Jaipongan, also known as jaipong, is a musical performance genre of the Sundanese people in the Sundanese language of West Java, Indonesia. Jaipongan includes revived indigenous arts, like gamelan, but it also did not ignore Western music completely despite the ban on rock and roll. It used its sensuality and the sensuality found in a traditional village music and dance, ketuk tilu. However, many believe it is something purely Indonesian or Sundanese in origin and style. It is developed predominately from rural folk forms and traditions as a purely indigenous form. The rise of cassettes and films has led to the popularity of the musical form of jaipongan. It has spread from its home in West Java’s Sunda, to greater Java and Indonesia. It can be seen as many regional varieties of gong-chime performance found through much of Indonesia. As also an urban dance form, it is based primarily on the village forms of ketuk tilu and on the Indonesian martial arts, pencak silat. The musical genre is largely influenced from ketuk tilu with traces of the masked theater dance, topeng banjet and the wayang golek puppet theater. Ketuk tilu is its biggest influence, as a traditional Sudanese musical entertainment form.
Gong-chime performance is characterized by such features as: use of an ensemble dominated by idiophones, metallophones and knobbed gongs. It is a stratified polyphony, with lower-pitch instruments playing parts of lesser density and all parts are structured colotomically around time-cycles. This can be found in traditional Indonesian gamelan. There is improvisation on certain instruments. The modes used are grouped into two broad types: slendro and pelog.
Ketuk tilu was a musical genre based off ritual and celebration in the villages of the Sundanese people, meaning three kettle gongs. It was known for complex drumming coordinated with equally dynamic solo female dancers. The music was performed for planting and harvesting rituals and later celebrated village life, circumcision and marriage, expressed fertility, and displayed sensuality, eroticism and even sometimes “socially accepted prostitution.” Ketuk tilu was very popular in the Sundanese villages, but the urban Sundanese considered it unrefined and inappropriate because the music involved males and females dancing together suggestively, or mixed dancing between men and ronggeng, or prostitutes. Ronggeng probably has existed in Java since ancient time, the bas reliefs in Karmawibhanga section on Borobudur displays the scene of travelling entertainment troupe with musicians and female dancers.
Jaipong is less strictly associated with ceremonial functions, but performances are common in the Rayagung festival month, and with circumcisions and marriages. The performances now have the character of secular social functions, attended by young and old, primarily for entertainment and socializing. Public performance is now extremely frequent especially in clubs or street performances.
The cassette industry and its boom in Indonesia helped popularize jaipongan greatly and promoted regional styles rather than hurt them. Many learned the dance through cassette rather than the performance. The mass media have made jaipong ubiquitous. It has created competition in the styles of the drummers among ensembles. It has also helped to bring about many dance schools, altering dance and its label on females in West Java.
The song repertoire of jaipongan is varied, and that is why it is better understood as an intertwined performance style of music and dance. Many songs are associated with ketuk tilu or other wide reaching regional varieties, not traditional gamelan. It consists of songs of more recent origin often composed for jaipongan. Song topics vary, encompassing amatory, moralistic, bawdy, topical and spiritual subjects, often emphasizing grass roots culture.
Reog is a traditional dance that become the main identity for Ponorogo Regency. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. Reog dance is also staged full moon nightly in paseban, Ponorogo town square. Reog told about the struggle for a prince who will propose to a beautiful princess. Reog Ponorogo tells the story of a mythical battle between the King of Ponorogo and the magical lion-like creature called Singa Barong. Singa Barong is a large mask usually made of tiger's or leopard's head skin, upon the mask attached a large fan adorned with peafowl feathers. The Singa Barong mask was notoriously heavy, the dancer of Singo Barong bear the mask about 30 – 40 kg weight and supported by the strength of their teeth.
The leading figures in Reog Ponorogo performance includes:
Klono Sewandono, A men in regal attire wearing mask in proud and pompous dance, play the role as the King of Ponorogo
Bujang Anom, rough youthful men wearing red mask, they performed acrobatic dances and sometimes also involved trance.
Jatil, the youthful handsome horsemen riding horses made of weaved bamboo, similar to Kuda Lumping dance. Today Jatil usually performed by female dancers.
Warok, played as Singa Barong, the mythical creature. The one that allowed to performed this mask dance is called warok. A warok is the hororary title of local hero or strongman of the village that possessed both exceptional spiritual and phyisical strength. The dance itself is demonstration of phyisical strength of the dancers.
Reog Ponorogo usually consists of three sets of dances; each dance is performed by several dancers:
The first dance is the opening dance, performed by Bujang Anom, male dancers wearing black costumes. The costume describe rough men with intimidating moustache and other masculinity symbols.
The second dance is the Jaran Kepang dance performed by Jatil; it is originally performed by a gemblak, a handsome and youthful teenage boy wearing colourful costumes. Today the female dancers were usually played this role.
The third dance is the main attraction of the show; it is performed by all the Reog dancers. The warok as the main male dancer, wearing a large and heavy lion mask, dances in the centre of the stage while the other dancers dance around him. To demonstrate the warok's extraordinary strength Jatil or female dancers riding on top of lion mask and being carried around.
Culture and traditions of Reog Ponorogo
The dance describe Klono Sewandono the king of Ponorogo on his journey to Kediri to seek the hands of Princess Songgo Langit. On his journey he was attacked by a vicious monster called Singa Barong, a mythical lion with peacock on its head. Historians trace the origin of Reog Ponorogo as the satire on the incompetence of Majapahit rulers during the end of the empire. It describe the innate Ponorogo liberty and its opposition on centralist Majapahit rule. The lion represent the king of Majapahit while the peafowl represent the queen, it was suggested that the king was incompetent and always being controlled by his queen. The beautiful, youthful and almost effeminate horsemen describe the Majapahit cavalry that have lost their manliness.
Reog Sunda is very different than Ponorogo one, reog Sunda did not incorporate a large lion mask adorned with peafowl feathers like Reog Ponorogo, and did not incorporate trance state. The Reog Sunda performance combines comedy, joke, music, and funny comical movements and dances of the performers. The performers usually consist of four personnel, one called dalang directing the shows, similar to dalang in wayang performance, one called wakil or vice-dalang, the other two were the performers that interact and do the order of the dalang. Each performers carying and using musical instruments such as dogdog, beungbreung, gudubrag (types of traditional drums), and kecrek (similar to maraca) or tambourine, other instruments such as kendang, gong, kacapi might also used. The performance usually took one hour to one and half hour of music, dance and jokes, filled with social messages or religious wisdo
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Wayang golek is a traditional form of puppetry from Sunda. Unlike the better-known leather shadow puppets (wayang kulit) found in the rest of Java and Bali, wayang golek puppets are made from wood and are three-dimensional, rather than two. They use a banana palm in which the puppets stand, behind which one puppeteer (dalang) is accompanied by his gamelan orchestra with up to 20 musicians. The gamelan uses a five-note scale as opposed to the seven-note western scale.
The musicians are guided by the drummer, who in turn is guided by signals from the puppet master dalang gives to change the mood or pace required. Wayang golek are used by the Sundanese to tell the epic play "Mahabarata" and various other morality type plays.
The musical arts of Sunda, which is an expression of the emotions of Sundanese culture, express politeness and grace of Sundanese. The music is claimed to be some of the most beautiful sounds in the world. Degung orchestra consists of Sundanese gamelan.
In addition to the Sundanese forms of Gamelan in Parahyangan, the region of Cirebon retains its own distinct musical traditions. Amongst Cirebons' varying Gamelan ensembles the two most frequently heard are Gamelan Pelog (a non-equidistant heptatonic tuning system) and Gamelan Prawa (a semi-equidistant pentatonic tuning system). Gamelan Pelog is traditionally reserved for Tayuban, Wayang Cepak, and for listening and dance music of the Kratons in Cirebon. Whereas Gamelan Prawa is traditionally reserved for Wayang Purwa.
Cirebon also retains specialized Gamelan ensembles including: Sekaten, which is played in the Kratons to mark important times in the Islamic calendar. Denggung, also a Kraton ensemble which is believed to have a number of "supernatural powers". And Renteng, an ensemble found in both Cirebon and Parahyangan that is known for its loud and energetic playing style.
Traditional Balinese dances are the oldest form of performing arts in Bali. Traditional dances can be divided into two types, sacred dance called Wali and entertainment dance called Bebalihan. Wali (sacred dance) is usually performed in some ritual ceremonies only because it has strong magical powers and only can be performed by specific dancers. Bebalihan are usually performed in social events. In addition to entertain, Bebalihan also has other purposes such as: welcoming guests, celebration of harvests, or gathering crowds. Bebalihan has more variations than Wali.
Pendet is the presentation of an offering in the form of a ritual dance. Unlike the exhibition dances that demand arduous training, Pendet may be danced by anyone. It is taught simply by imitation.
Younger girls follow the movements of the elder women, who recognize their responsibility in setting a good example. Proficiency comes with age. As a religious dance, Pendet is usually performed during temple ceremonies.
All dancers carry in their right hand a small offering of incense, cakes, water vessels, or flower formations. With these they dance from shrine to shrine within the temple. Pendet may be performed intermittently throughout the day and late into the night during temple feasts.
The original Pendet dance is performed by 4-5 young girls (before their puberty) in temple yards. Pendet dancers bring flowers in small Bokor (silver bowls containing flowers in a ceremony). They spread the flowers around the temple. This dance is a symbol of welcoming God in some ritual ceremonies in Bali. Pendet actually has simple dance movements. These movements are the basic dance movements of Balinese dance. Pendet has undergone later development with variations and now is not only performed in ritual ceremonies but also in some social events. Pendet since has been known as a welcoming dance.
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