Harjuna-Keratarupa Dance Development

Harjuna-Keratarupa was composed first in 1995 to prepare dance performances by ISI Surakarta lecturers to increase the number of performance materials at this art institute. This dance was unique because its variety of movements incorporate Yogyakarta-style dance movements into its presentation structure so that this dance has its level of difficulty.

battle), beksan mundur (retreat dance). Dance movements in Harjuna-Keratarupa dance refers to the traditional dance movements of Surakarta and added a variety of Yogyakarta Style dance movements in the beksan section. The battle pattern used is more than one model of warfare, including shawl battle, kris battle, and bow battle. The structure of the gendhing in this dance uses gendhing kosekan which is usually used in wayang kulit performances, but the choreographer uses the gendhing during beksan and gendhing srepeg during the battle. The gendhing presented is expected to describe and enliven the dance atmosphere. Harjuna-Keratarupa dance performance displays the form of pethilan (pieces) with two different characters, although they both use a Surakarta-style pliant dance format in their movement structure. Harjuna with a delicate-male character, his movements are gentle but agile, firm, and skilled in combat. Meanwhile, the character of Keratarupa is a male alus lanyap (agile-male), firm, arrogant, authoritative, and skilled in combat. Harjuna-Keratarupa dance uses devices (tools/weapons) in the form of bow and kris. The makeup used is delicate-male character makeup and agile-male character makeup. Wardrobes used include: black velvet pants, frilled jarik with lereng cokelat motif, cancut, belt, shawl, epek timang, bara-samir, srempang, endhong panah (quiver), nyenyep, irah-irahan gelung luruh, kantong gelung, sumping, klat bahu, binggel, uncal, kalung ulur, necklace (for Harjuna), dan red velvet pants, frilled jarik parang garudha putih, cancut, belt, shawl, epek timang, bara-samir, srempang, probo, irah-irahan gelung lanyap , kantong gelung, sumping, klat bahu, binggel, uncal, kalung ulur, necklace (for Keratarupa Keratarupa who fought the wild boar, and enters gendhing sampak 3 which describes the wild boar who had been shot by Harjuna and Keratarupa but they fought over claims about whose arrows hit the wild boar, and there was a bow battle between Harjuna and Keratarupa. c. Ladrang Memasuh then enters Ketawang Lik then moves to Ompak. This gendhing is used for the beksan part. d. Srepeg 6 is used for shawl battles. e. Lancaran 2 is used for the kris battle. f. Gendhing Palaran is used for archery battle. g. Sampak 2 is used for gendhing mundur beksan until the dancer leaves the stage.

The Development of Harjuna-Keratarupa Dance
Development is a demand, because this is an effort to adapt to the changing times. This was emphasized by Edi Sedyawati, that: Culture, including the life of art, must be dynamic to develop according to the times if the culture is to survive amid its supporting community. The era that is always moving and the growing human needs accompany it, making cultural products must be actualized to adapt to these developments. Although actually in the development of culture we cannot forget the cultural roots of the past (Sedyawati, 1984: 39).
Referring to the opinion of Edi Sedyawati above, the intended dynamic is the process of culture or art in following the development of the times and its people. The Harjuna-Keratarupa dance has also undergone several developments since its creation in 1995 until now. Harjuna-Keratarupa dance is experiencing development in sekaran, its composition is also increasing. In addition to dance, gendhing has also developed.
Initially, the Harjuna-Keratarupa dance functioned as a work that was prepared in the context of staging the works of lecturers at the Sekolah Tinggi Seni Indonesia (STSI) Surakarta. However, as time goes by, currently the Harjuna-Keratarupa dance is widely studied or used as a medium for teaching materials for the fifth semester of the delicate-male dance in pairs at the Institut Seni Indonesia (ISI) and as one of the choices for the Surakarta Style delicate-male dance demonstration examination material. This development can occur in changes in the floor pattern of sekaran both in the motion of the beksan or the ability to control the stage space. These changes aim to reconstruct and reinterpret the existing traditional dances. Changes in the idea of dance compositions also result in a wider variety of work ideas expressed in the form of dance compositions. These developments, of course, still consider the initial interpretation of the dance presentation that is presented, both in terms of the character and the atmosphere to be conveyed. Sal Murgiyanto said that creativity in the frame of tradition does not always mean creating new works, but creativity in making innovations (Murgiyanto, 2007: xii). It can be seen in several presentations, the Harjuna-Keratarupa dance has undergone several changes and developments from the initial work of the dance, which of course is subject to the interpretation and understanding of each performer. Here are some examples of the development of the Harjuna-Keratarupa dance:

1) Dwiyasmono and Matheus Wasi Bantolo
Initially, Harjuna-Keratarupa Dance was a performance created by lecturers at the Indonesian College of Arts (STSI) Surakarta. In this performance, the costumes used are human wayang costumes. Harjuna's character looks more delicate. The dancer who brought Harjuna's character was on stage and was in the middle of the stage showing the situation of Harjuna who was meditating.
2) Irwan Dhamasto and Dhestian Wahyu Setyaji This performance shows the change and rearrangement of the form of motion. Changes were made to the archery movements of the two dancers. and there is a tug-of-war movement of the bow before squeezing in the bow battle section. In the kris battle, there is a change in the motion of the stab. The costumes used are still the human wayang model costumes. These changes were staged in 2017.
3) Damasus Chrismas Verlananda Waskito and Ahmad Saroji at a demonstration exam in Magelang In this performance, Keratarupa came out first and was followed by Harjuna whose motivation was because he saw a wild boar. This change in the shape of the beksan creates the impression of a mutual response between the dancers of Harjuna and Keratarupa. The kris battle was also changed to make it more intense. bow battles are also changed to give the impression of being more skilled.
Describing the dancer's costumes, Harjuna's character does not use gelung luruh but uses jamang and uren. The reason for choosing this costume is because in sanggit of human wayang when Harjuna was meditating, he still used jamang and wore uren. Harjuna has not worn a head accessory in the form of a gelung luruh. This change was performed in 2018 in commemoration of the Mertidusun event in Magelang Regency, Central Java.

Conclusion
The Harjuna-Keratarupa dance is a dance composition in the form of pethilan (a fragment of a longer story). This dance has a characteristic that is in the form of the Surakarta style delicate dance which the dance moves are combined with the Yogyakarta style delicate dance. This dance features two wayang figures with two different characters. Harjuna with the character of the male-delicate. His movements are delicate but during battles, he is quick, firm, and skilled; while the character of Keratarupa is a male-agile. He is firm, arrogant (cakrak), authoritative, and skilled at wars.
Harjuna-Keratarupa uses bow and kris as dance equipment because this dance emphasizes patterns of war movement. The choreographer got the idea of composing the composition from his interest in the battle scene between Harjuna and Keratarupa. This section tells of a conflict between Begawan Ciptoning who is usually known as Harjuna and Keratarupa who is the incarnation of Bathara Guru. According to the choreographer, this war is an interpretation of the attitude of maintaining the truth and sincerity in carrying out responsibilities.
This dance has undergone many developments. The development occurred in changes in floor patterns, motion sequences in both beksan and battle scenes to be able to control the stage space. These changes aim to reconstruct and reinterpret the existing traditional dances. Changes in the ideas of composition also add to the variety of compositional ideas expressed in the form of dance creations. In Harjuna-Keratarupa, the choreographer places more emphasis on the feeling that the dancer must convey, or a form of emotion that is shown so that the audience can feel it so that the audience can better grasp the implied meaning in the dance.