KREATIVITAS NAMIN DALAM PETA PERKEMBANGAN JAIPONGAN BAJIDORAN

Abstract

The game ofkendangin each typeofperfonnance art has its own peculiarities. First in the context ofkendangaspartofindependentkarawitanwork, then the secondin the kendangcontext as partofthefunctional karaokework which is specificallyin dance music. Each player and drum game has its ownspecificity and capabilities, sothedrummeris apersonwhois required tohave specialskills. Especially inperfonnance artthat requires the ability todo renewal, development and creativity. Oneofthem isintheartofBajidoran-Jaipongan, where inaddition to being united in karawitan, at the same time itis required toserve a dancer (Bajidor). From a series ofkendangplayers and Bajidorangroups that are well knowninthe community, the name Namin and "NaminGrup"areamong the most calculated. From various perspectives, especially from the point of view of observersand actors,Namin was notonly known as along-standingartistinthe performing arts world, but also known forhis creativity. In the development of Bajidoran - Jaipongan, the term "GaaNamin" is known, itshows a distinctive pattern that is identical to the drum game created by Namin. Tofind out the backgrounduntilfinallyNamin isable todisplaythe distinctivedrum,then Namin needsto be seenas apersonwho has a background that cannot be separated from theprocessofart, including the environmentand the carrying capacity itself From thesevarious dimensions, Namin is a creativefigureas the definition ofa creative figure is mentioned as a unique person who can respond to his environment. And through its work that has exceeded the 40-year mark with Namin Group, ifNamin has notonly demonstratedcreativity inthe artworld, but alsoshowedconsistency, simplicity, and leadershipspiritincarrying outhis work towardstheworld heloves most, Bajidoran.