Widi Chaca

Jaran Goyang Dance

Banyuwangi is a town with variety of cultures, one of its culture is traditional dance. Traditional dance is more frequently used when the emphasis is on the cultural roots of the dance. Banyuwangi has a traditional dance namely “Jaran Goyang”, it is one of traditional dance from Gladagan Banyuwangi, it was created in 1966. It is presentesd by a couple of dancer, male and female dancer. People known Jaran Goyang as a traditional dance which has negative side, it is containing “santhet” in presenting the movement. People belived that Jaran Goyang could be a way for people to discover their love.

The History

Jaran Goyang dance is a traditional dance from Banyuwangi, the musical accompaniment has different characteristics with the dance that comes from other areas. It was created in 1966 by the group of LKN Pandan, Genteng, Banyuwangi. A couple of years ago, Jaran Goyang dance was revitalized by Sumitro Hadi, an artist who has been presenting traditional dance, in 1969. This dance was created from the inspiration of Seblang and Gandrung dance, so that the movement is almost the same with Seblang and Gandrung dance. Jaran Goyang dance consists of the words Jaran ‘horse’ and Goyang ‘shake, move’.

The dance tells the story about love story of young adults, but the love of the boy was rejected by a girl so that he felt so hurt and then he used an aji Jaran Goyang as a magic power to conquer the girl so that the girl was crazy about that boy. Because of the magic power, the girl seduced the boy by all the ways, but the boy refused to love the girl. The girl was crying because she could not get love from the boy even if she used a variety ways to seduce. Finally, the boy was not bear to see the girl cried and accept the girl’s love. According to the story, "ajian jaran goyang" was created by a poor man (sweeper) who falls in love with beautiful daughter of his employer. When the poor man tried to express his feelings, the girl was angry and insulted him by the spat. This insult is what made him want to do a series of behavior penance, fasting 40 days, and finally got a whisper spell it. In its development, "ajian jaran goyang" included category of "santhet" and it included "ilmu merah".

The Costume and Makeup

Makeup and costume are the main things that should be paid attention to a dance performance. Jazuli says that costume of the art tradition is to support theme or content of the dance, to demonstrate the role of a dance and to show the identity of the region and from which the dance originated. Jaran Goyang dance uses a simple makeup and costume. For female dancers, they use the pretty makeup. The costume used is Kebaya with Kutubaru model, the bottom using jarik with gajah oling motif or fabric plain and sampur. For male dancers, they use a simple makeup and the costume is a headband (Udeng), long sleeve shirt, a pant with knee-length, sampur and jarik with gajah oling motif.

• The costume and makeup of Jaran Goyang dance in 1969-1989

In this period, there was no many development in the costume and makeup dancers. There was a development for the headband. For the dancer costume, they no longer used the plain jarik but they used the motif jarik that has a typical Banyuwangi batik motif. There are more accessories such as Sanggul Bali, Kembang Goyang and Udeng.

• The costume and makeup in 1990-2009

The costume of Jaran Goyang dance in this period experienced a little development, but the female dancer costume experienced the development more prominently. They used Kebaya brokat and that is not as simple as the old one. There was not many development happened to male dancer.

• The costume and makeup in 2010-2016

In this period, the costume that dancers used is modern kebaya impressed luxury and they use some accessories in head. Male dancers use Banyuwangi udeng, and they use jarik with the motif that they want. So, it looks more interesting.

The Performance

Jaran Goyang dance, is a traditional dance from Banyuwangi containing elements of "magic power" especially young men and women, because it reveals the life story of the romance of adolescence (SudibyoAris, 1980/1981: 29) .

The performance of this dance according from Mr. Sumitro Hadi as an elder and dancer of Jaran Goyang dance in 1966 and led the White Orange Dance Studio in the  Gladag Banyuwangi. He said that the form of performance of Jaran Goyang dance first version has a long duration when compared to other dance in Banyuwangi, namely for about 12 minutes while the other dances, especially in Banyuwangi which normally only has a duration of no more than 10 minutes. The performance of Jaran Goyang dance formerly in celebration events, and the annual event is to commemorate the Independence Day in the Gladag Banyuwangi village. Place of this show is not only done in an enclosed space, but also performed in an open space like a terrace or courtyard houses.

Jaran Goyang dance according to the author's observation, is the only Banyuwangi traditional dance that have choreography with the theme of romance, while the other pairs choreography like Padang Ulan, and Gandrung is inclined themed dance choreography association. This art is also very popular and has its own peculiarities in its grain and is not performed by any dancer. It required dancers who already have the experience and maturity as dancers. In addition, this dance is much loved by society, so Jaran Goyang dance performances are often staged at various occasions.

Jaran Goyang dance have unique and different working with other romance dance. Jaran Goyang dance name is the name of a grace called “aji Jaran Goyang”, aji is trusted by the community of grace Banyuwangi very powerful tool to lure a person to be loved. Jaran Goyang dance show performed by female dancers paired with men, Jaran Goyang dance begins with the cultivation of female dancers who reject and do not love the man. Therefore, the concept of making this dance works closely with “Aji Jaran Goyang”, so in the performance suddenly a female dancer falls in love with a men dancer.

Jaran Goyang dance in his movements, basically are taking about traditional dance movements of Banyuwangi. Vokabuler motion is quite simply not be separated from the movement of goods, namely jalanngiji, jalanngloro, jalandobel step, meanwhile the pattern of hands are ngeber, sagah left and right, agem left and right , nimpah, songkloh. In addition, in certain parts of the dancers are given the freedom to improvise, therefore Jaran Goyang required dancers to people who already have the ability to dance well, although the range of motion is simple, but a lot of acting when playing the dance. Range of motion between the male dancers with women is not much different, but the volume and character that distinguish. For male dancers, spirit, and aggressive, while the daughter sassy, fun, lively, and sometimes sullen expression, sadness, and joy.

Musical Accompaniment

Musical accompaniment in Jaran Goyang Dance is very simple. The musical accompaniment that used is external music, that is music or sound produced from musical accompaniment equipment like saron, kendang, triangle (kluncing) and kenong. Moreover, for additional music equipment, Jaran Goyang dance used Gamelan Banyuwangi with slendro tune.  Slendro is a pentatonic scale (laras) that common used in Indonesian gamelan music. The duration of Musical accompaniment in Jaran Goyang Dance is around 12 minutes.

Saron

Saron is a musical instrument of Indonesia which is used in the gamelan. It normally has seven bronze bars placed on top of a resonating frame (rancak). It is usually about 20 cm (8 in) high , and is played on the floor by a seated performer.

Saron

Gendang Kendhang or Gendang is one of the primary instruments used in the Gamelan ensembles of Java, Bali and Terengganu. It’s shaped as two-headed drum.

Kendhang

Triangle Triangle is a music instrument which has simple shape. The shape of this music instrument is like a triangle.

Triangle

Kenong

Kenong is one of the music instruments used in the Indonesian gamelan. It is technically a kind of gong, but is placed on its side and is roughly as tall as it is wide. It thus is similar to the bonang, kempyang and ketuk, which are also cradled gongs.

Kenong

The Development of Jaran Goyang since 1969-2016

“Jaran Goyang” is one of traditional dance from Banyuwangi, it is orignally from Gladagan. It’s usually present as a symbol of teaser romance. People believed that this dance has strong power in building love relations. Beside that, Jaran Goyang is also has negative side to the envionment, because in this traditional dance people add “santet” to the ritual process, people known santet has strong black magic, it seems something bad to do for “guna-guna”.

Jaran Goyang had been development in some periods, it was devided into three periods (1960, 1990, 2010 – 2016), In these periods, Jaran Goyang had been developed in some aspects, such as the movement, floor design, the accompaniment, make up and clothing, and the venue. All these aspects will continue to experience growth, in order to keep the Jaran Goyang as one of the authentic culture from Banyuwangi.

Table. 1 The Development of Jaran Goyang since 1969 – 2016 in Banyuwangi.

	First Period (1969 – 1989)	Second Period (1990 – 2010)	Third Period (2010 – 2016)
The Movement	Ø  It was still used raw movement.	Ø  There are some new creations for the movement which are based on dancers’ ability.	Ø  Some movements are already developed.
	Ø  The female dancers usually used some basics movement, that was : ngeber, miwir, sampur, sagah kanan and sagah kiri, and ngrayung.	Ø  There are some new movements and creations for the female dancers, but it was stil based on the raw movement.	Ø  The movement of female dancers had been renovated.
	Ø  The male dancers usually used some basics movement, that was : bapang, laku telu, laku loro loro.	Ø  There are some new creations for the male movement which are based on dancers’ ability.	Ø  It was seldom to use raw movement.
The Floor Design	Ø  The floor design used was raw design. Ø  It was dancing by one dancer.	Ø  It was dancing by two dancer (a couple).	Ø  The floor design had been renovated.
	Ø  It was modest.	Ø  It was renovated for male and female dancers.	Ø  It was so many spontanious in accordance with the dancers’ role.
		Ø  Male dancer only adjust the direction and position of  female dancer, because he is as a chaser.
The Accompaniment	Ø  It was 7 minutes for the duration.	Ø  It was 7 minutes for the duration.	Ø  It was 7 minutes for the duration. Ø  track order has been changed.
	Ø  The song used is Condro Dewi.	Ø  The song used is Condro Dewi.	Ø  The song used is Condro Dewi
	Ø  The song used is Wak Haji.	Ø  The song used is Wak Haji but  the content had been added.	Ø  The song used is Wak Haji
	Ø  The song used is Embat Embat	Ø  It was changed	Ø  It was changed
	Ø  The song used is Sekar Jenang	Ø  It was changed	Ø  It was changed
	Ø  The song used is Ugo-Ugo	Ø  It was back to Wak Haji song	Ø  It was Wak Haji song
	Ø  It was used Santri Mulih	Ø  The lyric was changed to “isuk isuk yo to ojok megawe Ngombe kopi yoro gantenono”	Ø  The lyric was changed to “isuk isuk yo to ojok megawe Ngombe kopi yoro”
	Ø  It was added Angklung for the musical instrument.	Ø  It was used Sekar Jenang for the song.	Ø  It was used Sekar Jenang for the song.
		Ø  It was back to Gendhing Embat Embat	Ø  It was changed.
		Ø  It was added Rebana for the musical instrument.	Ø  The musical instrument are kluncing, kendang,saron,bonang,angklung,biola, and rebana.
Make up and Clothing	Ø  It was used kebaya, sengkelat, and jarik for female dancer.
	Ø  It was used beaty make up for female dancer	Ø  It was used beaty make up for female dancer.	Ø  It was used beaty make up for female dancer.
	Ø  It was used raw clothing for male dancer.	Ø  It was changed.	Ø  It was changed
	Ø  The make up was the same with.	Ø  The make up was the same with.	Ø  The make up was the same with.
The Venue	Ø  It was outdoor (field, terrace, or front yard)	Ø  It was outdoor and indoor.	Ø  It was outdoor and indoor.