HAMBARUAN Koreografi yang Terinspirasi dari Spirit Bawi Kameloh dalam Diri Perempuan Dayak - Yulistia Yarno Putri (Institut Seni Indonesia Yogyakarta, 2023)
RINGKASANHambaruan merupakan karya tari video berdurasi 9 menit 50 detik yang diambil menggunakan teknik one shot. Terinspirasi dari sosok Bawi Kameloh, sosok mitos dalam masyarakat suku Dayak, Kalimantan Tengah. Dikatakan bahwa entah disadari atau tidak, sosok tersebut hidup dalam alam pikiran masyarakat Dayak terutama kaum perempuan. Mengacu pada pengalaman pribadi secara spiritual ‘bertemu’ sosok Bawi Kameloh, karya tari video ini diciptakan dalam bentuk koreografi tunggal menggunakan tipe tari dramatik. Tipe dramatik berkaitan dengan kesan karakter sosok Bawi Kameloh yang dirasakan ketika ‘melihat’ Bawi Kameloh menari, terlihat begitu lembut dan kuat di atas sebuah gong. Terkesan dengan ‘pertemuan’ tersebut, karya tari video ini mewujudkan spirit sosok Bawi Kameloh tersebut. Dengan menggunakan metode penciptaan yang disampaikan Hawkins, motif gerak tari Bahalai, tari tradisi Kalimantan Tengah, yaitu malilik, malingker, nganyang dan malembai digunakan sebagai motif awal dan dikembangkan melalui eksplorasi berulang kali, dilanjutkan melakukan improvisasi untuk menemukan varian bentuk dan rasa gerak sesuai tema tari, selanjutnya dikomposisikan menjadi karya tari video.ABSTRACTHambaruan is a video dance artwork with a duration of 9 minutes 50 seconds which was taken using the one-shot technique. It is highly inspired by the figure of Bawi Kameloh, a mythical figure in the Dayak community, Central Kalimantan. It is believed that the figure lives in the minds of the Dayak people, especially women, whether they are conscious of it or not. Hambaruan in Dayak Ngaju language means life, soul, or spirit. The spirit of Bawi Kameloh is interpreted as one of the ideal examples that shapes the soft character of Dayak women and is manifested intothe character of Dayak female dancers, especially the choreographer. Referring to the personal experience of spiritually 'encountering' the figure of Bawi Kameloh, this video dance artwork was created in the form of a solo choreography using a dramatic dance as its type. The dramatic type relates to the impression of the character of Bawi Kameloh's figure when the choreographer 'saw' Bawi Kameloh dancing, looking so soft but also strong on the top of a gong. Impressed with this 'encounter', this artwork then embodies the spirit of the figure of Bawi Kameloh based on the acquired impression. Using the creation method as proposed by Hawkins, the motifs of Bahalai dance movements, Central Kalimantan traditional dances, namely malilik, malingker, nganyang and malembai were used as initial motifs and developed through repeated exploration, followed by improvisation to find variants of form and sense in accordance to the theme of the dance, then composed into a video dance artwork.