REPRESENTASI PRIYAYI BOGOR DALAM TARI GAWIL DI SANGGAR OBOR SAKTI

RAHMADINA EVELYNA, . (2026) REPRESENTASI PRIYAYI BOGOR DALAM TARI GAWIL DI SANGGAR OBOR SAKTI. Sarjana thesis, UNIVERSITAS NEGERI JAKARTA.

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Abstract

Penelitian ini bertujuan untuk mendeskripsikan bentuk penyajian Tari Gawil, menganalisis representasi priyayi Bogor yang tercermin dalam unsur-unsur pertunjukan Tari Gawil, serta mengidentifikasi strata sosial priyayi Bogor yang direpresentasikan dalam pertunjukan Tari Gawil di Sanggar Obor Sakti Kota Bogor. Penelitian ini dilatarbelakangi oleh Tari Gawil yang tidak hanya berfungsi sebagai hiburan, tetapi juga mengandung nilai budaya yang merepresentasikan karakter dan kedudukan sosial priyayi Bogor. Penelitian menggunakan metode kualitatif dengan pendekatan deskriptif. Teknik pengumpulan data dilakukan melalui observasi, wawancara mendalam, dan dokumentasi terhadap pewaris Tari Gawil, penari, nayaga, budayawan, serta perwakilan Dinas Kebudayaan Kota Bogor. Analisis data menggunakan model Miles dan Huberman yang meliputi reduksi data, penyajian data, dan penarikan kesimpulan, sedangkan analisis makna menggunakan teori representasi Stuart Hall. Hasil penelitian menunjukkan bahwa bentuk penyajian Tari Gawil terdiri atas unsur gerak, iringan musik, tata rias, tata busana, dan tata pertunjukan yang membentuk satu kesatuan makna budaya. Representasi priyayi Bogor diwujudkan melalui ragam gerak seperti adeg-adeg, laras konda, mincid, jalak pengkor, saruk kanan kiri, dan keupat dua yang merepresentasikan karakter berwibawa, religius, bertanggung jawab, tangguh, bijaksana, dan santun. Representasi tersebut juga diperkuat melalui penggunaan iringan gamelan salendro, tata rias natural, serta busana berupa beskap takwa, sinjang, bendo, keris, kewer, dan selendang yang mengandung makna kehormatan, kesopanan, dan kewibawaan priyayi Sunda. Selain itu, strata sosial priyayi Bogor direpresentasikan melalui tata pertunjukan, seperti pengaturan posisi duduk, etika interaksi antara ronggeng, nayaga, dan tamu priyayi, serta tata cara penghormatan selama pertunjukan berlangsung. Berdasarkan teori representasi Stuart Hall, makna mengenai priyayi Bogor dalam Tari Gawil merupakan hasil konstruksi budaya yang dibentuk melalui simbol-simbol pertunjukan dan dipahami berdasarkan kesepakatan budaya masyarakat pendukungnya. ***** This study aims to describe the presentation of Gawil Dance, analyze the representation of the Bogor priyayi reflected in the performance elements of Gawil Dance, and identify the social stratification of the Bogor priyayi represented in Gawil Dance performances at Sanggar Obor Sakti, Bogor City. This research is motivated by the fact that Gawil Dance functions not only as a form of entertainment but also embodies cultural values that represent the character and social status of the Bogor priyayi. This study employed a qualitative method with a descriptive approach. Data were collected through observation, in-depth interviews, and documentation involving the heir of Gawil Dance, dancers, nayaga (traditional musicians), cultural experts, and representatives of the Bogor City Office of Culture. Data were analyzed using the Miles and Huberman interactive model, which consists of data reduction, data display, and conclusion drawing, while the interpretation of meaning was based on Stuart Hall's theory of representation. The findings reveal that the presentation of Gawil Dance consists of movement, musical accompaniment, make-up, costumes, and performance structure, all of which form an integrated cultural meaning. The representation of the Bogor priyayi is reflected through movement motifs such as adeg-adeg, laras konda, mincid, jalak pengkor, saruk kanan kiri, and keupat dua, which symbolize authority, religiosity, responsibility, resilience, wisdom, and politeness. This representation is further reinforced through the use of salendro gamelan accompaniment, natural make-up, and traditional costumes, including the beskap takwa, sinjang, bendo, keris, kewer, and selendang, which symbolize honor, modesty, and the dignity of the Sundanese priyayi. Furthermore, the social stratification of the Bogor priyayi is represented through the performance structure, including seating arrangements, interaction etiquette among the ronggeng, nayaga, and priyayi guests, as well as ceremonial gestures of respect throughout the performance. Based on Stuart Hall's theory of representation, the meaning of the Bogor priyayi in Gawil Dance is a cultural construction shaped through performance symbols and understood according to the shared cultural conventions of the supporting community.

Item Type:	Thesis (Sarjana)
Additional Information:	1). Ojang Cahyadi, S.Sn., M.Pd. ; 2). Dr. Romi Nursyam, S.Sn., M.Sn.
Subjects:	Kesenian > Seni Tari
Divisions:	FBS > S1 Pendidikan Tari
Depositing User:	Rahmadina Evelyna .
Date Deposited:	27 Aug 2026 03:09
Last Modified:	27 Aug 2026 03:09
URI:	http://repository.unj.ac.id/id/eprint/72485

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