Abstrak
Penulisan ini untuk mengetahui pengaruh wayang wong di Keraton Yogyakarta terhadap tari Klana Sri Suwela, dan membahas penerapan konsep jogèd Mataram dalam tari Klana Sri Suwela. Penulisan ini menggunakan dua pendekatan yang melatarbelakanginya, yaitu pendekatan tekstual dan pendekatan konstektual. Secara tekstual pemberlakuan tari berkaitan dengan bentuk, struktur, dan gaya tarinya. Secara kontekstual pemberlakuan tari sebagai teks kebudayaan, dapat ditelaah melalui kedudukannya di masa sekarang kaitannya dengan catatan yang ada di masa lampau. Hasilnya menunjukkan bahwa, bentuk dan struktur tari mengacu pada tata hubungan dalam struktur tari, sistem pelaksanaan teknik dan cara bergerak dalam bagian-bagian tubuh penari sebagai perwujudan tari yang utuh. Dengan demikian konsep tri wira (wiraga, wirasa, wirama) sebagai teknik dan wadah lahiriah dan konsep jogèd Mataram sebagai isinya. Oleh sebab itu penari dalam membawakan sebuah tari di atas pentas harus menguasai konsep tri wira dengan baik. Untuk dapat
membawakan peran dengan baik ketiga unsur tersebut harus dijiwai oleh konsep jogèd Mataram.
Implementation of the Concept of Joged Mataram in Dances Abstract
The object of the study is finding the influence of Yogyakarta Palace’s Wayang Wong on Klana Alus Sri Suwela dance, and discussing the application of jogèd Mataram concept in Klana Alus Sri Suwela dance.The study used textual and contextual approach. In textual approach, the conduct of the dance is being studied concerning the type, structure, and style of the dance. In contextual approach, the dance taken as a cultural reading is being studied in its present position in relation with the past documentation. The result of the study showed that the form and structure of dance are referring to the relationship in dancing structure, dancing technique and how the movements of the dancer’s body as a realization of the whole of dance. Accordingly, the tri wira (wiraga, wirama, wirasa) concept serves as the technique and outline, and the jogèd Mataram serve as the content. Therefore, in order to perform a dance and play the role well, a dancer should master the three elements of the tri wira concept infused by jogèd Mataram concecp. husband or wife, either Chinese or Balinese, they always have orientation to physic, i.e. whether she is beautiful or he is handsome. However, if their physical orientations are not the same, values of other aspects (economy, religion, and attitude) are used as other considerations so that crossed-marriage of two different ethnics were taken place.
Key words: Crossed-marriage, Desa Pakraman, and living together
