugan, nibakeun and some mincid motion of some art to inspire to develop art jaipongan.

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Before this form of performance arts, there are some influences that lie behind the formation of this social dance. In the urban area of Priangan for example, in the elite society, social dance influenced Ballroom dance from the West. While in folk art, social dance influenced local tradition. Traditional dance performances are not separated from the existence of ronggeng and pamogoran. Ronggeng in social dance no longer functions for ceremonial activities, but for entertainment or how to get along. The existence of ronggeng in the performing arts has an attraction that invites sympathy of the pamogoran. For example, in the Tuku Ketuk dance that is so well known by the Sundanese, it is estimated that this art was popular around 1916. As the art of folk performances, this art is only supported by simple elements, such as waditra which includes rebab, kendang, two kulanter, three tap , and gongs. Similarly, the movements of his dance that does not have a standard motion pattern, a simple dancer costume as a reflection of democracy.

Along with the waning of the above art types, the former pamogoran (an audience that plays an active role in the performance art of Ketuk Tilu / Doger / Tayub) turns its attention to Kliningan's performing arts, which are in the North Coast of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) is known as Bajidoran Clinic whose dance pattern and its performance events are similar to the previous art (Ketuk Tilu / Doger / Tayub). In the meantime, the existence of dances in Topeng Banjet is quite popular, especially in Karawang, where some Bajidoran motion patterns are taken from the dance in this Banjet Mask. Choreographically, the dance still features traditional patterns (Ketuk Tilu) which contain elements of movement of openings, pencugan, nibakeun and some mincid movements which in turn become the basis of Jaipongan dance creation. Some basic movements of Jaipongan dance apart from Ketuk Tilu, Ibing Bajidor and Topeng Banjet are Tayuban and Pencak Silat.

This dance began to be widely known since the 1970s. The emergence of dance by Gumbira Gugum was originally called Ketuk Tilu development, which was because the dance base was the development of Ketuk Tilu. The first work of Gugum Gumbira is still very thick with the color of ibing Ketuk Tilu, both in terms of choreography and accompaniment, which then became popular with the dance of Jaipongan.

Development

The first Jaipongan work that became known by the community was the dance of "Pulus Keser Bojong Leaves" and "Rendeng Bojong" which are both female dance and paired dance (son and daughter). From the dance appeared some of the names of reliable dancers such as Jatipongan Tati Saleh, Yeti Mamat, Eli Somali, and Pepen Dedi Kurniadi. Early appearance of the dance could be a conversation, ulgar. But from the exposure of some printed media, the name Gugum Gugum began to be known to the public, what else after Jaipongan dance in 1980 staged at TVRI Jakarta central station. The impact of this popularity further increases the frequency of the show, both in the television media, celebrations and celebrations held by private parties and the government.

The presence of Jaipongan makes a considerable contribution to the artists of dance to be more active in digging the kind of folk dances that previously lacked attention. With the emergence of Jaipongan dance, exploited by the dance artists to organize Jaipongan dance courses, also used by night pub entrepreneurs as a lure of invited guests, where further development of such business opportunities is formed by the dance activists as an effort to empower the economy with the name of Sanggar Tari or groups in some areas of West Java, for example in Subang with Jaipongan style "kaleran" (north).

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Characteristic of Jaipongan calender style, namely cheerfulness, erotic, humorous, spirit, spontaneity, and simplicity (natural, what it is). This is reflected in the pattern of presentation of dance in the show, there are given the pattern (Ibing Pattern) as in Jaipongan art that exist in Bandung, there are also dance that is not dipola (Ibing Saka), for example in Jaipongan Subang and Karawang art. This term can be found in Jaipongan style kaleran, especially in Subang area. In its presentation, this Jaipongan style of tangling, as follows: 1) Tatalu; 2) Flower Gadung; 3) Gopar Kawung Fruit; 4) The Opening Dance (Ibing Pattern), usually performed by single dancer or Sinden Tatandakan (sinden attack but can not sing but dancing sinden song / interpreter); 5) Jeblokan dan Jabanan, is part of the show when the audience (bajidor) sawer money (jabanan) while greeting outboard. The term jeblokan defined as a couple who settled between sinden and spectator (bajidor).

The next development of Jaipongan dance occurred in 1980-1990s, where Gugum Gumbira created other dances such as Toka-toka, Setra Sari, Sonteng, Pencug, Mangule Egg, Iring-iring Puring Leaves, Rawayan, and Kawung Anten Dance. From the dances, some of Jaipongan dancers are powerful, among others Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, Nuni, Cepy, Agah, Aa Suryabrata, and Asep.

Today Jaipongan dance may be referred to as one of the identity of West Java, it appears on several important events related to guests from foreign countries who come to West Java, then greeted with Jaipongan dance performance. Similarly, the arts missions to foreign countries are always equipped with Jaipongan dance. Jaipongan dance influences many other arts in West Java society, both in wayang art performance, degung, genjring / terbangan, jaipong jaipong, and almost all the folk performances as well as in modern dangdut music that collaborated with Jaipong into Pong-Dut art. Jaipongan that has been diplopolized by Mr. Nur & Leni.

Javan Hawk, a bird species that is almost extinct

Javanese eagle (Nisaetus bartelsi) is one of the species of medium-sized eagle that is endemic in Java. This animal is considered synonymous with the symbol of the Republic of Indonesia, namely Garuda. And since 1992, this bird is designated as the mascot of Indonesia's rare animals

Identification

Medium-bodied eagle, slim, with body length between 60-70 cm (from tip of beak to tip of tail).

The head is reddish-brown (kadru), with high-prominent crest (2-4 feathers, long to 12 cm) and a yellowish brown neck (sometimes golden when exposed to sunlight). Black top with white tip; crown and black mustache, while dark brown back and wings. The whitish throat with the black line (actually stripes) stretches out in the middle. Down, toward the chest, the black streaks spread over a pale brownish yellow color, which at the bottom end again turns into a red cross-cut pattern of sawa tree until brownish over pale whitish color of abdominal hairs and feet. Feathers on the legs close the leg to close to the base of the finger. Brownish tail with four dark lines and wide transverse visible on the underside, the tip of a thin white striped tail. Females are similar in color, slightly larger.

Iris yellow or brown eyes; blackish beak; sera (meat in the base of the beak) yellowish; yellow fingers. Young birds with head, neck and lower side of the body are light-brown cinnamon, with no graffiti or lines.

When flying, the Javanese eagle is similar to a brontok eagle (Nisaetus cirrhatus) a bright form, but tends to look more brownish, with the stomach looking darker, and slightly smaller in size.

High, repetitive, klii-iiw or ii-iiiw sounds vary from one to three syllables. Or a high-pitched and fast-paced call. In a way, the sound is similar to the sound of a brontok eagle although the difference is quite clear in its tone.

Distribution, ecology and conservation

The spread of this eagle is limited in Java Island, from the western end (Ujung Kulon National Park) to the eastern end of Blambangan Purwo Peninsula. But its distribution is now limited in areas with primary forests and in forested hilllands in lowland transitions with mountains. Most are found in half of the southern hemisphere of Java Island. Presumably this bird lives to specialize on the slope area.

Javanese eagles love tropical rain forest ecosystems that are always green, in the lowlands as well as in higher places. Starting from areas near the coast such as in Ujung Kulon and Meru Betiri, up to the forests of the lower and upper mountains to a height of 2200 m and sometimes 3,000 mdpl.

In general the residence of javan eagle is difficult to achieve, though not always far from the location of human activity. Presumably this bird is very dependent on the existence of primary forest as a place of life. Although it is found that eagles use secondary forests as hunting and nesting, they are located adjacent to large primary forests.

This bird of prey hunts from its perch on the tall trees in the forest. With a swift and agile ambush various prey in the branches of trees and on the ground, such as various types of reptiles, birds like walik, punai, and even chicken. Also small to medium sized mammals such as squirrels and squirrels, bats, weasels, up to monkey children.

The egging period is recorded from January to June. The nest is a pile of high-leaved leafy branches, made on a tree branch as high as 20-30 on the ground. The eggs are one grain, which is roasted for approximately 47 days.

The nest trees are high forest tree species, such as rasamala (Altingia excelsa), pairs (Lithocarpus sundaicus), tusam (Pinus merkusii), puspa (Schima wallichii), and ki sireum (Eugenia clavimyrtus). Not always deep in the forest, there are also nests that are found only 200-300 m distance from the place of recreation.

In its habitat, the Javanese eagle spreads infrequently. So although the total area of the flight, the total number is only about 137-188 pairs of birds, or the estimated number of individuals this eagle ranged between 600-1000 tails. This small population faces a major threat to its sustainability, caused by habitat loss and exploitation of species. Illegal logging and forest conversion into agricultural land have shrunk primary forest cover in Java. In the meantime, the eagle is also constantly hunted people to be traded on the black market as a pet. Because of its scarcity, keeping this bird as its own pride, and in turn makes the price of these birds soar.

Considering the small population, its limited constraints and the high pressure it faces, IUCN's world conservation organization puts the Javanese eagle into EN (Endangered, endangered) status. Likewise, the Indonesian Government designates it as an animal protected by law.

Taxonomic note

Indeed, the existence of Javanese eagles has been known since as early as 1820, when van Hasselt and Kuhl collected two specimens of this bird from the area of Mount Salak for the Museum Leiden, the Netherlands. However, during that time until the late 19th century, the specimens of these birds are still considered a type of brontok eagle.

New in 1908, on the basis of a collection specimen made by Max Bartels of Pasir Datar, Sukabumi in 1907, a bird expert in Germany, O. Finsch, recognized him as a new taxon. He thinks of him as the kind of child of Spizaetus kelaarti, a kind of eagle in Sri Lanka. Until then in 1924, Prof. Stresemann named the new taxon with a specific epithet of bartelsi, in honor of Max Bartels above, and incorporated him as the kind of mountain eagle Spizaetus nipalensis.

Thus, the bird was later known to the world by the scientific name Spizaetus nipalensis bartelsi, until finally in 1953 D. Amadon proposed to raise his rank and put him into a separate type, Spizaetus bartelsi.

How to Live and Reproduce

Javanese eagle lives by pairing and reproducing when entering the age of 3-4 years. In addition, Javanese eagles also include monogamous animals, which only live with one partner for life.

The breeding season of Javan hawk ranged from May to September, and active nest from January to June. But in fact the Java eagle can reproduce throughout the year. But not everything can hatch, because the eggs can also be preyed on other animals or deliberately taken humans.

Threat of Extinction

Javan Hawk eagle threatened extinction not because of damage to the ecosystem. But because of egg poaching and breeding factors are also predators, the extinction rate of Javan Hawk eagles is very threatened. Although usually the nest is separated from other trees and located at an altitude of 40-50 meters, there are still hunting him.

In addition to these factors, long hatching of javan hawk eggs is also considered very long. New eggs hatch on 40-50 days after being incubated. The number of eggs produced per year is also quite low, ie only one item per 2-3 years.