Solving Problems in Understanding Banjarsari Dance Through

Musical Elements of Karawitan

Raharja

and Hermien Kusmayati

Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, Parangtritis Street Km 6.5, Yogyakarta, Indonesia

Keywords: dance, karawitan, Pakualaman, beksan, Banjaransari.

Abstract: The classical dances originated from Pakualaman Palace Yogyakarta were created by combining the elements

of movement, outfit, storyline, and musical accompaniment; each of which is full of meanings. Similar to

those dances, lelangen beksan Banjaransari that was based on Babad Segaluh (Segaluh Chronicle) also has

those meaningful elements. Based on the writer’s observation, most of the society has difficulties in

understanding the meaning lies behind the dance. This research’s findings show that the society does not

readily acquire their knowledge of both music and language. This paper is therefore to address the problem

from both musical and non-musical karawitan.

1 INTRODUCTION

One aspect of karawitan or Javanese traditional music

that is interesting to be discussed is that of related to

its function to accompany other art forms. Supanggah

stated that the existence of karawitan cannot be

restrained as its sole function as musical

accompaniment (2007: 263). In a performance of

tradisional classical dance of Yogyakarta, karawitan

is considered to resemble the soul of the dance,

namely, its expressing strength. The fact also support

such argument as it shows the significance of

karawitan within a classical dance performance.

Every single activity, effort, as well as competence

expressed its players (pengrawit) and its lead vocal

(pesindhen or penggerong) contributes to build the

atmosphere of the performance, to enliven the

dancers or characters’ expressions, to emphasize

every detail in their movement or even a gesture. In

other words, music has a very important function

within a performance. It is similar to what happen in

the performance of lelangen beksan Banjaransari

from Pakualaman palace Yogyakarta, a dance

revealed from Babad Segaluh.

On the other hand, the society has difficulties in

understanding and appreciating the dance though it

has been clearly expressed through its musical

accompaniment. The role and function of karawitan

in a dance performance are more often considered as

a mere illustration. This fact shows an indication that

the problem lies on the society’s lack of knowledge

on karawitan as a dance musical accompaniment

(karawitan tari).

To solve this problem, it can be accomplished by

educating the society. By giving them information

and understanding, the society can be expected to

have adequate understanding of the function and role

of karawitan as a musical accompaniment in a dance

performance.

2 DISCUSSION

As a product of musical creativity, karawitan can be

a single performance, or is called as uyon-uyon

(Atmadja, 2011: 52 -53). Supanggah also argues that

uyon-uyon is an independent musical performance

that cannot be related to other art forms (2007: 109).

Meanwhile, Trustho mentions that karawitan can be

performed as an accompaniment for performances of

dance, wayang kulit (shadow puppet), and ketoprak

(Javanese traditional play). Its accentuated existence

is due to its contribution in filling an empty space

within a performance, for building dramatic

atmosphere, and by giving emphasis on certain

movements (2005: 16).

This paper, therefore, is to address the role of

karawitan as a musical accompaniment of a dance,

that is as a product of musical creativity expressed by

ricikan (musical instrument) of Javanese gamelan and

288

Raharja, . and Kusmayati, H.

Solving Problems in Understanding Banjarsari Dance Through Musical Elements of Karawitan.

DOI: 10.5220/0008763502880291

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 288-291

ISBN: 978-989-758-450-3

vocal lead. Specifically, it is known as ‘karawitan

tari’. Gendhon’s argument as cited by Roestopo

remarks that a dance expression is supported, and

often substituted by its musical accompaniment

(1991: 10). It means that karawitan tari has an

important role – similar to the dance itself.

2.1 Gendhing/Gamelan Piece Form and

Structure

Conventionally, the form of gending is composed and

arranged in symmetrical metrics (Kriswanto, 2008:

91). Every part is written in musical notes of balungan

gending by using numbers or certain symbols. The

names of the gending composition, from the smallest

structure respectively are lancaran, ketawang,

ladrang; while gending or music composition with alit

(small), tengahan (medium), and ageng (large) sizes

yet unstructured are playon, sampak, srepegan,

kemuda, and ayak-ayak.

The lancaran structure can be categorized as the

smallest music composition. Each gongan (a whole

round of gong) consists of of eight sabetans (beats) on

ricikan balungan (e.g. slentem or saron). The

cholotomic of ricikan shows hard – light beats and

pauses between the main rhythms. The arrangement

of every ricikan while being played sounds as a cyclic

meter. The following scheme illustrates the form and

structure of lancaran music composition.

Figure 1: Form of lancaran.

Figure 1 shows a musical creativity pattern in

arranging numbers of beatings, gatra (group of four

notes) and improvisation on its cholotomic

instruments (ricikan). Lancaran, thus, becomes the

simplest composition and the basis to develop other

larger compositions by multiplying the numbers of

beatings and prolong the pauses or duration.

Creativities in creating larger composition, therefore,

can be achieved by multiplying the hitting by 64, 128,

256, and 516 beats in each gong cycle.

The composition for accompaniment of lelangen

beksan Banjaransari begins with gending Runtut. It

consists of 64 beats on balungan (scheleton) notation

composed in gatra forms of 4 beats; so, there are 16

gatras altogether.

Figure 2: Gendhing Runtut form.

The next part of the composition is ladrang. The

ladrang composition is performed without any vocal,

and consists of 32 beats in a gong cycle.

Figure 3: Ladrang form.

The next gending or composition is in form of

ketawang, entitled Mijil. According to its type, can be

categorized into gending sekar (song composition)

developed from macapat Mijil. One gong cycle

consists of 16 beats, divided into 4 gatras.

Figure 4: Ketawang form.

2.2 Cakepan (Lyric) and Arrangement

of Gending Performance

Cakepan or song lyric in a karawitan tari is the second

element after its musical element expressed through

its gamelan. Some information can be gathered by

listening to its lyric. Based on the writer’s

observation, there are several difficulties for the

Solving Problems in Understanding Banjarsari Dance Through Musical Elements of Karawitan

289

society to understand the theme, storyline, as well as

the meaning of a dance through its lyric.

The first problem arises from the absence of time

or opportunity to listen the lyric thouroughly. It

happens because the society is no longer accustomed

to listen and scrutinize the lyric sung by vocal

technique in karawitan tradition. It results from a fact

that female vocalists, especially, use nasalized vocal

technique and produce voice on standard and higher

registers. Secondly, the problem may appear because

listeners do not understand meanings in the language

used in the lyric. Thirdly, there is a tendency to enjoy

the feel of gending or the melody of the instruments

or the vocal instead of paying attention on its lyric.

And finally, it may also be caused by the poor

acoustic quality of the room

The atmosphere of the initial part is built by using

pathetan. It is an instrumentalia played by certain

instruments; rebab, gender, gambang, and suling. The

next part is bawa, or solo vocal sung by a singer or

pesindhen. The lyric note and melody are as follow.

Translation:

Being caught in a war, The Banjaransari

Against Rayungwulan

They had a fight, and used their mighty powers

Until during the fight

A sympathy arose, The Handsome then

Approached the Beautiful Princess

Saying his love, and it was accepted by the Beautiful

Princess

They finally live together

(translated by Raharja)

The bawa vocal part can be considered as a

prologue, and also an abstract of the whole story. The

lyric of the bawa part tells a story of the meeting of

two figures, Raden Banjaransari and Dewi

Rayungwulan. Their meeting created a fight and

dispute. Such information can be obtained from the

first and second lines. The next line (gatra) tells about

the Raden Banjaransari’s compassion when fighting

against Rayungwulan.

The gerongan vocal on the merong part of Runtut

gending is a different type of bawa, both of its form

and performance. The part is sung by all male and

female vocalists in unison. The lyric and its

explanation will be provided below.

Translation:

The beginning was

A long time ago there was an occurrence

During the Mataram time

That of the heir of Maja Agung Noble

When the Handsome prince wandered

Doing ascetic pray

Gaining life glory

When in disaster

Sent by God

He would suffer

It was told, then,

Upon receiving God’s guide

His path became clear

With the help of a guru

(translated by Raharja)

According to those lines, it can be comprehended that

the part tells about Raden Banjaransari’s life story.

The second part of gending Runtut is called as inggah

accompanied by a choir part. The next part is an

inggah with gerongan lyric and its explanation as

follow.

Translation:

His name is Jatiraga

A clever priest

Who thoroughly explained

That life glory could be found

By defeating the enemy

Lived in a demon kingdom

The devil to the world

It was the Kingdom of Segaluh

The ruler, of course,

Dewi Rayungwulan

Was infuriated

She recklessly seeing

Banjaransari

Interrupted his ascetic pray

Grew into a dispute

Then became a fight

(translated by Raharja)

The lyric on the first ulihan (cycle) reveals the

meeting between Raden Banjaransari and his teacher,

Begawan Jatiraga who was holy and intelligent.

Raden Banjaransari was suggested to fight against his

enemy who came from the Kingdom of Segaluh. It

was a demon kingdom ruled by Dewi Rayungwulan.

The second part tells about Dewi Rayungwulan’s

anger who felt, that her peacefulness was interrupted

by the aura resulted from the ascetic pray of Raden

Banjaransari. Dewi Rayungwulan, then, came to him

and interrupted his ritual process.

Their meeting was, then, followed by a dispute

causing a fight. This part was accompanied by an

instrumentalia in form of ladrang played in soran

(loud piece) as a transition and also for changing the

dynamic. Any information about the storyline,

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nevertheless, is absent because the lacking of vocal

accompanying the music.

The last part of the gending is a ketawang

consisting of 16 sabetans (hittings) in one gong cycle.

The beat is slow and calm. Its lyric consists of two

parts as follow.

Translation:

O dear Princess

A truly beautiful princess

Once you appeared

Your (fighting) mastery amazed me

I wish you were my destiny

Though I have one wish

For you to answer my riddle

Two of them

Were deeply in love

Their love story

Was like that of Kamajaya Ratih (a Javanese

legendary love story)

They built their love relationship

Even soon building a country

A very great country

(Translated by Raharja)

The lines of the first part tell a story about Raden

Banjaransari’s love to Dewi Rayungwulan. He was,

then, eager to propose her as his wife. Dewi

Rayungwulan, nonetheless, would accept his

proposal in one condition, that the Prince or Raden

Banjaransari was able to answer her riddle. The

second part tells about how both of them were in love.

Their romantic relationship eventually developed into

a dream of building a great country.

Based on those explanations, it can be seen that

there are some problems in understanding a dance

through its musical accompaniment. In other words,

the problems appear in appreciating the karawitan of

Yogyakarta classical dance repertoire.

3 CONCLUSIONS

Based on those phenomena, problems, possible

solution, and a number of analysis provided

previously, it can be concluded that problems or

failures in understanding a dance performance

through its musical composition occur due to some

factors. First, related to the complexity of the

materials performed in a dance and its musical

accompaniment, human’s brain has some restraint in

understanding a thing simultaneously. Second, it is

due to the fact that the society lacks of both musical

and linguistic knowledge to reveal the theme,

meaning, and storyline of a dance.

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