GARAP DAN STRUKTUR TARI ANOMAN CAKIL SUSUNAN DIDIK BAMBANG WAHYUDI

N. Aini, Soemaryatmi Soemaryatmi
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Abstract

Anoman Cakil dance was created in 1986 at the request of the ASKI Dance Department. External factors are a major factor in the creation of Anoman Cakil dance which is supported by internal factors. This thesis, titled Anoman Cakil dance, composed by Didik Bambang Wahyudi, focuses on the study of dance work and the structural analysis of Anoman Cakil dance. Issues to be explained in this study are (1) How  to work on  Anoman  Cakil dance  by Didik Bambang  Wahyudi  (2) How  to present the structure of Anoman Cakil dance.This research uses qualitative research methods, data obtained through literature study, interviews and observations. The results of data processing are then presented descriptively. To answer this problem, this study uses the concept of cultivation as a knife for analysis, namely the  concept of cultivation  by Rahayu Supanggah. The structural analysis of Sumandiyo Hadi was used as a theory to examine the structural problem of Anoman Cakil's dance presentation. The elements of cultivation work in the form of material work on, work on, working on facilities, working on furniture and determinant work on. Application of cultivation in dance in the form of the background of the creation of dance, Didik Bambang wahyudi as cultivators and Anoman cakil dance as material and means of working on.Anoman Cakil dance including wireng pethilan dance with stories originating from the Ramayana Epic, presented by two dancers in pairs, with figures Anoman and Cakil. And, victory on the Cakil figure. Anoman Cakil dance consists of three parts in the form of Forward Beksan Structure, the Beksan section which consists of the  then  spread  hand  arm  and  keris  shell.  Beksan  retreat  is  the  last  part  of  the Anoman Cakil dance presentation structure. Dramatic flow of Anoman Cakil dance is classified as multiple conical dramatic grooves with a small climax before heading to the main climax. Keywords: Wireng, pethilan, Anoman, Work on, Structural.
GARAP和查克的舞蹈结构,BAMBANG WAHYUDI的教学结构
在ASKI舞蹈系的要求下,于1986年创立了阿诺曼·卡基尔舞蹈。外在因素是阿诺舞创作的主要因素,而内在因素是阿诺舞创作的支撑。本文的题目是《Anoman Cakil dance》,作者是Didik Bambang Wahyudi,主要研究舞蹈作品和对Anoman Cakil dance的结构分析。在本研究中需要解释的问题是(1)如何对Didik Bambang Wahyudi的Anoman Cakil舞蹈进行工作(2)如何呈现Anoman Cakil舞蹈的结构。本研究采用定性研究方法,通过文献研究法、访谈法和观察法获得数据。然后对数据处理的结果进行描述。为了回答这个问题,本研究以修炼的概念为刀进行分析,即罗哈玉素邦迦的修炼概念。以《苏曼迪约·哈迪》的结构分析为理论,考察阿诺曼·卡吉尔舞蹈呈现的结构问题。栽培要素的形式有物质劳动、设施劳动、家具劳动和决定劳动。以舞蹈形式的修炼应用为创作背景,以迪迪克·班邦·瓦赫迪为修炼者,以阿诺曼·卡吉尔舞蹈为创作材料和手段。诺曼·卡基尔舞蹈包括与故事起源于罗摩衍那史诗的wirenpethilan舞蹈,由两个舞者成对呈现,人物是诺曼和卡基尔。还有,胜利就在卡吉尔的背影上。诺曼舞由三部分组成,以前贝克山结构的形式,贝克山部分由随后展开的手臂和keris壳组成。白山静修是安曼舞的最后一部分。阿曼舞的戏剧流分为多个圆锥形的戏剧槽,在走向主高潮之前有一个小高潮。关键词:Wireng, pethilan, Anoman, Work on, Structural
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