Embodiment of Symbolism and Meaning of Human Life Phases in the Characteristics of Topeng Tunggal Through the Creation of a Dance Film Titled Nindak Jirumklan
Abstract
This research innovates dance creation by integrating Betawi dance, cinematography, music technology, visual arts, and scenography, aiming to broaden our understanding of dance in a cinematic format. It challenges the assumption that dance is confined to stages and advocates for a broader visual platform. Drawing inspiration from the Topeng Nindak Jirumklan, the dance film symbolizes life stages. The research problem formulation for creating a dance film involves exploring how to depict the different phases of life using the framework of a single-mask dance that features four mask characters. Betawi Mask Dance is an adaptation of the Cirebon Babakan mask, where each dance embodies aspects of human life. Using a qualitative approach, this study encompasses focus determination, data collection, observation, document use, interviews, and data collection matrices. Guided by Hawkins’ creation theory, it explores experiences, perceptions, feelings, imaginations, realizations, and formations. The anticipated outcomes of Betawi arts, including mask dances, Wayang, and Tanjidor music, extending across various regions with Malay influence, and the dance film Nindak Jirumklan, incorporating music, dance, comedy, and drama, inspired by the single mask dance, encompasses providing an imaginative journey, enriching artistic memories, exploring space through technology, and contributing to choreographic knowledge.
Keywords: symbolization, character mask, Nindak Jirumklan, dance film
References
[1] Parani J. Intercultural Jakarta, Ambience of Betawi Theatre to Indonesian Theatre. Wacana Seni Journal (Arls Discourse). 2006 Dec 31;5(1):43-69.
[2] Rachem A, Wiwiek W. Petunjuk Praktis Latihan Gerak Dasar Tari Topeng Betawi. Jakarta: Dinas Kebudayaan DKI Jakarta; 1996.
[3] Hawkins AM. Moving from Within: A New Method for Dance making. Denpasar: Masyarakat Seni Pertunjukan Indonesia; 2003.
[4] Rohidi TR. Metodologi Penelitian Seni. Semarang: Cipta Prima Nusantara; 2011.
[5] Lloyd ML. Creative Dance a Manual for Teaching All Ages. Kuala Lumpur: University of Malaya; 2014.
[6] Murgiyanto S. Koreografi dan Kreativitas. Mudra - Jurnal Seni Budaya. 2002;8(8):22- 34.
[7] Kussudiardja B. Dari Klasik Hingga Kontemporer. Yogyakarta: Padepokan Press; 2000.
[8] Soewardjo BK. Penciptaan Seni Berjudul Kembang Antik
[Master thesis]. Jakarta: Sekolah Pascasarjana, Institut Kesenian Jakarta; 2011.
[9] Cheney G. Basic Concepts in Modern Dance - A Creative Approach. New Jersey, US: Princeton Book Company; 1989.
[10] Brannigan E. Dancefilm: Choreography and the Moving Image. Oxford: Oxford Academic; 2011.
[11] McKinney J, Butterworth P. The Cambridge introduction to scenography. Cambridge: Cambridge University Press; 2009.
[12] Fahrudin F. Tanah sebagai Bahan Penciptaan Manusia: Analisis Semiologi Roland Barthes padaKata Thin dalam Al-Qur’an. TAFSE: Journal of Qur’anic Studies. 2021;6(1):21-36.
[13] Zulkarnaen. Penciptaan Manusia dari Tanah serta Potensi Kesombongannya (Sebuah Refleksi). Jakarta: Mahkamah Agung Republik Indonesia. Direktorat Jenderal Peradilan Agama; 2015.
[14] Heri. 13 Arti Warna dan Psikologi Warna, Terlengkap! (Merah, Ungu, Kuning, Hijau, Coklat, Biru dll). 2017. https://salamadian.com/arti- warna/
[15] Shahab YZ. Identitas dan Otoritas: Rekonstruksi Tradisi Betawi. Jakarta: Laboratorium Antropologi, FISIP UI; 2004.
[16] Kleden NI. Teater Topeng Betawi Sebagai Teks dan Maknanya Suatu Tafsiran Antropologi. Depok: Universitas Indonesia; 1987.
[17] Suanda TA. Topeng Cirebon Bahan Ajar Mata Kuliah Topeng Cirebon. Bandung: STSI Bandung; 2009.