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All Journal Jurnal Pendidikan dan Kajian Seni Greget Jurnal Seni Makalangan
Risa Nuriawati
Institut Seni Budaya Indonesia Bandung
Arts Humanities Education

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KREATIVITAS GONDO DALAM TARI JAIPONGAN Risa Nuriawati dan Arthur S, Nalan
Jurnal Seni Makalangan Vol 5, No 2 (2018): "Mengupas Kreativitas, Menumbuhkan Sensitivitas"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (433.891 KB) | DOI: 10.26742/mklng.v5i2.842

Abstract

ABSTRAK Pada perkembangannya, Jaipongan hidup subur dan menyebar ke berbagai penjuru daerah Jawa Barat, sehingga memunculkan keragaman gaya (style) dari setiap koreografernya. Koreografer-koreografer muda Jaipongan saat ini, pada dasarnya memiliki struktur dan gaya yang berbeda, sehingga dapat dikatakan telah terjadi perkembangan dari gaya Gugum Gumbira. Pebedaan itu terletak di setiap unsurnya, seperti pada unsur koreografi, unsur tata rias dan busana, serta pada unsur musiknya (karawitan). Oleh karena itu Jaipongan memiliki perkembangan dan dinamika tersendiri yang telah melahirkan kreativitas dari para koreografer muda yang memunculkan tarian-tarian kreasi baru. Dari sekian nama koreografer yang berkaitan langsung dengan perkembangan Jaipongan saat ini, penulis memfokuskan perhatian terhadap kreativitas salah seorang koreografer Jaipongan yaitu Gondo.Untuk mencapai hasil yang optimal dalam pengkajian Kreativitas Gondo dalam tari Jaipongan, maka penulis menggunakan metode kualitatif dengan pendekatan teori proses kreatif dari Graham Wallace yaitu tahap persiapan, inkubasi, iluminasi dan verifikasi.Adapun hasil yang dicapai dari pengkajian ini yaitu terungkapnya proses kreatif Gondo dalam pembuatan karya-karyanya yang dimulai dari penuangan konsep dan eksplorasi gerak, pentransferan gerak hasil eksplorasi Gondo kepada murid-murid secara variatif, penggunaan konsep kontemporer dalam bentuk dan isi, lalu uji karya dalam bentuk pertunjukan.Key Word: Jaipongan, Gondo, Kreativitas, Proses Kreatif.  ABSTRACT In its development, Jaipongan flourished and spread to various parts of West Java area, so that it rises to a variety of styles of each choreographer. Young choreographers of Jaipongan nowadays have basically different structures and styles, thus it can be said that there has been developments of Gugum Gumbira's style. The difference lies in each element, such as the choreography, makeup and costume, as well as the musical elements (karawitan). Jaipongan, therefore, has its own development and dynamic that makes creativity of the young choreographers to create new dance creations. Of the choreographer names that are directly related to the current development of Jaipongan, the author focuses on the creativity of one Jaipongan's choreographer, namely Gondo.To achieve optimal results in studying Gondo's creativity in Jaipongan dance, the author uses Qualitative method with Graham Wallace's Creative Process theory approach, namely preparation, incubation, illumination and verification.The results of this study are the revelation of Gondo's creative process in making his works which started from decanting the concepts and exploring the motion, transferring motion of his exploration to the students in variety ways, using contemporary concepts in the form and content, then testing his works in the form of performances.Keywords: Jaipongan, Gondo, Creativity, Creative Process. 
TARI JAIPONGAN GAYANA KARYA GONDO DI KLINIK TARI GONDO ART PRODUCTION Andini, Gustari Tri; Nuriawati, Risa
Jurnal Seni Makalangan Vol 10, No 1 (2023): "Menguak Seni Tradisi Di Era Globalisasi"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v10i1.2707

Abstract

Agus Gandamanah (Gondo) adalah seorang kreator muda Jaipongan sekaligus pemilik sanggar Klinik Tari Gondo Art Production (GAP). Ia banyak menciptakan tari Jaipongan dengan gayanya sendiri. Salah satu karya uniknya adalah Tari Jaipongan Gayana. Nama tarinya dipandang, terdiri atas suku kata gaya dan na yang memiliki arti gayanya Gondo. Gerak-geraknya tidak hanya khas Jaipongan, tetapi memiliki gerak-gerak esensi robotik dan etnik kreatif. Hal inilah yang menarik bagi penulis untuk melakukan pengkajian (penelitian), khususnya kreativitas Gondo dalam penciptaan Tari Jaipongan Gayana. Untuk mengkaji kreativitas Gondo tersebut, digunakan konsep pemikiran Rhodes 4P yaitu: person, process, press, dan product. Penelitian kualitatif dipakai dengan menggunakan dengan pendekatan deskripsi analisis. Adapun hasil yang dicapai yaitu terungkapnya proses kreatif Gondo dalam menciptakan Tari Jaipongan Gayana. Penciptaan tari tersebut, didorong oleh faktor internal dan faktor eksternal, Dilakukan melalui suatu proses yang cukup panjang dan melibatkan seniman lain. Karya tari tersebur dibangun dengan tiga unsur estetika utama yaitu: koreografi, musik, dan rias-busana. ABSTRACT JAIPONGAN GAYANA DANCE BY GONDO AT THE GONDO ART PRODUCTION DANCE CLINIC, June 2023. Agus Gandamanah (Gondo) is a young creator of Jaipongan and the owner of Gondo Art Production (GAP) Dance Clinic. He has created many Jaipongan dances with his own style, one of his unique works is Jaipongan Gayana dance. Some of the unique factors that are interesting among others; Its unique name is taken from the words 'gaya (style)' and 'na' which means Gondo's 'style', and its movements that are not only typical of Jaipongan movements but also having the essence of robotic and creative ethnic movements. This interests the author to do a study (research), especially focusing on Gondo's creativity in creating Jaipongan Gayana dance. In order to achieve optimum results in the study of Gondo's creativity in the creation of the Jaipongan Gayana dance, the author uses the basis of Rhodes' concept of thought (4Ps namely person, process, press, and product). In line with this concept of thought, this qualitative research uses the method of a descriptive analysis approach. The results achieved from this study are the disclosure of Gondo's creative process in the creation of Jaipongan Gayana dance, that is started from himself who is aware of his dancing style which became the conceptual idea in the creation of Jaipongan Gayana dance, which is also supported by internal and external factors, carried out through a quite long process and involved other artists, so that a form of Jaipongan Gayana dance is created which is built with three main aesthetic elements, namely; choreography, musical accompaniment, and make-up and costume. Keywords: Gondo, Creativity, Jaipongan Gayana Dance.
KARYA TARI BIAS SEBUAH KONSEP KARYA TARI KONTEMPORER Rendica, Rendica; Nuriawati, Risa
Jurnal Seni Makalangan Vol 9, No 2 (2022): "Dimensi Kreativitas Ketubuhan Penari Sunda"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v9i2.2383

Abstract

Berawal dari kenangan masa kecil pada saat berkunjung ke kebun binatang (Bandung Zoolgical) Bandung, sebuah tempat wisata di Kota Bandung, menimbulkan suatu perasaan untuk menjadikan hewan sebagai ide garap sebuah karya tari. Hewan yang menarik perhatian pada saat itu ialah burung merak, karena memiliki keindahan tersendiri. Berpijak dari keindahan burung merak tersebut, selanjutnya diwujudkan ke dalam sebuah penciptaan karya tari berjudul BIAS. Bias diambil dari bahasa Indonesia yang artinnya adalah pantulan caya terhadap suatu medium tertentu, karena pada saat burung merak melebarkan ekornya pantulan cahaya yang mengenai ekornya akan menampilkan visual yang indah. Berdasarkan latar belakang tersebut, proses penciptaan karya tari menggunakan metode garap dalam tiga tahapan yaitu: eksplorasi, komposisi, dan evaluasi. Karya tari ini berbentuk tari kelompok bertipe tari murni, di dalamnya tidak hanya mengambil pola gerak burung merak namun dipadukan dengan gerak tradisi dan keseharian yang telah dikembangkan baik secara ruang, tenaga, dan waktu hingga tercipta suatu karya tari yang berjudul BIAS. Kata Kunci: Hewan, Burung merak, Tari murni, Bias. ABSTRACT DANCE WORKS BIAS A CONTEMPORARY DANCE WORK. December 2022. Starting from childhood memories when visiting the Bandung Zoo (Bandung Zoological) Bandung, a tourist spot in the city of Bandung, gave rise to a feeling of making animals an idea to work on a dance piece. The animal that attracted attention at that time was the peacock, because it had its own beauty. Based on the beauty of the peacock, it is then embodied in the creation of a dance piece entitled "BIAS". Bias is taken from the Indonesian language, which means the reflection of light on a particular medium, because when a peacock spreads its tail, the reflection of light hitting its tail will display a beautiful visual. Based on this background, the process of creating dance works uses the working method in three stages, namely: exploration, composition, and evaluation. Karya tari ini berbentuk tari kelompok bertipe tari murni, di dalamnya tidak hanya mengambil pola gerak burung merak namun dipadukan dengan gerak tradisi dan keseharian yang telah dikembangkan baik secara ruang, tenaga, dan waktu hingga tercipta suatu karya tari yang berjudul BIAS. Keywords: Animals, Peacocks, Pure Dance, Bias.
IBING GAPLEK TEPAK JAIPONG NAEK GOYANG KARAWANG PADA TOPENG BANJET SEKARWATI BASKOM GROUP Dadang, Dadang; Nuriawati, Risa
Jurnal Seni Makalangan Vol 11, No 1 (2024): "Menggali Akar, Mencipta Ragam Rupa Kinestetika"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v11i1.3409

Abstract

ABSTRAK Ibing Gaplek Tepak Jaipong Naek Goyang Karawang adalah sebuah tarian yang ada pada kesenian Topeng Banjet Baskom. Tarian ini disajikan oleh tiga penari atau tarian rampak. Ibing Gaplek ini diciptakan untuk menggambarkan seorang ronggeng pada saat memberi kode melalui gerakan atau geolan kepada para kaum laki-laki yang ingin menari bersama. Adapun metode penelitian yang digunakan yaitu metode kualitatif dengan pendekatan deskriptif analisis melaui langkah-langkah penelitian meliputi; studi pustaka, studi lapangan meliputi; wawancara, observasi, dokumentasi, dan analisis data. Untuk menguraikan permasalahan penelitian tersebut, maka penulis menggunakan landasan konsep pemikiran mengenai struktur tari yang dikemukakan oleh Iyus Rusliana. Hasil dari penelitian ini merupakan deskriptif mengenai bentuk meliputi; penyajian, koreografi, karawitan, rias busana, properti, dan setting panggung. Berkaitan dengan Isi antara lain; latar belakang cerita, gambaran dan tema, nama atau judul tarian, karakter dan unsur filosofi. Adapun temuan ciri khas dari gerakan Ibing Gaplek yaitu; geol kanan kiri, geol gibrig, dan geol handap ajul gedang. Kata Kunci: Topeng Banjet Baskom, Struktur Tari, Ibing Gaplek, Tepak Jaipong Naek Goyang Karawang. ABSTRACT IBING GAPLEK TEPAK JAIPONG NAEK GOYANG KARAWANG ON THE BANJET MASK OF SEKARWATI BASKOM GROUP, JUNE 2024. Ibing Gaplek Tepak Jaipong Naek Goyang Karawang is a dance that exists in the Baskom Banjet Mask dance. The dance is presented by three dancers or called as rampak dance. This Ibing Gaplek was created to depict a ronggeng when giving codes through movement or geolan to the men who wish to dance together. The research uses a qualitative method with a descriptive analysis approach through research phases namely; literature study, field studies including; interviews, observation, documentation, and data analysis. To describe the research problem, the writer uses the basic concept of dance structure by Iyus Rusliana. The result of this study is a description on a dance form including: presentation, choreography, karawitan (music), fashion make-up, properties, and stage setting. Meanwhile related to the contents, among others; story background, description and theme, dance name or title, character and philosopichal elements. The findings of the characteristic of the Ibing Gaplek movements are: right and left geol, geol gibrig and geol handap ajul gedang. Keywords: Baskom Banjet Mask, Dance Structure, Ibing Gaplek, Tepak Jaipong Naek Goyang Karawang.
PROSES KREATIF GONDO DALAM PENCIPTAAN TARI SANCANG GUGAT Nuriawati, Risa
Jurnal Seni Makalangan Vol 8, No 2 (2021): "Tari Di Ruang Virtual"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v8i2.1799

Abstract

ABSTRAKTarian sancang gugat adalah tarian genre jaipongan yang diciptakan oleh kreator muda Agus Gandamanah (Gondo). Tarian ini merupakan tarian kreasi baru dengan adanya gerak kontemporer (gerak masa kini) serta dalam isi lirik tersebut menggambarkan keadaan masyarakat sunda masa kini. Penelitian ini bertujuan untuk mendeskripsikan proses kreatif tari Sancang Gugat. Metode yang digunakan dalam penelitian ini yakni kualitatif yang bersifat deskriptif dengan pendekatan teori Proses Kreatif dari Graham Wallace yaitu tahap persiapan, inkubasi, iluminasi dan verifikasi. Adapun hasil yang dicapai dari penelitian ini yaitu terungkapnya Proses kreatif dalam pembuatan karya tari sancang gugat yang menghasilkan temuan gerak-gerak ciri khas gaya gondo dalamtarian tersebut.Kata Kunci: Sancang Gugat, Proses Kreatif, Makna Simbolik.ABSTRACTGondo Creative Process In The Creation Of The Sancang Sugat Dance, December 2021. Sancang gugat dance is a jaipongan genre dance created by young creator Agus Gandamanah (Gondo). This dance is a new creation dance with the present movement and the contents of the lyrics describe the current state of Sundanese society. This study aims to describe the creative process of the sancang gugat dance. The method used in this research is descriptive qualitative with the Creative Process theory approach from Graham Wallace, namely the preparation, incubation, illumination, and verification The results achieved from this research are revealing the creative process in making The Sancang Gugat dance work which produces the symbolic meaning of the dance in the sancang gugat dance rhymes that describe the current state of Sundanese society.Keyword: Sancang Gugat, Creative Process, Symbolic Meaning.
Bajidoran: Bentuk Pertunjukan Kemasan Seni Wisata di Angkringan Teh Ita Kota Bandung Azizah, Farah Nurul; Nuriawati, Risa
JPKS (Jurnal Pendidikan dan Kajian Seni) Vol 9, No 2 (2024)
Publisher : Universitas Sultan Ageng Tirtayasa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30870/jpks.v9i2.28635

Abstract

Bajidoran, one of the folk arts in West Java, is now not only present on village celebration stages. The latest phenomenon, Bajidoran is now being packaged into a show at a tourist spot, namely Angkringan Teh Ita. Bajidoran grows and develops in the midst of urban society with the concept of tourism art packaging, which of course has a different form of performance from that in its original habitus. This article wants to explain the form of the Bajidoran performance with the concept of tourist art packaging, using qualitative research methods. The data collection techniques used were field observation, in-depth interviews, literature study and documentation study. An explanation of the Bajidoran performance, using the concepts of tourism art packaging, including: 1) making an imitation of the original, 2) Short or concise, or a mini form of the original, 3) full of variations, 4) abandoning sacred and magical values , as well as its symbols, and 5) it is cheap. Bajidoran's presence at Angkringan Teh Ita is also supported by several factors, including people, performance venues and promotions.
NATYA GANDES: INOVASI REPERTOAR JAIPONGAN KEMASAN SENI WISATA: Indonesia Nuriawati, Risa; Azizah, Farah Nurul
Greget: Jurnal Kreativitas dan Studi Tari Vol. 24 No. 1 (2025): PRESENTASI INOVASI ESTETIS, FUNGSI, DAN PEMBELAJARAN TARI
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v25i1.7272

Abstract

The Natya Gandes dance is an innovative Jaipongan repertoire specifically created to cater to the demands of tourism-oriented performances in West Java. Developed through a practice-based research approach, this work preserves the essential structural components of traditional Jaipongan—bukaan, pencugan, nibakeun, and mincid. To appeal to a broader and more contemporary audience, Natya Gandes incorporates modern elements, including Zumba-inspired movements and digitally arranged traditional music. The title Natya Gandes symbolizes a graceful, energetic, and skilled female figure, reflecting the choreography’s expressive, interactive, and dynamic character. This article focuses on examining the conceptual framework underlying the choreography of Natya Gandes, offering a detailed analysis of its key components: movement vocabulary, spatial design, musical accompaniment, title and theme, genre and stylistic nature, performance method, number and gender of dancers, as well as makeup, costuming, and lighting. Ultimately, this choreographic innovation aims to enrich the traditional performing arts repertoire while simultaneously enhancing the appeal of West Javanese cultural heritage within the tourism sector.
TARI JAIPONGAN GAYANA KARYA GONDO DI KLINIK TARI GONDO ART PRODUCTION Andini, Gustari Tri; Nuriawati, Risa
Jurnal Seni Makalangan Vol. 10 No. 1 (2023): "Menguak Seni Tradisi Di Era Globalisasi"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v10i1.2707

Abstract

Agus Gandamanah (Gondo) adalah seorang kreator muda Jaipongan sekaligus pemilik sanggar Klinik Tari Gondo Art Production (GAP). Ia banyak menciptakan tari Jaipongan dengan gayanya sendiri. Salah satu karya uniknya adalah Tari Jaipongan Gayana. Nama tarinya dipandang, terdiri atas suku kata ‘gaya’ dan ‘na’ yang memiliki arti ‘gayanya’ Gondo. Gerak-geraknya tidak hanya khas Jaipongan, tetapi memiliki gerak-gerak esensi robotik dan etnik kreatif. Hal inilah yang menarik bagi penulis untuk melakukan pengkajian (penelitian), khususnya kreativitas Gondo dalam penciptaan Tari Jaipongan Gayana. Untuk mengkaji kreativitas Gondo tersebut, digunakan konsep pemikiran Rhodes 4P yaitu: person, process, press, dan product. Penelitian kualitatif dipakai dengan menggunakan dengan pendekatan deskripsi analisis. Adapun hasil yang dicapai yaitu terungkapnya proses kreatif Gondo dalam menciptakan Tari Jaipongan Gayana. Penciptaan tari tersebut, didorong oleh faktor internal dan faktor eksternal, Dilakukan melalui suatu proses yang cukup panjang dan melibatkan seniman lain. Karya tari tersebur dibangun dengan tiga unsur estetika utama yaitu: koreografi, musik, dan rias-busana. ABSTRACT JAIPONGAN GAYANA DANCE BY GONDO AT THE GONDO ART PRODUCTION DANCE CLINIC, June 2023. Agus Gandamanah (Gondo) is a young creator of Jaipongan and the owner of Gondo Art Production (GAP) Dance Clinic. He has created many Jaipongan dances with his own style, one of his unique works is Jaipongan Gayana dance. Some of the unique factors that are interesting among others; Its unique name is taken from the words 'gaya (style)' and 'na' which means Gondo's 'style', and its movements that are not only typical of Jaipongan movements but also having the essence of robotic and creative ethnic movements. This interests the author to do a study (research), especially focusing on Gondo's creativity in creating Jaipongan Gayana dance. In order to achieve optimum results in the study of Gondo's creativity in the creation of the Jaipongan Gayana dance, the author uses the basis of Rhodes' concept of thought (4Ps namely person, process, press, and product). In line with this concept of thought, this qualitative research uses the method of a descriptive analysis approach. The results achieved from this study are the disclosure of Gondo's creative process in the creation of Jaipongan Gayana dance, that is started from himself who is aware of his dancing style which became the conceptual idea in the creation of Jaipongan Gayana dance, which is also supported by internal and external factors, carried out through a quite long process and involved other artists, so that a form of Jaipongan Gayana dance is created which is built with three main aesthetic elements, namely; choreography, musical accompaniment, and make-up and costume. Keywords: Gondo, Creativity, Jaipongan Gayana Dance.
IBING GAPLEK TEPAK JAIPONG NAEK GOYANG KARAWANG PADA TOPENG BANJET SEKARWATI BASKOM GROUP Dadang, Dadang; Nuriawati, Risa
Jurnal Seni Makalangan Vol. 11 No. 1 (2024): "Menggali Akar, Mencipta Ragam Rupa Kinestetika"
Publisher : Institut Seni Budaya Indonesia (ISBI) Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/mklng.v11i1.3409

Abstract

ABSTRAK Ibing Gaplek Tepak Jaipong Naek Goyang Karawang adalah sebuah tarian yang ada pada kesenian Topeng Banjet Baskom. Tarian ini disajikan oleh tiga penari atau tarian rampak. Ibing Gaplek ini diciptakan untuk menggambarkan seorang ronggeng pada saat memberi kode melalui gerakan atau geolan kepada para kaum laki-laki yang ingin menari bersama. Adapun metode penelitian yang digunakan yaitu metode kualitatif dengan pendekatan deskriptif analisis melaui langkah-langkah penelitian meliputi; studi pustaka, studi lapangan meliputi; wawancara, observasi, dokumentasi, dan analisis data. Untuk menguraikan permasalahan penelitian tersebut, maka penulis menggunakan landasan konsep pemikiran mengenai struktur tari yang dikemukakan oleh Iyus Rusliana. Hasil dari penelitian ini merupakan deskriptif mengenai bentuk meliputi; penyajian, koreografi, karawitan, rias busana, properti, dan setting panggung. Berkaitan dengan Isi antara lain; latar belakang cerita, gambaran dan tema, nama atau judul tarian, karakter dan unsur filosofi. Adapun temuan ciri khas dari gerakan Ibing Gaplek yaitu; geol kanan kiri, geol gibrig, dan geol handap ajul gedang. Kata Kunci: Topeng Banjet Baskom, Struktur Tari, Ibing Gaplek, Tepak Jaipong Naek Goyang Karawang. ABSTRACT IBING GAPLEK TEPAK JAIPONG NAEK GOYANG KARAWANG ON THE BANJET MASK OF SEKARWATI BASKOM GROUP, JUNE 2024. Ibing Gaplek Tepak Jaipong Naek Goyang Karawang is a dance that exists in the Baskom Banjet Mask dance. The dance is presented by three dancers or called as rampak dance. This Ibing Gaplek was created to depict a ronggeng when giving codes through movement or geolan to the men who wish to dance together. The research uses a qualitative method with a descriptive analysis approach through research phases namely; literature study, field studies including; interviews, observation, documentation, and data analysis. To describe the research problem, the writer uses the basic concept of dance structure by Iyus Rusliana. The result of this study is a description on a dance form including: presentation, choreography, karawitan (music), fashion make-up, properties, and stage setting. Meanwhile related to the contents, among others; story background, description and theme, dance name or title, character and philosopichal elements. The findings of the characteristic of the Ibing Gaplek movements are: right and left geol, geol gibrig and geol handap ajul gedang. Keywords: Baskom Banjet Mask, Dance Structure, Ibing Gaplek, Tepak Jaipong Naek Goyang Karawang.
Co-Authors Andini, Gustari Tri Azizah, Farah Nurul DADANG DADANG Rendica, Rendica