12 Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman Condropangrawit Herlinah Department of Music Education, Faculty Languages and Arts, Universitas Negeri Yogyakarta, Indonesia Received: March 9, 2019. Revised: May 16, 2019. Accepted: June 19, 2019 Abstract The purpose of this study is to describe the characteristics of Bedayan Retna Dumilah dance mo- tions created by S. Ngaliman Condropangrawit. This research uses descriptive qualitative meth- od. The research subjects are three figures who are familiar with the Bedayan Retna Dumilah dance. Data collection techniques used the method of observation, in-depth interviews, and documenta- tion study. Data analysis techniques were conducted through the stages of data reduction, data description, and conclusion drawing. Data validation was conducted through the triangulation of sources. The results show that the Bedayan Retna Dumilah dance is a Surakarta style traditional dance that combines the feeling of classical dance motions of the Surakarta Kasunanan Palace with the sense of motion of Kemlayan village artists. The main idea of the Bedayan Retna Dumilah dance was inspired by Bedaya Bedhah Madiun. The Bedayan Retna Dumilah dance range of mo- tions was taken from the Srimpi Sangupati, the Srimpi Gondokusuma, and the Srimpi Anglirmendung dances range of motions. The characteristics of the range of motions found in the Bedayan Retna Dumilah dance are: 1) Sekaran Lara Retna Dumilah which is a development of the sekaran laras sawit; 2) the standing style sekaran lenggut which is a development of the lenggut on sembahan trapsila and sembahan jengkeng. The two characteristics of the range of motion are not found in the other dances. Keywords: characteristics, dance motion, Bedayan Retna Dumilah How to Cite: Herlinah. (2019). Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman Condropangrawit. Harmonia: Journal of Arts Research And Education, 19(1), 12-17. Harmonia: Journal of Arts Research and Education 19 (1) (2019), 12-17 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v19i1.23624 expression of creativity from culture itself, a society that supports culture and thus technique creates, provides opportunities to move, maintain, transmit, develop and then create the new ones. As time goes by, art develops more rapidly. One form of art is dance, which has an essential role in people’s lives. Wi- daryanto (1988) said that dance is expres- sive given movements created by humans to be enjoyed with taste. Based on the pattern he worked on, INTRODUCTION Art is an expression of the human spirit that is manifested in various forms of artworks. Art creation occurs because of the process of creativity, taste, and intenti- on. Sense arises because of an instinctual drive called will (karsa). According to (Soe- darsono, 1996), karsa can be individual or collective, depending on the environment and culture of the community. On the ot- her hand (Kayam, 1981) said that art is an Corresponding author: Jl. Colombo No. 1, Sleman, Yogyakarta, 55281, Indonesia E-mail: herlinah@uny.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Herlinah, Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman 13 dances in Indonesia can be divided into two namely traditional and new creation dances. Traditional dances can be divided into classical traditional, traditional folk and primitive dances (Suparjan, 1982). It is also stated that classical dance is a dance that has experienced high artistic crystalli- zation that has existed since the feudal era. Classical dance has certain standardized standards that must not be violated. Ac- cording to (Soeryobrongto, 1974), dance must be an expression of the soul, without the soul the dance will become less live- ly, hollow, and shallow, lack of character, and lack of style. There are various forms of classical traditional dance, such as the Bedaya dance, Srimpi dance, wayang wong (traditional drama performance), Golek (Woo- den Puppet) dance, and so on. Of the many forms of classical traditional dances, one of them is the Bediaya dance. The Bedaya dance is a form of classi- cal dance performed by nine female dan- cers in the same clothes and makeup, and each dancer has a different role. Bedaya dance was born, lived, and developed in the palace; in general, this dance is the le- gitimacy of the king. Bedaya dance is one of the ritual dances that is full of moral values and messages, so that it is natural that this dance will be retained, especial- ly in the palace surroundings of both the Surakarta and Yogyakarta palace (Suna- ryadi, 2013, p. 146). However, over time, Bedaya dance developed and spread wide- ly outside the palace walls. This is marked by the making of Bedaya dance as subject matter in art schools such as the Karawi- tan Indonesia Middle School (SMKI) and the tertiary level that has a major in dan- ce. However, there are Bedaya dances that are not allowed to come out of the palace walls, namely the Bedaya Ketawang dance (Surakarta palace), and the Bedaya Semang (Yogyakarta palace), because until now the two Bedaya dances are sacred heirlooms (Santoso, 1990. P. 15). Talking about the Bedaya dance insi- de the palace, there is one style of Bedaya dance that is outside the walls of the palace. It is the Bedayan Retna Dumilah dance. Beda- yan Retna Dumilah dance is one example of classical Javanese dances originating from outside the walls of the palace. This dan- ce was created by a master of dance from Surakarta, namely S. Ngaliman Candra- pangrawit in 1978. This dance was created upon the request from a prince from the Surakarta Kasunanan palace. The compo- sition of the Bedayan dance is not the same as the Bedaya dance in general. The num- ber of Bedayan Retna Dumilah dancers is se- ven, while Bedaya in general has 9 dancers. For this reason, this dance is called Bedayan which means artificial Bedaya. Bedaya dance danced by nine female dancers is a dance born in the palace and created by the kings. In general, the Bedaya dance is a legacy of the king. As the statement of S. Ngaliman Candrapangrawit conveyed to Haryono, that those who are entitled to compose the Bedaya and Srimpi dance are actually only the palace (Keraton), therefore the compo- sition of the Bedayan Retna Dumilah is not the same as the Bedaya dance in general (interview with Mr. Haryono on 15 Sep- tember 2014). The Bedayan Retna Dumilah dance motions are taken from the Srimpi Sangupati, the Srimpi Gandokusuma, and the Srimpi Anglirmendung dance motions. The range of motions was rearranged and the composition was simplified. The Bedayan Retna Dumilah dance absolutely demands more cohesiveness and quality of motion that is inseparable from predetermined ru- les. Even though the arrangement of mo- tions in the Bedayan Retna Dumilah dance was simplified, it still adheres to the rules in the Surakarta palace. Based on these descriptions, researchers are interested in studying more deeply the characteristics of Bedayan Retna Dumilah dance motions. Research on the Bedaya dance outsi- de the palace has been carried out by Ika Ayu Kuncara Ningtyas in 2018 with the title “Bedhaya Sukoharjo Compaction by M. T.H Sri Mulyani”, the article explained that the compaction of the Bedhaya Suko- harjo dance was carried out with the aim to meet the needs of performances outside the palace walls. The motions motive has been compacted by reducing the duration Harmonia: Journal of Arts Research and Education 19 (1) (2019): 12-1714 of the number of repetitions of the motives associated with changing the forefront and reducing the amount of the gongan. The factors influence the compaction of Bedha- ya Sukoharjo dance consist of internal and external factors. Internal factors within the artist are experience. M.TH. Sri Mulyani as a Bedhaya dancer wanted to display a shorter Bedhaya dance duration of her per- formance which was related to the need for performances outside the palace walls (Ningtyas, 2018). Character is a reflection of the unity of working on the basic elements of dan- ce that form the beauty of a dance Tasman (2008. P. 19). These properties are formed in addition to the factors of space and time. The character creator in a dance is not al- ways done by a person but more than one person. It is also stated that the character is the behavior or behavior of actions that reflect his soul. Exploring the characterization and character of each character in a dance per- formance is the most basic element becau- se dance is a fulfillment of the needs of ar- tistic expression that is able to arouse and develop a typology of characterization (Se- dyawati, 1993, p. 8). It is also stated that the typology of disposition, in Javanese perfor- ming arts was developed broadly, not only the visual system that was worked on, but also how to move and the range of motion and tone and vibration of sound were all designed with reference to the characteri- zation system. Soedarsono (1985. p. 3) said that one characteristic of classical Javanese dance is that each form of dance must depict cer- tain characters. Based on the character of motion, it can be divided into two, namely feminine motions and masculine motions (Soetedjo, 1983, p. 4). It was also said that feminine motions have the following cha- racteristics: small or narrow volume of motions, low leg raise, low arm or arm raise, and slow motion. Whereas mascu- line motions have the following charac- teristics: large and wide volume of motion, high leg raise, high arm or arm raise, and strong and hard motions. For this reason, the main material required for dance is the human body. Dance is an expression tool or as a means by which an artist communicates with others (connoisseurs). As an expres- sion tool, dance is capable to create a desc- ription of the motion that can make the au- dience sensitive to something around him. All the motions around us can be used as a source of dance motion ideas (Suzanne, 2014), a music and dance history expert from Germany, said that dance is a rhyth- mic movement. This definition was shar- pened by (Soedarsono, 1996) who said that dance is an expression of the human soul expressed by beautiful rhythmic mo- vements. On the other hand (Sedyawati, 1981) stated that dance is a range of phy- sical activities whose ultimate goal is the expression of beauty. All definitions put forward by dance experts are principally true since, in reali- ty, this dance is alive because of people’s souls and feelings. In other words, whet- her dance is alive or not depends on how the dancer plays his character in dancing. METHOD This research used a qualitative ap- proach. A qualitative approach is defin- ed as a research procedure that produces descriptive data in the form of written or oral words from observed people and be- havior. According to Moleong (2017) qua- litative research is often used to examine phenomena in natural social and cultural life. With this approach, it is expected to reveal and describe the characteristics of the Bedayan Retna Dumilah dance motions. The data used in this study was written documentation, and videos rela- ting to the characteristics of the Bedayan Retna Dumilah dance, as well as the facts found in the field while this research was ongoing. To obtain accurate data the data sources taken were as follows: data about informants (resource persons), the next data was written data in the form of books about the style of S. Ngaliman dance, as well as notebooks that were in the resource Herlinah, Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman 15 persons. Besides, the data was in the form of a video. The data was then collected. Data collected through interviews and observa- tions was referred to as primary data, whi- le data collected through documentation was secondary data which was to support the validity of primary data. To obtain ac- curate data the source of data taken was data about the informants, while the in- formants were chosen by selecting people who could provide accurate data. The in- formants included Mr. Haryono, M.Hum, Mr. Bambang Tri Atmojo, and Ms. Har- tiwi. Meanwhile, the documentation was taken from video recordings and records available at the resource persons. Data collection techniques in this study were interviews and documentati- on. In-depth interviews were conducted with informants who were considered to have a lot of knowledge about the Bedayan Retna Dumilah dance. Meanwhile, the do- cumentation was carried by out observing the form of sekaran-sekaran gerak in Bedayan Retna Dumilah dance in detail so that it is easier to detail the existing data. In this study, the researcher is the main instru- ment or human instrument, with a set of knowledge about the characteristics of the Bedayan Retna Dumilah dance with the help of interview and documentation guides. The data obtained was then descrip- tively and qualitatively analyzed as fol- lows: a) data reduction by summarizing the main things in accordance with the research topic, b) description of the data by examining data obtained from various sources, c) drawing conclusions that are, the results of the reduction were grouped into units, then categorized or grouped and then carried out separation according to the theme. RESULT AND DISCUSSION The Background of the Creation of the Bedayan Retna Dumilah Dance Bedayan Retna Dumilah dance was composed in 1978 by S. Ngaliman Candra- pangrawit, a master of dance from Sura- karta. This dance was created upon the request from Lt. Gen. Jatikusuma (a prince from the Kasunanan Surakarta Palace) in the context of an art mission to the Nether- lands. The main idea of the Bedayan Retna Dumilah dance was inspired by the Beda- ya Bedhah Madiun dance. This is because S. Ngaliman was impressed with Retna Dumilah’s character in the Bedaya Bedhah Madiun dance, which displayed her majes- ty. In the Bedayan Retna Dumilah created by S. Ngaliman Candrapangrawit, in addition to highlighting the figure of Retna Dumi- lah, the figure of Panembahan Senopati was also presented. Variety of Bedayan Retna Dumilah dance motions were taken from Srimpi Sangupati, Srimpi Gondokusuma, and Srimpi Anglirmendung dance motions. The range of motion was reprocessed and simplified and changes were made to the composi- tion. The Bedayan Retna Dumilah dance is performed by seven female dancers, this is different from the Bedaya dance in general. The Bedaya dance is generally performed by nine female dancers. The Bedayan Retna Dumilah theme is the theme of love between Retna Dumi- lah and Panembahan Senopati. In Bedayan dance Retna Dumilah does not use terms such as endhel, apit ngajeng, batak, buncit, gulu, and so on. Bedayan Retna Dumilah dance work included Sekar Ageng Tebu Sauyun’s vocal that has never been seen in Bedaya dance in general. Bedayan Retna Dumilah dance is a form of dance that is packaged simply, and not the sacred one. This dance can be learned by anyone who wants to learn it. Even Bedayan Retna Du- milah dance is still used as lecture material in the Department of Dance Education Faculty of Language and Art, Yogyakarta State University. Characteristics of Movement of Bedayan Retna Dumilah Dance Bedayan Retna Dumilah dance was created outside the palace walls by S. Nga- liman Candrapangrawit. As explained above that the Bedayan Retna Dumilah dan- ce was created at the request of a prince Harmonia: Journal of Arts Research and Education 19 (1) (2019): 12-1716 from the Surakarta Kasunanan palace. By S. Ngaliman the range of motion in the Be- dayan Retna Dumilah dance was taken from the range of motions in the Srimpi Sangu- pati, Srimpi Gondokusuma, and Srimpi Ang- lirmendung dances which then were simp- lified in terms of composition. S. Ngaliman made simplifications and changes in terms of composition, but now they still adhere to traditional dance waton. Therefore, the characteristics of dance motions found in the Bedayan Retna Dumilah dance are still very strong in reference to the Surakar- ta Keraton Kasunanan tradition despite having its own taste, namely the taste of Kampung Kemlayan dance. Seeing the characteristics of dance is needed by analyzing motion, because dance ideas are channeled through them through motion. Thus, the discussion al- ways considers the motions present in dance (Wahyudianto, 2006). Likewise, the characteristics of dance motions in the Be- dayan Retna Dumilah dance are something that is important to note. Related to the character problem, in the Bedayan Retna Dumilah dance, the seven dancers are very emotionally connected to Retna Dumilah. Understanding the charac- ter is the meaning of a sense of beauty that radiates in the quality of the Bedayan Retna Dumilah dance. The strength of the seven dancers’ character in this dance is very vi- sible in the dance motions which are clo- sely related to the floor pattern. Therefo- re, the meaning cannot be separated from the characters through the motions carried out. There are several patterns of motion nowadays in the Bedayan Retna Dumilah dance by S. Ngaliman Candrapangrawit including Patetan Maju Gending, sembahan laras jengkeng, right laras Retna Dumilah, left laras Retna Dumilah, glebagan ogek lam- bung, golek iwak, ngunus cundrik, perangan kengser ukel manis, inserting the cundrik, nikelwarti sembahan, lembehan maju mundur separuh, lelebotan, enjer, engkyek, nikelwarti, patetan mundur. Among the number of patterns that have been composed in the dance Bedayan Retna Dumilah is sekaran motion that has special characteristics. Sekaran laras Beda- yan Retna Dumilah is different from seka- ran laras in common dances. The pattern of sekaran laras Bedayan Retna Dumilah is actually the creation of sekaran laras sawit, but it has been developed so that it has a different taste of sekaran laras sawit in other dances. The sekaran laras Retna Dumilah has soft or banyumili (flowing water) motion characteristics with a slow motion tempo. Standing up Lenggut is the development of lenggut on sembahan trapsila and semba- han jengkeng. The nature of this motion is weak, the focus of motion is on the head with the right hand position squeezed the shawl (sampur). Figure 1. Sekaran laras Retna Dumilah (Doc. Hartiwi, 2010) Figure 2. Lenggut Motion (Doc. Hartiwi, 2010) CONCLUSION The Bedayan Retna Dumilah dance was created outside the palace walls preci- sely in Kemlayan Village, by S. Ngaliman Tjondropangrawit, a dance master from Surakarta in 1978 upon the request from Herlinah, Characteristics of Bedayan Retna Dumilah Dance Motions Created by S. Ngaliman 17 a prince from Kasunanan Surakarta Hadi- ningrat. This is something very positive, because with the creation of this Bedayan Retna Dumilah dance, it adds to the dance treasury. The Bedayan Retna Dumilah dance is danced by seven female dancers. This is different from the Bedaya dance in general which is usually danced by nine female dancers. Bedayan Retna Dumilah dance is a combination of the classical dance motions of the Surakarta Kasunanan Palace with the motions of Kemlayan village artists who try to develop based on their own tas- te, so that the dance style of the Kemlayan village dance appears as reflected in the sense of dance motions by S. Ngaliman. Characteristics of the motion patterns found in the Bedayan dance Retna Dumilah is Sekaran laras Retna Dumilah which is the development of the sekaran laras sawit, and the standing up sekaran lenggut is the de- velopment of lenggut on trapsila and jeng- keng. These two characteristics of the mo- tion patterns are not found in other Bedaya dances. REFERENCES Kayam, U. (1981). Seni, Tradisi, Masyarakat. Sinar Harapan. Moleong, L. J. (2017). Metodologi Penelitian Kualitatif. Rosda. Sedyawati, E. (1981). Pertumbuhan Seni Per- tunjukan. Sinar Harapan. Soedarsono, (dkk). (1996). Indonesia Indah “Tari Tradisional Indonesia.” Yayasan Harapan Kita/BP 3 TMII. Suparjan, I. G. N. S. (1982). Pengantar Pen- getahuan Tari Untuk SMKI. Depdik- bud. Suzanne, Y. (2014). Curt Sachs and his Heritage: A Critical Review of World History of the Dance with a Survey of Recent Studies that Perpetuate his Ideas. Dance Research Journal, 6(2). Wahyudianto, W. (2006). 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