This dance was created by an artist from Bandung , Gugum Gumbira , circa 1960s , with the aim of creating a type of music and dance socially art treasures unearthed from the archipelago folk traditions , especially West Java . Although the art of dance including a relatively new creation , jaipongan developed based folk arts that have been developed previously , such as Tap Tilu , Kliningan , and Ronggeng . Gumbira attention to folk art , one of which is Tap Tilu making treasury know and know well the patterns of dance traditions that exist in Kliningan / Bajidoran or Tap Tilu . Motions openings , pencugan , nibakeun and several kinds of motion of several arts mincid an inspiration to develop the arts jaipongan .
Prior to this emerging form of performance art , there are some influences behind the establishment of this social dance . In urban areas Priangan example , in gated communities , social dance influenced dance Ball Room of the West . While the folk arts , social dance influenced by local traditions . Performances of traditional social dances could not be separated from the existence ronggeng and pamogoran . Ronggeng in social dance is no longer working for the ceremony , but for entertainment or a way to get along . Ronggeng existence in the performing arts has an appeal that invites sympathy for pamogoran . For example in Tilu Tap dance is so well known by the Sundanese people , estimated this art popular around the year 1916. As the folk performing arts , art is only supported by simple elements , such as waditra which includes fiddle , drums , kulanter two , three percussion , and gongs . Similarly, the dance movements that do not have a standard pattern of motion , simple costumes dancer as a reflection of democracy .
Along with the waning type of art above , former pamogoran ( the audience plays an active role in the performing arts Tap Tilu / Doger / tayub ) switch Kliningan attention on the performing arts , which is in the North Beach area of West Java ( Karawang , Bekasi , Purwakarta , Indramayu , and Subang ) known as Kliningan Bajidoran dance patterns and events that show has some similarities with the previous art ( Tap Tilu / Doger / tayub ) . In the meantime , the existence of dance in mask Banjet quite popular , especially in Karachi , where some Bajidoran motion patterns extracted from mask dances in this Banjet . In choreographic dances that still reveals patterns tradition ( Tap Tilu ) that contains elements of the motions of the openings , pencugan , and several kinds of motion nibakeun mincid which in turn became the basis of the creation of dance Jaipongan . Some basic motions other than Tap dance Jaipongan Tilu , Ibing Bajidor and Mask Banjet is Tayuban and Pencak Silat .
This dance began to be known widely since the 1970s . The emergence of dance works Gugum Gumbira initially called Tap Tilu development , which is because it is a basic dance from Tap Tilu development . The first work Gugum Gumbira still very thick with color ibing Tilu Tap , both in terms of choreography and accompaniment , which then dance it became popularly known as Jaipongan .
Klana mask dance is a picture of someone who is ill-tempered , greedy , angry and can not control the passions , but the dance is the most much loved by the audience . Most of the dance motion describing someone who was angry , drunk , crazy , laugh , and so on . Gonjing accompanying song is followed by Ilang Gloves . The structure of the dance as well as other masks , consisting of parts baksarai ( not wear mask dance ) and part ngedok ( wearing mask dance ) . Some mastermind mask , for example Rasinah and Menor ( Carni ) , dividing it into two parts dance . The first part , is the mask dance is accompanied by song Klana Gonjing and gloves Ilang . The second part , which is accompanied by the song Klana Udeng Dermayonan . Klana mask dance are often called Rowana mask . The title refers to one of the characters in the Ramayana , Ravana that figure . By coincidence , exactly the same character with the character in the story Klana Panji . In Cirebon mask and Rowana Klana sometimes interpreted as the same dance , but for some mastermind mask , for example Sujana and Keni of Slangit ; Sutini of Kalianyar and Tumus of Kreo ; distinguish the two dances , just as the woman just the same . If the mask is danced Klana costume Irah - irahan or makuta Ravana in the head and at the back wearing Badong or Praba , then it is called the mask Rowana .
Much different costumes and masks Klana costume looks very similar to the character of Ravana in the wayang wong . In celebration of mask performances , ie, after the mask dance is finished , the dancers usually perform nyarayuda or ngarayuda , ie asking for money to the audience , invited guests , stakeholders and the committee intent , merchants , and others. He toured while mengasong - asongkan guise held it upside - part open and part - face down and turned into container guise of money . They give money seikhlasnya without feeling any compulsion . Having had enough , the dancers return to the stage and as gratitude , he returned to offer some Klana mask dance movements , as a dance extra . Nyarayuda or ngarayuda is a moral message or symbol that reminds us of how society should berkehidupan . Klana is a wealthy king , that no less a thing, but he still feel short , everything was not enough , so he kept trying to take as much property regardless of whether it is right or vanity . That's exactly the message nyarayuda , which means not merely begging . Life , you should give more than we asked for more . That is the message to be conveyed .
