Jaranan: The Horse Dance and Trance in East Java

Sampul Depan
BRILL, 11 Des 2012 - 307 halaman
The dramatic genre of the horse dance (jaranan) is part of an age-old Javanese tradition displaying wide local and regional variations. A striking feature of the performances of the majority of horse dance groups is the appearance of trance dancers. These are used as a means of establishing contact with the spirits of the ancestors, who continue to play an important part in the lives of their descendants as moral beacons in the solution of problems and the fulfillment of wishes.
As a consequence of the modernization of society in almost every aspect of life, vigorously propagated as it was by the Suharto regime in the period 1966-1998, the trance in horse dancing has been strongly discouraged as an anachronism.
This has prompted a search for new ways of preserving this dramatic genre for future generations. The way the administration of Kediri and a number of local horse dance companies set about solving this problem constitutes a dominant theme of this book. To bring the phenomenon of the horse dance in Java into sharper focus, a brief account is given of its history, as well as a description of the great variety of horse dance groups of and a range of aspects of this genre.
 

Isi

Part Two Aspects of the genre of the horse dance
39
CHAPTER IV Performances by horse dance groups
77
CHAPTER V Rituals surrounding horse dance performances
115
CHAPTER VI The trance
133
CHAPTER VII The significance of the horse dance legend
169
Part Three Theme and variations The performance in Pulihrejo
185
CHAPTER IX The character of the opening dancesin Pulihrejo
215
CHAPTER X The element of play in the performancein Pulihrejo
233
CHAPTER XI Conclusion
251
APPENDIX Transcription of the CD recording
257
Bibliography
273
Index
285
Hak Cipta

Edisi yang lain - Lihat semua

Istilah dan frasa umum

Tentang pengarang (2012)

Victoria M. Clara van Groenendael (1935) studied cultural anthropology with Professor H.G. Schulte Nordholt at the Vrije Universiteit in Amsterdam, and Indonesian and Javanese language at the University of Leiden. Her first field research (1976-1978) was focused on the position of the Central Javanese dalang (puppeteer) in the rapidly changing society of mainly Solo and Yogyakarta (Clara van Groenendael 1985). Later research concerned various forms of puppet theatre, such as the Chinese glove-puppet play, po-té-hi (1993), and the Javanese wayang murwakala (1998) and wayang gandrung (2000 and 2002). She has further published a bibliography of the wayang (1987) and a bibliography of mainly Javanese and Madurese traditional dramatic genres as a supplement to Th. Pigeaud's Javaanse volksvertoningen (1995).

Informasi bibliografi