Culture of the West Java Jaipong

Jaipong or Jaipongan.

In 1961, Indonesian President Sukarno prohibited rock and roll and other western  genres of music, and challenged Indonesian musicians to revive the indigenous arts. Gugum Gumbira took up the challenge, and studied rural dance and festival music for twelve years. Jaipongan, or Jaipong, was the most popular result of his study, derived from the updating of a village ritual music called ketuk tilu, with moves from Pencak Silat, the Indonesian martial art, music from the masked theater dance Topeng Banjet, and the Wayang Golek puppet theater.

In the original ketuk tilu, the group typically consists of the ketuk tilu pot-gong, other small gongs, a rebab (spike fiddle), barrel drums, and a female singer-dancer (ronggeng) who is often also a prostitute, who invites men to dance with her sensually. Gugum expanded the drum section as part of an urban gamelan orchestra, sped up the music, redefined the singer as just a singer (sinden), and came up with the catchy onomatopoeic name. Many listeners consider the music very complex, with the dynamic rhythm liable to change seemingly randomly.
Jaipongan, also known as Jaipong, is a popular traditional dance of Sundanese people, West Java, Indonesia. The dance was created by Gugum Gumbira, based on traditional Sundanese Ketuk Tilu music and Pencak Silat movements.
Works created by the first Jaipongan Gugum Gumbira is keser Bojong pulus leaves dance and dance pairs Raden Bojong sons and daughters. Dancing is highly rated and popular throughout West Java, including Bandung regency other works created by such Gugum toka-toka, Setra sari, sonteng, pencug, egrets dazed, the procession procession croton leaves, rawayan, the anten etc. also popular among the dancers who like Iceu Efendi, Yumiati Mandiri, Mimin Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Diar, Asep Safat.

The appeal of dance for young people other than the motion of a dynamic dance and beat drums to bring them to drive her to dance, so dance Jaipongan as one of the West Javanese arts identity oadasetiap appear at special events and large samapai state. Effect of penetrating Jaipongan dances Central Java and East Java, Bali, Sumatra, and even that was developed by artists outside West Java.
Jaipongan dancers consist of singles, rampak / colossal

a. similar rampak

b. Rampak pairs

c. Single men and single women

d. Paired male / female

    Jaipongan Karawitan consists of commonly used simple musical performances of percussion tilu (3 ) :
1. drum
   2. percussion
   3. fiddle
   4. Goong
   5. kecrek
   6. sinden

    To fully use the gamelan musicians commonly used in such musical puppet show

   1. drum
   2. sarin I, II
   3. bonang
   4. rincik
   5. demung
   6. fiddle
   7. kecrek
   8. sinden
   9. Goong
  10. Alok interpreter

   dance wear for grammar Jaipongan new creations are usually different from the fashion beat for the creation tilu usually more glamorous while maintaining the pattern traditional as sinjang / trousers, kebaya / apokan ornamental fashion so that it looks more elegant but more free to move. Along with the changing times and the dance dance Jaipongan lot shown on the colossal open arena has also appeared on-star hotel and the reception of foreign guests from various parts of the world.

Posted in: Tradition and Culture in West Java