PENTINGNYA PERAN TARI DALAM PERTUNJUKAN SENI BANGRENG PADA LAGU HAYAM NGUPUK
Kata Kunci:
Lagu Hayam Ngupuk, Kesenian Bangreng, Tari Pada BangrengAbstrak
Hayam Ngupuk merupakan salah satu lagu Bangreng yang unik, pertama lagu tersebut memiliki nilai moral atau menyampaikan nasihat, kedua terdapat gerakan yang konsisten yang dilakukan oleh para penonton ketika menarikan lagu ini. Tujuan dari penulisan ini adalah untuk mengetahui seberapa penting peran tari dalam kesenian Bangreng khususnya pada lagu Hayam Ngupuk. Metode yang digunakan adalah studi pustaka, melakukan penelitian lapangan dan melakukan analisis menggunakan metode kualitatif dengan cara mengumpulkan data dari masyarakat dan terlibat dalam pertunjukan Bangreng. Landasan teori yang digunakan dalam penelitian ini adalah beberapa teori budaya dan konteks sejarah; pelestarian dan perubahan, warisan dan identitas menjadi dasar penelitian ini. Maka pada penulisan ini ada beberapa pembahasan yang dilakukan yaitu peran tari dalam Kesenian Bangreng yang menjadi hal utama dalam pertunjukan meskipun tidak memiliki gerakan khusus, lagu-lagu yang muncul berdasarkan permintaan dari para penari, pola tabuhnya juga mengikuti gerakan penari.
Referensi
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Hariyono, A.H., 2016. Ateng Japar: Sang Legenda Seni Pertunjukan Longser dan Peranannya di Kabupaten Bandung, Tahun 1975–2002. MIMBAR. PENDIDIKAN, 1(1).
Haditresna, P. and Sigit, R., 2017. Tata Kelola Kesenian Group Gembyung Dangiang Dongdo Kabupaten Subang. Pegi Haditresna 116040027 (Doctoral dissertation, Seni Musik).
Hadi, S. and Suparli, L., 2019. Estetika Tari Pada Jenis Kesenian Bangreng di Su-medang. Jurnal Seni Makalangan, 6(1).
Pratama, I.G.Y., 2021. Fenomena Perubahan Dalam Pelestarian Budaya Mesatua Bali. Besaung: Jurnal Seni Desain Dan Bu-daya, 6(1).
Saepudin, A., 2013. Garap Tepak Kendang Jaipongan dalam Karawitan Sunda. BP ISI Yogyakarta.
Sutisna, R.H., Wiresna, A.G. and Sukmana, E., 2023. Gamelan Koromong dalam Konteks Ritual 14 Mulud pada Masyarakat Cikubang Sumedang Jawa Barat. Resital: Jurnal Seni Pertunjukan, 24(2), pp.176-190.
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