PERKEMBANGAN KESENIAN TAYUB DI KABUPATEN BOJONEGORO PADA TAHUN 1990-2000

Abstract

Tayub art is one of the typical arts in the Bojonegoro area which is performed by a waranggana/ledhek/sindir along with the accompanying accompaniment. Tayub dance it self has been known since the 19 century and began to develop in Bojonegoro regency since 1975. Tayub art in Bojonegoro Regency has gone throuh many thiings and developments from time to time. Starting from the structure, accompaniment/gending, musical, instruments, dances, and costumes. This is the background for researchers to find out what developments occurred from 1990-2000. This study discusses (1) how is the background of tayub art in Bojonegoro Regency; (2) How was the development of tayub art in Bojonegoro Regency in 1990-2000. This study uses a historial research method which consits of four stages, namely the heuristic process, which is to find and find sources obtained from interviews with one of the owners of the tayub studio in Bojonegoro “Mardi Budaya”, interviews with the staffof the Culture and Tourism Office, and others. The Second stage is source criticism, namely the process of testing and verifying the sources that have been obtained. The third stage is interpretation, which is the stage oflooking for a reletionship between facts by analiyzing and interpreting which finally gets a systematic flow. The fourthstage is historiography in which effprts are made to combine date to form a complete building of historical events, which are outlined in systematic, chronological and scientific writing. The results of this study discuss the development of tayub that occurred in 1990-2000 including structure, accompaniment/gending, musical instruments, dances, and costume forms in Bojonegoro Regency. (1) The development of the structure of the tayub performance, namely a more organized structure, starting with Gambyongan/genjongan the continued with Gendhogan where the flight attendant reads the rules, then Ndarra-ndara, and ends with Tayuban/ibingan and Tambokan. (2) The development of accompaniment/gending, namely the abolition of Gending Sawo Gletak and the inclusion of campursari music in a tayub performance. (3) The development of musical instruments, namely the collaboration of tayub musical intruments with karawitan and gamelan music, as well as experiencing the addition of modern musical instruments, such as the ketipung, tambourine, and drum jibrong which are adapted from the jaipong drum. (4) The development of the tayub dance, namely the inclusion of the Bedayan Srampat Bojonegoro Dance as characteristic of the Bojonegoro tayub. (5) The development of the tayub costume, namely the use of more polite clothes without reducing the characteristics of Javanese costoms, namely the Javanese Kebaya by modifying it using Bojonegoro’s typical batik motifs, such as motifs sekar jati, jagung miji emas, dan rancak thengul.

Keywords: Tayub Art, Development, Bojonegoro