16 AESTHETICS OF PRAJURITAN DANCE IN SEMARANG REGENCY Muhammad Jazuli Semarang State University, Sekaran Gunungpati, Semarang 50229, Indonesia E-mail: muhjaz61@gmail.com Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances cho- reography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sam- bernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “tiji tibeh (mukti siji mukti kabeh – being prosperous for one and all)” and Three Dharma of soldiers, namely “rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. Keywords: Prajuritan dance; choreography; cultural value systems How to Cite: Jazuli, M. (2015). Aesthetics of Prajuritan Dance in Semarang Regency. Harmonia: Journal of Arts Research And Education, 15(1), 16-24. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3692 HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 16-24 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v15i1.3692 p-ISSN 1411-5115 e-ISSN 2355-3820 culture, and community of a country (Ja- zuli, 2001, p. 24). The views of Kaeppler and Lomax show that cultural value con- text is interrelated with one understanding of a work of art. The object of this research is a tra- ditional Javanese Prajuritan dance in Se- marang regency. Prajuritan dance is a traditional folk art, which grows and de- velops and becomes a part of social life in Semarang regency; it is an inherited an- cestral art, which has been bequeathed for generations. Since 1995, Prajuritan dance has been publicized as a typical dance of Semarang regency, and by dint of Sema- rang regent, Mr. Hartomo’s instruction, INTRODUCTION This research was triggered by my intention to promote a model of aesthetic study in dance performance. An aesthe- tic study can be traced through aesthetic views of its artist, doer, and observer. The goal of aesthetic view is to understand and conduct an evaluation of dance being ob- served. Kaeppler (1992) stated that to be able to understand a dance, one needs the cultural background of the dance since a dance is a cultural product and creative process of its community. Alan Lomax in his experiment called Choreomatrics pro- ved that art style is determined by honour, Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 17 Prajuritan dance was established as a lo- cal content-based subject in elementary schools with the purpose of promoting nation’s cultural values (Ratih, 2004). Pra- juritan dance has typical features in its per- formance, such as showing character and personality of its supporting community. The moves are characterized with moves of feet, hands, and head performed in vi- gorous, splintery, and energetic ways. The aesthetic values of the Prajuritan dance appear in the harmony between violence and mild elements, which are expressed aesthetically in its moves (Sujendro, 2002, p. 15). Considering that reason, this paper is meant to discuss how the aesthetics of Prajuritan dance are implemented in Se- marang regency. Aesthetics is a study dealing with things related to beauty. In dance arts, John Martin explained that all dancing mo- tions that give an inward satisfaction is re- garded beautiful. The motions, including smooth, tender, rough, violent, powerful, and bizarre can be beautiful ones (Soedar- sono, 1987: 6). According to Parker (1980), beauty is an appealing, touching, and thril- ling thing as it is valuable for anyone. Aesthetics in this paper is understood as a pleasant, appealing, touching/thril- ling, and it gives an inward satisfaction. In aesthetics, there are two aspects that can be used to appreciate a work of art, namely scientific aspect and philosophical aspect (Djelantik, 1992: 9-11). This writing uses scientific aspect, which consists of unity, intensity, and harmony as perspectives of aesthetic study of Prajuritan dance. Unity or integrity refers to a whole thing, a mea- ningful relationship, significant among all elements; it means that one element complementary needs another element. Intensity means that a work of art directs people’s attention to focus their view on something important than another. Har- mony is achieved through symmetry and asymmetry; both indicate a complexi- ty. Symmetry is a harmony of two equal parts, like human’s body split into two or butterfly’s wings. Symmetric harmony gives a relief and it looks stable; whereas, asymmetric harmony gives a dynamic, moving, and versatile senses. Choreography is understood as kno- wledge about dance composition and for naming dance arrangement. Dance creator or arranger is called a choreographer. Dan- ce choreographer can be reviewed in terms of performance pattern, theme, number of dancers, moves pattern, and dance floor pattern. In terms of its performance pattern, there are two kinds of dance: traditional and creative dance. Traditional dance is a dance, which grows and develops in a community and that it is then bequeathed continuously for generations (Jazuli, 2008). In view of the number of dancers, dance performance can be categorized into two, mono and group dance. Mono dance is a dance, which is performed by a dancer, though it is often performed in groups or by more than one dancer. Group dance is a dance performed by more than one dancer. Group dance can be divided into three: pai- red dance, mass dance, and dance drama. In terms of dance theme, it can be categori- zed into three, namely pantomime, dance, erotic dance, and heroism dance. In view of its moves style, it is distinguished into two, meaningful motion and pure motion. Meaningful motion is a motion with certain purposes; whereas, pure motion is a moti- on for artistic purposes. In view of dance floor pattern, there are linear and curved patterns. Both floor lines are passed by or made by the dancers. From the two lines, one can vary other lines, such as zig-zag, diagonal, circular ones, etc. Usually befo- re a work is realized, a choreographer will share some reflection and experience about himself/herself or his/her surroundings. Nevertheless, a dance choreography will find its whole performance and meaning when it is supported with complementary elements of dances. Among the elements are musical accompaniment, theme, cos- tume, make-up, stage, lighting and sound effects. The presence of these elements will enable various relations in a dance, such as the dynamic aspect (velocity, complexity, strength), dances hip aspect (number and HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-2418 sex of dancers), visual aspect (setting, pro- perty), and environmental aspect (music, lighting, and sound effects) (Jazuli, 2008). Each dance form will be bound up with a cultural value system of a com- munity that produces the dance. Cultural values have always influenced the most typical dance form and style of the com- munity (Jazuli, 2001). Behind all the form and style is a cultural value system, or a number of concepts about what live in the minds of most community members about what they consider valuable, meaningful, influential in their lives (Koentjaranin- grat, 1980: 204). The cultural value system can function as a guideline that gives di- rections and orientation in the respective social life. Cultural value system in dan- ce includes dance essence, source of idea, symbols, and functions that are expressed in dance performance. Understanding aesthetic values of a dance is not apart from the cultural pat- tern of community from where the dance is derived, grows and develops. Evaluati- on towards Javanese dance in particular and other dances in Indonesia in general uses criteria, namely wiraga, wirama, wirasa (Jazuli, 2008). Wiraga is a way of evaluating a tan- gible and perceivable dance form (physi- cal) performed by the dancers. For examp- le, how pose and form of movies, and chronology of movements and continuity between the movies, and so on. Wirama intended to assess the abili- ty of the dancer in mastering the rhythm, both the rhythm of music accompani- ment and rhythm of moves performed by the dancers. For example, a dancer has to understand when a proper move to the sound of gong instruments, kenong, kem- pul, and when the moves should be ap- propriate and not in accordance with the rhythm of the accompaniment. Wirasa are all wirama activities and its implementati- on should always be associated with the meaning, intent, and purpose of the dance. To achieve this it need a good appreciation of the dancer, as appreciation toward the role of the character presented, the type and character of the moves to be carried, the expression should be raised. Any ap- preciation always involves a sense though. In this case the role of feelings should be in one match with wiraga and wirama so that produce harmony between the presentati- on, matters relating dance skills, and dan- ce quality. Rationale of functional is society is a social system consisting of the parts or elements that are interconnected and in- terdependent in the balance. The assump- tion is that the society is seen as a system like organisms formed from the basis for self regulated, self-maintaining, towards equilibrium, homeostasis. The purpose of system establishing is to maintain normal conditions, not pathological in the balan- ce system. Statements of functional theory are used for analyses with a lower Prajuri- tan dance by identifying the word ‘com- munity’ with ‘Prajuritan dance forms’ as a system. Prajuritan dance as a form of artwork system denotes medium of content pou- ring and values (life experience) that can be observed by the senses. The content and value encompass dance values, a source of ideas, symbolic systems, and functions of dance. In the choreography of Prajuritan dance encompasses forms of presentation, theme, number of dancers, moves, pat- terns, the floor pattern, and the dance per- formance equipment. Both of them will be studied with the theory of functional and aesthetic theory consisting of aspects of wholeness, the dominance, and balance. Starting from the aforementioned concepts, the strategy of aesthetic study of Prajuritan dance is to locate two compo- nents, namely the knowledge about a va- lue system and dance choreography. The frame of thinking can be described as fol- lows Figure 1. METHOD This research uses a descriptive qua- litative method, with the purpose of desc- ribing and explaining a situation as it really is. The location of the research is a Getasan Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 19 district of Semarang regency. Getasan is a district, which has intensively conducted Prajuritan dance performance and regene- rative acts of the dance up to this present. The collection of research data uses the observation method, interview, and document analysis. Observation was done in a direct and planned way towards the Prajuritan dance to obtain a rigorous view about roles in the dance, moves pattern, dance floor pattern, make-up and costume. The interview was done directly toward informant, Mr. Salerno as dance instructor/trainer, Mr. Suroyo and Ms. Sugiyati as dancers. Documentation was conducted by examining documents about Prajuritan dance. The documents obtained in the field include articles, photos, and news. To obtain a valid and accountable data, I did an evaluation of field data va- lidity, namely triangulation of source and method. Techniques of data analysis are descriptive and content analyses. Meanw- hile, the steps of analysis refer to Miles’ and Huberman’s theory (1994) by means of data reduction, data presentation, and conclusion drawing processes. RESULT AND DISCUSSION Choreography of Prajuritan Dance Choreography of Prajuritan dance covered includes dance background, form and meaning of dance symbols, theme, number and formation of dancers, moves, musical accompaniment, and dance floor pattern. Background of Prajuritan Dance According to oral tradition develo- ped in Semarang regency, Prajuritan dan- ce previously grew and developed in Ge- tasan district. This dance shows the strides of soldiers of Prince Sambernyawa (king KPAA Mangkunagara I in Mangkunaga- ran royal palace, Surakarta) in performing duty and responsibility as soldiers against the Dutch colonialists. At that time (1755), the charismatic heroes rebelled and fought against the Dutch colonies. The prince’s rebel perturbed and caused the Dutch Notes: Choreography inside the dance encompasses means of performance, theme, number of dancers, moves pattern, dance floor pattern, and dance properties; whereas, value symbols include the essence of dance, source of idea, meaning and function of dance. Both of them will be analysed in terms of functional and aesthetic theories. Figure 1. Thinking of Aestheties of Prajuritan Dance HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-2420 more Prajuritan dancers have to go to war by carrying swords and armours. The main task of the soldier is to be always ready for making war and protecting Prince Sam- bernyawa. Soldiers are symbols of kawula cilik (common folks) who are loyal to their leader and dare to die; (d) two dancers of Pekathik as tricksters with comic and farci- cal expressions and gestures. Their perfor- mance sometimes wears masks and comic make-up representing symbolization of a detective role whose tasks are to monitor and analysis their enemies’ strength; (e) four as Pradangga (musicians) whose task is to accompany Prajuritan dance. Pra- dangga is a masquerade symbolization of the tough and loyal soldiers who are ready to disclose important information and rea- dy to war for defending their mother land. Themes The Prajuritan dance theme is the heroic story of the struggle sourcing from Prince Sambernyawa as described above. Sambernyawa, the charismatic fighter, has famous advice (sesanti) in the struggle, namely “tiji tibeh” (noble one means for the glory of all) and the soldiers’ Tridhar- ma (three duties) rumagsa melu handarbe- ni, melu hangrungkebi, mulat sarisa hangrasa wani, meaning feeling belonging, sense of protecting and knowingly dare do anyt- hing to defend their homeland. Therefore, the theme of Prajuritan dance brings mis- sion meaning loyalty, responsibility, cou- rage, and love of country. Number of Dancers Choreography of Prajuritan dance is classified as group dance performed by 25 to 30 dancers done in the open field. In its development, the number of dancers can be minimized from 10 to 15 or 4 to 6 dancers in accordance with the needs and forms of stage performances. Details of the 25 dancers are one Manggalayuda dancer, two Wirapati dancers, sixteen or more soldier dancers, two Pekathik dancers, plus four people as Pradangga (musician). Thus, the number of players are tewenty five, namely twenty one dancers and four to go through a great loss. Therefore, to avoid a greater loss, the Dutch agreed to cease the war. The agreement between the Dutch and Prince Sambernyawa took place at Salatiga. Nevertheless, to antici- pate any trickery that the Dutch often did in each agreement with the rebels, seve- ral tough and loyal soldiers of the prince were assembled to guard the agreement. The duty of the soldiers was to guard the security and safety of the leaders (Prince Sambernyawa and his attendants) in the process of agreement. Some other soldiers made a temporary base camp in a Getasan area with a cautious manner in case of un- desirable events. The soldiers’ watchful- ness was manifested in a Prajuritan title to show their warring vigilance as well as their show of force to their enemies. This was what became a beckoning amuse- ment for people at Getasan and those from nearby areas. People at Getasan were very enthusiastic about observing each move of the soldiers, even more so mimicking their moves. The people’s great interest in the soldiers inspired them to eternalize the soldiers’ moves as a monument in the form of Prajuritan dance. Form and Symbolic Meaning of Prajuri- tan Dance Prajuritan dance is a dance, which has simple features as it looks in its mo- ves, make-up, costume, dance floor pat- tern, and musical accompaniment. Those aspects are presented through the whole performance of wiraga, wirama, and wirasa so that it looks harmonious in its perfor- mance. In Prajuritan dance there are cha- racters with certain roles, including: (a) a Manggalayuda dancer who roles as a chief of war. The symbolic meaning of this role is to describe a leader who could protect, rule, guide his attendants and show good manners; (b) two dancers of Wirapati play roles as dexterous troops and standing in the forefront by riding horses. Wirapati symbolizes a responsible commander, da- ring to take risks, a discipline and exemp- lary figure for his attendants; (c) sixteen or Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 21 musicians. Moves Prajuritan dance moves are inspired by the soldier moves of soldiers when they exercise with swords and shields. The moves motif looks simple and is al- ways tied to the theme of the story. Broad- ly speaking, the style of the moves can be divided into three main parts, namely (a) the style of sword and shield Beksan (dan- ce), (b) style of moves without the sword and shield, (c) style of moves of sword and shield moment. The floor pattern (dancer formation) The Prajuritan dance floor pattern is varied. Each form of dance floor pattern is called gelar (formation) in accordance with the composition of dance moves na- mely gelar diratameta, gelar supit urang, ge- lar sawojajar, gelar kuntul nebo, gelar wulan tumanggal, and gelar garuda nglayang. The floor pattern variations of Prajuritan dan- ce are described as follows. Gelar Diratameta Diratameta means an angry elephant (raging). This war tactic illustrates the anger of an elephant that its trunk and tusks are very dangerous and incredible strength. In this formation the position of trunks serves as a buffer that disrupt the enemy line. Left and right tusk as the at- tacker, and the head as a play maker. In a war story of Baratayuda, gelar Diratameta is often used by Kaurava forces. The aest- hetic value of the formation appears on a rectangular floor pattern. Gelar Supit Urang Supit Urang describe a shrimp mo- ving its both chopsticks deftly and careful- ly. The end of the left and right chopsticks function to strike by pincering enemy attact and shrimp body as a play maker. The aesthetic value of formation appears on the dancer formation from the right and left and then meet in the middle. In Bara- tayuda, this form is used by the Pandavas and Kauravas. Gelar Sawojajar Gelar Sawojajar floor pattern with formation forms a vertical line, two lines are lined back. The dancers are divided into two, right and left, to form a vertical line moving from the back forward. Gelar Kuntul Nebo Kuntul Nebo describes a group of birds that comes suddenly and rushed to the damaged crops in the fields, meaning a group of enemy soldiers attacking sud- denly and simultaneously. The aesthetic value of gelar Kuntul Nebo is X-shaped formation, the dancers split into two di- rections, then forward it to the right corner and left to form a diagonal line and bum- ped into each other in the middle. Gelar Wulan Tumanggal Gear wulan tumanggal is a war strate- gy likened to a beginning of the month. The moon shape as if no harm, but actually very deadly because at the end of a corner and in the middle of the lineup that is al- ways ready to move (attack) is easy to do. This crescent-shaped formation in Bara- tayuda used by Pandavas where Arjuna is placed in the middle as the executor of the attack which is accompanied by Krishna. Yudhisthira accompanied by Nakul and Sahadev is at the back of the moon as the playmaker. Bima is at the right end and Setyaki is on the left one acting as a clamp on the line. Gelar Garuda Nglayang Gelar Garuda Nglayang denotes a semicircular formation as a continuation of gelar Sawojajar. After the dancers form a vertical line up to the back and then turn outwards and curved back. Gelar Garuda Nglayang on Prajuritan is inspired from a gelar in Baratayuda war. This gelar has an aggressive character that all soldiers must move quickly. Dance Music Accompaniment Music that accompanies the dan- ce consists of several forms and types of instruments, namely bendhe, trendeng HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-2422 (Dheng-thek), and jidur (small bedhug). Bendhe instrument pitches slendro (Java- nese Scale System) which it consists of four types, namely (a) Featured Bendhe pitched 6 (nem) functions as stakehol- ders rhythm, (b) Nyelo Bendhe pitched 5 (ma) functions as insertion between one tone with another tune, (c) Penitir Bend- he pitched 3 (lu) functions as kerepan (A fast and constant hit), (d) Jur Bendhe pit- ched 2 (ro) functions as a gong (a sign of the end of each verse). Trendheng instru- ment is a musical instrument shaped like a truncated ketipung and made of lambskin. Jidur instrument is an additional musical instrument that functions as a dynamist of music accompaniment and encourage- ment to look dynamic motion. Make Up and Dance Clothing Makeup and costume of Prajuritan dance are distinguished by its role. Each role has different costume. Manggalayuda role with makeup and fashion details con- sist of : (a) the head using blangkon, (b) beskap clothes/surjan, (c) the panji trousers (breeches), (d) cloth with cancutan model, (e) belt, (f ) uncal, (g) epek timang, (h) the furnishing consists of necklaces scrubs, kris, binggel (anklet), sumping (ear), and car- rying a trumpet. The motif of manly men makes up tends to be hard and authorita- tive. Equipment makeup and costume of Wirapati role consist of: (a) the head using blangkon, (b) beskap clothes / surjan, (c) panji trousers (breeches), (d) cloth with cancutan model (e) cindhe belt, (f) equipment that consists of kace necklaces / scrubs, keris, binggel (anklet), sumping (ear), and sometimes use a horse or without a horse. The motif of manly men makes up tends to be hard and authoritative. Makeup and fashion soldiers are: (a) the head using iket, (b) vest dress (wear or without clothes), (c) the banner trousers (breeches), (d) cloth with supit urang mo- del, (e) sampur, (f) equipment that consists of kace necklaces, kris, binggel (feet), and carrying a sword and shield. Make motif is manly and hard. Makeup and Pekanthik are: (a) the head using iket, (b) armor vest, (c) the pan- ji trousers (breeches), (d) cloth with supit urang model, (e) belt. Dressing funny mo- tif, like shaving moustache is just in the middle, reduction lip shape. Value System The value system of Prajuritan dan- ce encompasses the value of dance con- tent, source of stories and communicated dance symbols, and functions of dance for supporting the community. Content value of the dance denotes an expression result of public spirit owners that it contains its intended purpose. The purpose and ob- jectives Prajuritan is stated by Sularno as follow: Tari Prajuritan menika kangge keba- tahan masyarakat mriki utaminipun kangge kelangenan, lan tanda bilih dsa mriki wonten kesenian tradisi ingkang dipun lestariaken… biasanipun kangge ngramekaken hajatan, ugi peringatan hari nasional, lan sanesipun (Pra- juritan dance is needed here, especially for a vehicle of expression, pleasure and a sign that in this village there is tradition art that has been preserved ... usually for the purposes of a celebration and national day commemoration, and others). The word ‘kelangenan’ is the symbolic meaning of the system of cultural values associated with the function of dance as a means of pleasure (entertainment fun- ctions) and for the purposes of celebra- tion (ritual function). This clearly shows that what is valuable and meaningful in people’s lives has been expressed in sym- bolic forms such as Prajuritan dance. This means that there is a ‘message’ that it will be communicated to others or the next ge- neration. The message is in the form of the symbolic value of dance Prajuritan itself, such as planting value of the struggle of courage, discipline, responsibility, and so on. The value of such a struggle is very im- portant in the lives of Getasan community considering the hilly Getasan geography with winding roads and up and down. Li- ving in a state of nature as it really takes passion and perseverance in every effort Muhammad Jazuli, Aesthetics of Prajuritan Dance in Semarang Regency 23 to meet the necessities of life. Naturally, it needs an unyielding attitude to achieve the goals desired by the Getasan commu- nity. Source of Story and Symbol of Pra- juritan Dance Sources of story of Prajuri- tan dance come from the story of Prince Samber nyawa struggle against the Dutch in Semarang residence. From the sour- ce of this story, it arises the idea to crea- te a monument to recallthe struggle of the populist and charismatic hero, Prin- ce Sambernyawa. The monument is rea- lized in a dance work called Prajuritan. Functions Dancing Prajuritan Prajuritan dance functions can be divided into two aspects, namely the ri- tual and entertainment. The function of the rituals associated with the celebrati- on namely sadranan ceremony and bersih desa (clean the village) usually served in the field with a complete number of dan- cers complete around 25 to 30 dancers as noted by Ms. Sugiyanti (Interview July 9, 2012) following. Tari prajuritan ingkang wetah meni- ka biasanipun kangge keperluan bersih desa, kadang sadranan…dipun tampilaken wonten lapangan supados para warga saged mriksani lan dereng nyengkuyung babagan kelestarian kesenian kita piyambak tari Prajuritan (the full Prajuritan dance which is usually displayed at the village clean and someti- mes sadranan ... held in the open field so that all citizens can see and belonging and then to preserve our own art, Prajuritan dance). Entertainment functions are typical- ly associated with the performing arts in order to celebrate Indonesia’s Indepen- dence Day, Wasana Warsa, circumcision, welcoming guests and so on. In Prajuritan dance, entertainment functions is perfor- med in accordance with the requirements, meaning not as complete as ritual events. Aesthetics Dance Prajuritan Based on the analysis of the scientific, aesthetic theory, including aspects of who- leness, protrusion, and the balance shows that the tree covered in Prajuritan dance is interconnected, correlative, and comple- ment each other in creating an expression of art and culture of a society. Wholeness of Prajuritan dance, especially apparent from the choreography of the dance con- sisting, dance form, theme, number of dancers, structure moves, formation of dancer, accompaniment, makeup and dan- ce costume. It departs from the data obtained to elucidate and analyse it one by one the ae- sthetics of Prajuritan dance. Actually, there are three aspects that cannot be separated in the analysis the Prajuritan dance. Howe- ver, for the sake of clarity and firmness or an analysis, it is presented below by going to each aspect of its depiction of the out- line elements of dance that exist in every aspect. It looks simple, dynamic, and mo- notonous, but rousing in all performances of the Prajuritan dance. Such performance may only be done when each dancer has the discipline, courage and responsibility to achieve compactness in a group dan- ce. Prajuritan balance can be seen from the combination of hard and soft moves (uni- fication in diversity), harmony between moves patterns with accompaniment pat- terns along with makeup and costume that is stable impression of simplicity, dynamic expression, and monotonous in disclos- ure (wiraga, wirama, and wirasa). Balance or harmony of that dance performance is certainly an attractive and entertaining spectacle. As told by Parker (1980), that the balance as a principle form denotes an equation of the aesthetic elements of oppo- sing or resistance but need each other to deliver a whole. CONCLUSION The conclusions of this study are that the aesthetics of Prajuritan dance are formed from different elements of dance choreography, harmony with the source of the story and the value system in the form of symbols and values that live in the community and functional for both sub- HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 16-2424 sistence of the communities and entertain- ment, social integration, and mode of the ongoing fulfilment of ritual in the cultural environment of the Getasan district, in Se- marang regency. Based on the result above it suggest: First, the pattern of the choreography of Prajuritan dance need to be styled to be more varied and interesting (not monoto- nous). Second, Prajuritan dance as a form of traditional performing arts should be developed and are performed to make in- creased community participation so that they really feel to have thus it can reinfor- ce the dance as one of cultural identity in Semarang Regency. REFERENCE Djelantik. (1999). Aesthetics: An Introduc- tion. New York: Society for the Per- forming Arts of Indonesia. Haberman, M. and Garth T. M. (1970). Dance and Art Academy. New York: Teachers College Columbia Univer- sity. Jazuli, M. (2001). Paradigma Seni Pertunju- kan. Yogyakarta: Lentera Budaya. Jazuli. (2008). Suplemen Pembelajaran Seni Budaya. Semarang: Unnes Press Kaeppler, A. L., (l977). “Polynesia Dance as Airport Art”, in Asian and Pacific Dance, se-lected papers from the CORD-Sem Conference (ed.), Andri- enne L. Kaeppler (et al.), New York: CORD, p.p. 7l-84. Koentjaraningrat. (1980). Pengantar Ilmu Antropologi. Jakarta: Aksara Baru. Kusumawardani, Ida. (2012). Makna Tari Sontoloyo Giyanti Wonosobo. Jurnal Seni Tari. 1(1), 20-27 Meyer, Leonard P. (1970). Music, The Arts, and Ideas, Chicago, London: Univer- sity of Chicago Press. Miles, M.B. & Huberman. (1994). Qualita- tive Data Analysis. London. New Del- hi: SAGE Publications. Parker, De Witt H. 1980. Dasar-dasar Es- tetik. Translated by D. Humardani. Surakarta: Akademi Seni Karawitan Indonesia (ASKI). Ratih, E. (2004). Penanaman Nilai Tari Prajuritan pada Siswa Sekolah Dasar di Kabupaten Semarang. Thesis. Se- marang: Program Pasca Sarjana Un- nes. Sahman, U. (1993). Estetika: Telaan Sistemik dan Historik. Semarang: IKIP Sema- rang Press. Soedarsono. (1987). “Seni Pertunjukan Jawa Tradisional dan Pariwisata di Daerah Istimewa Yogyakarta”. Yogyakarta: Research Project Report of Cultural Nusantara (Javanology). Sudjendro, H. (1999). Tari Prajuritan Kese- nian Khas Kabupaten Semarang. Sema- rang: Dinas Pendidikan Kabupaten Semarang. Sudjendro. (2002). “Geliat Prajuritan, Ke- senian Tradisional Khas Kabupaten Semarang”. Inspirator No. 137 Vol- ume IV, Maret 2002 Suharrji. (2014). Ngesti Sendang Dadapan Ritual in Boyolali Regency. Harmo- nia: Journal of Arts Research and Edu- cation, 14 (2), 140-146 The Liang Gie. (1976). Filsafat Keindahan. Yogyakarta: PUBIB