Traditional Dance (Tayub)

Tayub or tayuban istraditional artistry typically Java tribe, specially Central Java and East Java. Tayub represent used term by Javanese in a dance art. this isArtistry isvery popular among Java society because its appearance which isatraktif, dynamic, expressive and aesthetic. Dance Tayub isdance art making woman as dominant element. By using typical clothes ofJavanese formerly, like use ofJarit ( long cloth for the clothes of subordinate) and also tied shawl isneck, allwoman oftayub dancer dance graceful that way to amuse and invite berjoget allaudience. allaudience here most isboy clan

 Joget invitation from the this Tayub dancer woman ofsymbol with situating ofshawl atmen audience neck.   boy which have been bound with seledang atits neck cannot refuse invitation the dancer. To the its service, later;then alltayub dancer will get money / barrier. More and more given barrier, hence the Tayub dancer longer nya it. They continue to dance accompanied one Java gamelan music unit in the form of knocking, kenong, kempol, suwukan gong, trumpet, angklung and kendang. Besides, allTayub dancer usually also sing happily song and or Java idyls like containing poe ofwise advise, advise nymph to construct domestic better

History note, artistry of Tayub first time appear in Blora society circle, Central Java. This Artistry become Blora society entertainment amusement ajang which isnotabene most isallfarmer. Farmer society which tend to to have pattern live and think is traditional, in this iscontext ismore is liking ofartistry oflokal-tradisional than modern artistry ofurban clan. But, do artistry oftayub represent result from artistry ofpeople? This question, at least will send us attheory which is digagas by Clifford Geertz

 If us follow social category which isdigagas by Clifford Geertz in its book “ The Religion Of Java”, hence this artistry can be classified as artistry property of formalist clan. Formalist clan here isthem owning lineage from allJava keraton nob family, namely Yogyakarta kesunanan and Surakarta. Have non secret if assumed artistry enough representatif for representing Java society as a whole isyielded artistry by keraton [party/ side]. Meanwhile, artistry which born from alit clan womb, insufficient small people ofrepresentatif so that their artistry ismore oftentimes dimarjinalkan. Its meaning, yielded artistry by small people oftentimes donot get confession, especially from keraton [party/ side].

In line with above idea, Kuntowijoyo more is meaning ofartistry which born from formalist clan womb as a legitimasi to power ofkeraton. In this context, according to writer interpretation, artistry can be classified to become two form. First, artistry owning pattern. In this category, artistry which born from formalist clan womb more structure and pattern compared to artistry ofalit clan. Both, artistry which donot have pattern. In this context, artistry ofassumed rakyat-lah donot have clear pattern. This matter ofmirror from used bysymbol and Ianguage isalit clan which is far from tight keraton culture. Quit of do artistry ofTayub also represent real form isexistence of legitimasi from noblesse, Tetap-Lah Tayub a aesthetic artistry which is iscompetent to be claimed as artistry in Java context. Its Cause ofthis artistry nya itis true have come to primadona among Java people, specially marginal people

 Even though that way, deplorable isnegative stereotipe appearance from most Indonesia society which isalways attached byatthis artistry genre, Tayub. Artistry making woman element as dominant element itis true still considered to be a handicap to social structure ofcultural Indonesia society ofpatriark-nya very strong. In context this is, woman in patriark society isalways put down byatplace which isinferior, whereas allits boy isin place is more ofsuperior.

this Negative Stereotipe make artistry ofTayub progressively termarjinalkan in life ofJava society these days. Even so donot, esensi from Tayub art have discoloured, lose epoch current diterpa. Equally, artistry which is on initially functioning as a entertainment amusement which ishave aesthetic artistic nuance dowith cultural values ofthis adiluhung have changed over function become erotic artistry which only function as mere passion pemuas. By signalizing certain side, for example sensitive side atwoman, like “ forgiveness” part of chest atrather open woman. Hence, kita-pun often see this dance do not again presenting its[his] it. Idyls which is on initially containing wise advise turn into song which isnegative berkonotasi

 Though, in etymology study, Tayub have a meaning of“ to be arranged byguyub ben , arranged [so that/ to be] created byreconciliation. This meaning represent esensi artistry ofTayub which must be presented. But, ugly image and or negative stereotipe which have been attached atTayub flesh and blood will in joint life ofIndonesia society. Tayub to wide ofsociety, isonly looked into from its negativity side, becoming a immoral artistry, with quality lower and have erotic mainstream to. This reality progressively corner artistry ofTayub, so that stamp to have artistry in the form of allartistic perpetrator ofTayub, namely Tayub dancer ( gamelan penabuh and ledhek) represent to have inartistic artistry.

Mistical Dimension

 In general, a lot of Javanese art which ishave mistical nuance to, one of them isTayub. It is said, Tayub dancer women use medium and or the way of is mistical, like use ofsusuk as a means of attractiveness in drawing allaudience or audiens. Particularly, allaudiens-nya islak-laki clan. Real correct don't know or donot, anyway in reality, in artistry ofTayub itis true mistical dimension menyimpan. this Mistical dimension lay in used as byJava gamelan unit isTayub dance attendant music. In Java society, and making treatment ofgamelan unit always become ritual which isdisakralkan. For example, this mistical dimension have been deputized by Sekaten tradition inYogyakarta keraton. In Sekaten upara, two gamelan peripheral ( Kanjeng Kyai Nagawilaga and Kanjeng Kyai Thunder Honey) becoming symbol implementation of that sakral ceremony

 Mistical dimension atartistry ofTayub, in the end send us ata understanding that this isartistry ismore isprecise told as artistry ofpeople than artistry ofkeraton. existing mistical and Magical symbol in this artistry represent individuality from abangan clan culture, namely boundary society which isits culture ofnya is not strength. Such congeniality, implicitly mean that this artistry isinacceptable itis true and expand in wide ofsociety. Its meaning, this artistry can only grow in limited locus. Nevertheless, this did not mean that this artistry isimproper conceived of bya artistry entitas. Because, however, according to Kuntowijoyo, named byisartistry ismasterpiece and or tradition which born from a[n certain group.

Besides, Tayub also can be told as artistic form ofresistance woman ofJava. At least, pass artistry ofTayub, allTayub dancer can be quit of a moment socio-cultural gin ofpatriark atJava society. With accepted fee it, woman of Tayub dancer transform as more compared to self-supporting person ofwoman ofJava in general which only ask money from the man ( its husband). donot only that, Tayub in fact also can become ajang to isto ing each other in the middle of society. Contiguity alldancer with its it[him] have eliminated winnow creavasse. They will tied in a artistry emotion. Then, question, do various the values admit of to stay? Perhaps, only time journey which can replying it. Nevertheless, we have to remain to be out for take care of and preserve art dance Tayub as one of the cultural khasanah property of nation.

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