Bambangan Cakil
| File:Bambangan Cakil.jpg Bambangan Cakil performance | |
| Native name | ꧋ꦧꦩ꧀ꦧꦔꦤ꧀ꦕꦏꦶꦭ꧀ (Javanese) Tari Klasik Bambangan Cakil (Indonesian) |
|---|---|
| Instrument | Gamelan |
| Inventor | Javanese |
| Origin | Central Java (Indonesia) |
| Bambangan Cakil |
|---|
|
| Burma |
| Cambodia |
| Indonesia |
|
| Laos |
| Malaysia |
| Philippines |
| Singapore |
| Thailand |
|
| Vietnam |
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Bambangan Cakil (Javanese: ꧋ꦧꦩ꧀ꦧꦔꦤ꧀ꦕꦏꦶꦭ꧀) is a classical dance-drama[1] of the Javanese people in—particularly—Central Java, Indonesia.[2] This dance-drama demonstrates wayang performance due to the movement is adopted from one of the scenes in wayang kulit performance, that is the Perang Kembang scene.[3] The Perang Kembang told about war between kesatria and raksasa. The kesatria has soft and gentle characters, while the raksasa is described as a character who is rough and violent.
The dance-drama war[4] between kesatria (Bambangan) against raksasa (Cakil) could also be used as a place for a dalang's judgment in moving a puppet.
Philosophy
[edit | edit source]In Javanese culture, kesatria are always considered to be good figures, willing to defend the truth, to help others, etc.[5] The kesatria title is given, rather than being heredity. For example, in the Mahabharata story, Kurawa does not have a kesatria title, even though he has the same ancestors as the Pandava.
On the other hand, raksasa are characterised as rough, violent and dynamic.
Characterizations
[edit | edit source]In the Bambangan Cakil dance-drama, Arjuna is depicted as kesatria, while Cakil is depicted as raksasa.[6]
See also
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References
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External links
[edit | edit source]- Nama tari-tarian Indonesia Archived 2011-06-13 at the Wayback Machine
