Beginning Gambyong term originated from the name seems a dancer taledhek. Dancer named Gambyong lived in the time of Sunan Paku Buwana IV in Surakarta. Taledhek dancer named Gambyong also mentioned in the book Cariyos Lelampahanipun Suwargi work R.Ng. Ronggowarsito (years 1803-1873), which revealed the presence of a dancer named Ledhek who have proficiency in dancing and sonority in a voice that became the idol of young people in those days.
Choreography of Gambyong dance is largely centered on the use of footwork, body, arms, and head. The motions of the head and hands are smooth and controlled is within specification Gambyong dance. Eyes direction moves following the direction of the hand with the fingers looked dominant factor making hand motions in Gambyong dance expression. It can be observed in motion ukel asta (wrist twist) as a form of motion is often done.
The motion of the foot during standing and walking attitudes correlates harmony. For example, the motion srisig (standing on tiptoe and small steps), nacah miring (left foot moves to the side, followed by alternating or place it on the right foot in front of left foot), kengser (footwork shifted sideways manner / position keep the feet close to the floor). Specific footwork on the dance Gambyong is embat or entrag motion, the position of the knee that opened because mendhak (modestly) moves down and up.
Cultivation of the pattern on the dance floor Gambyong performed on a series of motion transition, when the motion of the transition series with a series of subsequent motion. While the dancer position shift is usually done on motion coupling, namely srisig, singget ukel karna, kengser, and nacah miring. Besides the motion was carried on a series of runs (sekaran mlaku) or the motion in the place (sekaran mandheg).
Gambyong dance as women dance has the regulations in the implementation of motion so that the movement seems limited privacy. This is done so that the delicate femininity or will always be maintained. In the rare female dance emotion, but should always be soft, smooth, and polite. The nature of the ideal and noble woman is always honored with a fine art expression. Therefore, there is no motion of the arm higher than the shoulder, there is no jumping motion, and the thighs are always tight. Torso shape (body) and refined lady limb spasticity perfected feminine lines become very beautiful. This can be achieved by instinct and refined manners.
The development is inseparable from the dance Gambyong aesthetic value that expresses flexibility, softness, and agility women. Aesthetic value is there in harmony and harmony between the movement and rhythm, especially between the movement and rhythm of drums (gendang). The synergy between movement and rhythm makes the dance look more agile (sigrak). Gambyong dance aesthetic value will come when the dancers also animate and capable of expressing a perfectionist so that the expression of dance erotic-sensual will appear.
Clothing and dressing on the Gambyong dance have a supporting role of the dance and an important factor for the success of the presentation. Forms of corrective make up produces a beautiful face and looks natural, attractive to look at it.
Meanwhile, clothing of Gambyong dance called angkinan or kembenan make the curves formed by the dancers appear. Thus, the body parts are moved so that the apparent motion as ogek lambung with small volume may seem more obviously. This allows the form of clothing also provide the range of motion in accordance with the manifestations and agility of Gambyong dance.
With the use of fold cloth (wiron), so when walking or moving, folds of fabric (pleats) will open and close; and it is strengthened her beautiful side impressively. Thus, clothes that are considered in accordance with the expression of the dance are angkinan with a big bight (gelung gedhe).
The shoulder is open, sometimes even raise breasts so that it looks plump as the glathik mungup (the curve of the breast, it looks like a bird gelathik that appears). The development of a divers Gambyong dance fashion today more decorative and less impressive that shows suitability (kemungguhan) to the dance. Nevertheless, the development of clothing still makes the presentation of Gambyong dance more diversing and interesting.
Presentation of dance Gambyong can achieve aesthetic value when it is performed by dancers who have a strong dance base. Stability of a dancer influenced by cultural background dancers forms themselves, in addition to the habit and maturity. Habits and maturity on the Gambyong dance will form the dancers melted or fused with the presented dance. Because the dancers do not just move physically, but even more important is being able to express intuition through dynamic movement and proportionate.
Gambyong dance has a very strong appeal because the aesthetic motions are erotic. Motives motion is nonrepresentatif motions (tan wadhag). In addition, the motion varies with a fast tempo and deft motions in Gambyong dance make it more dynamic. Also because of specific motives motion caused by the demands for dancer to create the impression of erotic Gambyong dance as an interesting presentation made to be enjoyed by the audience.
pictures: chandrabudaya.com
The development is inseparable from the dance Gambyong aesthetic value that expresses flexibility, softness, and agility women. Aesthetic value is there in harmony and harmony between the movement and rhythm, especially between the movement and rhythm of drums (gendang). The synergy between movement and rhythm makes the dance look more agile (sigrak). Gambyong dance aesthetic value will come when the dancers also animate and capable of expressing a perfectionist so that the expression of dance erotic-sensual will appear.
Clothing and dressing on the Gambyong dance have a supporting role of the dance and an important factor for the success of the presentation. Forms of corrective make up produces a beautiful face and looks natural, attractive to look at it.
Meanwhile, clothing of Gambyong dance called angkinan or kembenan make the curves formed by the dancers appear. Thus, the body parts are moved so that the apparent motion as ogek lambung with small volume may seem more obviously. This allows the form of clothing also provide the range of motion in accordance with the manifestations and agility of Gambyong dance.
With the use of fold cloth (wiron), so when walking or moving, folds of fabric (pleats) will open and close; and it is strengthened her beautiful side impressively. Thus, clothes that are considered in accordance with the expression of the dance are angkinan with a big bight (gelung gedhe).
The shoulder is open, sometimes even raise breasts so that it looks plump as the glathik mungup (the curve of the breast, it looks like a bird gelathik that appears). The development of a divers Gambyong dance fashion today more decorative and less impressive that shows suitability (kemungguhan) to the dance. Nevertheless, the development of clothing still makes the presentation of Gambyong dance more diversing and interesting.
Presentation of dance Gambyong can achieve aesthetic value when it is performed by dancers who have a strong dance base. Stability of a dancer influenced by cultural background dancers forms themselves, in addition to the habit and maturity. Habits and maturity on the Gambyong dance will form the dancers melted or fused with the presented dance. Because the dancers do not just move physically, but even more important is being able to express intuition through dynamic movement and proportionate.
Gambyong dance has a very strong appeal because the aesthetic motions are erotic. Motives motion is nonrepresentatif motions (tan wadhag). In addition, the motion varies with a fast tempo and deft motions in Gambyong dance make it more dynamic. Also because of specific motives motion caused by the demands for dancer to create the impression of erotic Gambyong dance as an interesting presentation made to be enjoyed by the audience.
pictures: chandrabudaya.com
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