[ABSTRAKRuang, ruangan dan tempat memiliki forma yang berbeda. Sebuah transformasi ruangan menjadi tempat adalah ketika adanya sebuah peristiwa. Latihan tari Bedhaya Ketawang, dilakukan setiap Anggara Kasih. Di latihan ini akan dibahas keterkaitan antara penari, tarian, saka guru dan pendapa itu sendiri. Tari Bedhaya Ketawang sangat kontekstual dengan Pendapa Sasana Sewaka, maka dari itu tari ini dinamakan tari pendapan. Interioritas tubuh penari mempengaruhi ruang dengan wujud aktivitas menari dalam ruang yang dibatasi oleh lingkung dalam keempat saka guru. Saka guru menciptakan batas imajiner ketika penari membentuk formasi tari Bedhaya Ketawang. Batas ini mempengaruhi masing-masing sembilan penari. Semua penari Bedhaya Ketawang juga memiliki penanda atau patokan ketika menari. Unsur ini dipengaruhi oleh ruangan dengan unsur serta objek perpanjangan tubuh manusia. Kosmologi Jawa menentukan orientasi penari dan memiliki makna yang memiliki potensi untuk dapat dikorelasikan.
ABSTRACT;Space, room, and place has different forms. The transformation of a room into a place,takes place when an event happens. The Bedhaya Ketawang rehearsal is always beingheld during Anggara Kasih. In this rehearsal, the dancers, dance, saka guru andpendapa will be the discussed. Bedhaya Ketawang dance has its context withinPendapa Ageng Sasana Sewaka, therefore this dance is called tari pendapan. Thedancer?s interiority affecting the space because of scope of the inside-space of thesaka guru. The Saka guru creating an imaginary border when the dancers form adance formation. This imaginary border affecting each nine dancers. Each dancers hastheir mark inside the room, it is because the elements and objects of extension of thebody. The Javanese cosmology is also affecting the orientation of the dancers and hasthe potential to be correlated, Space, room, and place has different forms. The transformation of a room into a place,takes place when an event happens. The Bedhaya Ketawang rehearsal is always beingheld during Anggara Kasih. In this rehearsal, the dancers, dance, saka guru andpendapa will be the discussed. Bedhaya Ketawang dance has its context withinPendapa Ageng Sasana Sewaka, therefore this dance is called tari pendapan. Thedancer?s interiority affecting the space because of scope of the inside-space of thesaka guru. The Saka guru creating an imaginary border when the dancers form adance formation. This imaginary border affecting each nine dancers. Each dancers hastheir mark inside the room, it is because the elements and objects of extension of thebody. The Javanese cosmology is also affecting the orientation of the dancers and hasthe potential to be correlated] |
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