Candi Dieng In Limassol

INTRODUCTION
Dieng temple is a temple complex that is religion of Shiva, situated on flat ground Dieng (Dihyang), with a height of about 2000 meters above sea level, measuring 1800 meters long and 800 meters wide. To the north lies the mountain Prahu and from the mountain stream flowing Write to the south, into the Dieng plateau and forming a lake formerly known as Bale Kambang. So that the water is not too full there is a pipe line called Ashwatthama channel. According to reports, the water pipe is mostly found near the temple Arjuna.
The temples in Dieng complex now numbering about eight temples probably came from the VIII-IX centuries. An inscription found in the complex has a rate equal to the Saka year 713 AD 809, but there is a possibility these temples there are older, from about the middle of the eighth century. The temples in Dieng is named puppet, that Arjuna temple, temple Semar, Heroine, Puntadewa, Sembadra, Bima, Dwarawati, Ghatotkacha. Seeing the names obviously not the name Mahabharata character, but including clown puppet Semar. This means that the names were not the original name Dieng temples.
Dieng temple complex is expected Saiwa the oldest of the old classic, but before talking about the temple, will be mentioned in passing about early cultural contacts Indonesia-India-impact entry religions from India to Indonesia.

INITIAL DEVELOPMENT OF RELIGIONS IN NUSANTARA
Trade relations between India and Southeast Asia, including Indonesia (Nusantara) has long been the case. Trade relations coincided with the development of Buddhism, which requires the priests (monks-bhiksunya) to spread the religion. One attempt meraka India is participating merchant ships, and with diligence to spread his religion. The presence of the monks in these vessels, among others evidenced by the discovery of the Buddha statues in places close to the trade, such as statues of Buddha in Bukit Seguntang, Palembang, on the west coast of Sulawesi Sempaga, City Build (Kutai) . These statues are from II-III century AD.
Unlike the Buddhist monks, priests do not take non-Buddhist merchant ships spread their religion, but they are specifically invited by the king in Southeast Asia, including Indonesia (Nusantara).
The first pastors were invited to Indonesia is not a priest of Hinduism-Shiva, but from the Vedic religion (Brahmin) that developed in India between 1500 BC to about the first century AD.
Vedic religion brought into India by the Aryans between the years 2000-1500 BC, and his belief we can know from the Vedas, amounting to four, namely Rigveda, Yajur Veda, Sama Veda and Atharva Veda. Its gods numbered 33, and is a manifestation or personification of natural forces that form of belief called "naturalistic Polytheism", but there is mention "kat henotheism" (kat: changing, Heno: a) means supreme deity deemed appropriate alternate interests of the devotee. Ritual Vedic period is bersaji (offerings) which do not in temples, but in an open field called Vedi or Ksetra. In the field established furnace called agni or Kunda, a minimum amount to four to burn objects presented to the gods. Vedic religious development center in India is around the river Sindhu (Indus), Western India. Vedic religion was replaced by Hinduism that worships three gods (Trinity: Siva, Vishnu, Brahma) in about the first century AD, the Vedic scriptures they remain coupled by the scriptures Puranas and Upa Purana. Unlike the Vedic religion, Hinduism development centers around the rivers Ganges and Yamuna, Eastern India. Hindu teachings have SVA-dharma (duty in accordance with teak / caste).
In its development, cult groups emerged as the supreme god Shiva or Vishnu as supreme deity in the Vaishnava religion, then in the sixth century the religion of magic or energy Sakta cult gods, especially the god Shiva.
In the archipelago early Vedic religion into a religion that originated in India, the oldest evidence found in Kutai, Muarakaman, Tarumanagara and Lime City on the island of Bangka. Only in the seventh century AD Hindu Trimurti cult developed in Central Java, the first known evidence of the inscription Tuk Mas, in Dakawu, Magelang. Furthermore, according to the inscription Canggal 732 AD issued by king Sanjaya, religion, Shiva began to develop in Java. Saiwa temples popping up in Java, including the temples at Dieng.

LOCATION AND NAME OF TEMPLE
Dieng temples and several other temples in Java, which is the oldest after Dieng temple in Ungaran Gedong Songo, Temple Mount Wukir, and so founded on the slopes of a mountain / hill. If one was established in the lowlands, the elevated courtyard soil, for example, can be seen in the Prambanan temple. Prambanan temple has three pages, the first page is the center of the page, then the second page and the third page. Ground level page I (center) higher than ground level pages II and III. Keletakan shrine on the slopes of the mountain, at the top of a hill and on the edge of a river or lake has been talked about in the book Vastusastra, the guidebook for artists (silpin) to create a building (vastu). According Vastusastra, to make the place of the gods should be on the mountain, with water flowing. However, when seen from the point of symbolic meaning, the mountain is a microcosm, a clone of Mahameru abode of the gods, Shiva and the family lives in the Kailasa mountain peak in the Mahameru.

Why is building called a temple sacred in Java?
Various opinions emerged about the meaning of the name, but here I can say that the naming of the holy places in general and in particular as a sacred building the temple, only in Indonesia. In India, according to the terms in Vastusastra, not sacred buildings called temples but Prasada, Vesman, Koil, Devagrha, Devalaya, Devakula, Mandiram, Bhavanam, Sthana etc.

TEMPLE DIENG, CHRONOLOGY AND DESCRIPTION
Talk of the temples in the Dieng has been discussed by NJKrom in his book Inleiding tot de Hindoe-Javaansche Kunst (1923), 3 vols, EBVogler in De Monsterkop in de Hindoe-Javaansche Bouwkunst (1949), who discuss the chronology of the temple temples of Central Java based decorative Kala-makaranya, then Soetjipto Wirjosuparto discuss Dieng temple in his essay entitled History of Ancient Buildings Dieng (1957).
According Soetjipto Wirjosuparto, Dieng complex was first visited in 1814 by HCCornelius, and according to the report, the Dieng plateau is still a lake and in the temples there are submerged in water. New in 1856 J.van Kinsbergen make images Dieng temples, the water flow so that the plains are dry.
EBVogler divided chronologically temples in Central Java, based on the characteristics of Kala-makara ornament. He made the stages of the temples as follows:
Central Java Kuna art building, but has been lost because it is made daribenda-perishable items
Sanjaya art building period (mid-seventeenth to mid-eighteenth centuries), While no bekas2nya, Vogler determines that the building during Sanjaya's rooted structural art Pallwa South India. This also is called the art of building construction Kuna Dieng.
Sailendra art building (the mid-century mid-century VIII IX), is a combination of artistic elements Kuna Dieng and North India. Sailendra art building can be divided into two streams, namely:

Dieng new art building, which continued building art Dieng Kuna. An example is bangunan2 in Dieng
Sailendra-art building Java rooted structural art of North India, an example is in the area Kedu candi2 South and around Prambanan, the temple Kalasan, Sari, Granary, Sewu, Borobudur, Mendut, Pawon
Art Unity building, (the mid-ninth century circa 927). Called the "unity" because Sanjayawamsa has united with Sailendrawamsa through marriage. There are mingling with the art style building in East Java and the art style of the building outside Java (?). Including this group is Puntadewa temples in Dieng, candi2 Gedongsanga, Plaosan, Sojiwan and Lara Jonggrang.
Art building in Central Java late ((500-928), which mimics the art of temple building temple Sembadra, Heroine temple, the temple Mount Wukir.
Stages of the temples by Vogler's, followed by a grouping Soetjipto Wirjosuparto temples in Dieng, in his book mentioned above.
As noted earlier, the temples at Dieng now there are eight pieces, although there are likely more than former temple number eight. Four temples lined the north, namely Arjuna temple, temple Heroine, cabdi Puntadewa and Sembodro temple, facing west. Faced with Arjuna temple there is the temple Semar, who serves as ancillary temple, facing east. While it can be argued that the temple was located in front of the ancillary temples Heroine, Puntadewa and Sembodro, but now has nothing left. The fifth temple is one group, as there are remnants of a fence around.
 
Figure 1. Five Fruit Temple in Dieng
In addition, in the southwest Bale Kambang, at the foot of the hill there is a temple Panggonan Ghatotkacha, Dwarawati temple in the north near the hill Prahu, and there is a temple in the southern end of Bima.
At first glance, these temples are similar to temples in India, but if we pay attention, very big difference. General characteristics of the temples in Dieng, laid out square, the temple has three parts, namely body-foot-roof. Exceptions are the temple Semar, because housed in rectangular, and the roof does not rise like other temples, but the shape of lotus (the bell). Similarly, among the temples, the temple Bhima has different characteristics with the seven other temples, for more details will be described three temples namely Arjuna temple, the temple and the temple Semar Bima.

Arjuna temple. Candi Arjuna put into the art of building a New Dieng, housed squares measuring 6 meters x 6 meters, with the door facing west. Temple built on soft soil foundation of a kind of whitish sand. The foundation here means soil compaction under the temple, to strengthen customary land before established candi.Seperti Old Classical temples, the temple is decorated with perbingkaian legs, lower body as well as the temple. But Arjuna temple and other temples in Dieng did not have a frame round (Kumuda), only the frame rate and frame padma (the bell). Arjuna temple body wall decorated by three niches on the three sides that are now empty no statue. The upper part of each niche niches decorated with ornamental heads when no chin, and connected by a pair of niches makara by frame. Door of the temple in the west, with ornate decoration kala head anyway, and connected by a door frame and a pair of stairs to the cheek that makara ornament by parrots in their gaping mouths.
The roof of the temple consists of three layers (bhumi), increasing in size over the smaller and in the end by a peak that may be shaped fruit keben (ratna). This possibility is proposed after seeing the decorations on the roof lining sudut2 shaped temple replica. Certainty forms can not be filed, because the roof has been damaged. The highlight of the temple is not stupika (dagoba), because Arjuna temple and overall Dieng temple is Shiva religion, and not the nature of Buddhism. The roof has a roof similar to Arjuna South Indian style temple (Dravidian style).
In 1924 a Dutch archaeologist has examined the Arjuna temple, and in his opinion, the size and the parts of the temple Arjuna Vastusastra obviously follow the rules. But how to force other Dieng temples have been no reports, except Bhima temple style roofed North Indian (Aryan style).
Simple decorative, roof of the temple is filled with decorative antefiks (simbar), and Kala-makara decoration on the temple door and the three recesses in the body temple. This door frame at the bottom of the cheeks connected by a curved staircase entrance stairs on either side.
Middle room (garbhagrha) is empty, the former may be filled Shiva statue may now kept in the National Museum in Jakarta. Yoni pedestal statue is still there in the room.
Semar Temple. In front of the temple stands a temple Arjuna housed in rectangular measuring 7x3.50 meters, with the door facing east. Like the other temples, temple Semar has legs body and roof. Footwear temple and the temple's base is decorated with lotus frame perbingkaian form (the bell) and frame rate. Doors are decorated with kala-makara, the temple was given the decoration field empty. The roof of the temple is very unique, because it is not layered like Arjuna temple and other temples, but only one layer curving upwards, shaped like a huge lotus. What-shaped finial, is not known because it has been lost.
Semar Temple serves as an ancillary temple, or temple accompaniment. What was placed in the temple room is not clear. If we compare with the temple complex in India, building facing the main building, usually used to place a statue of Nandi, the vahana (vehicle) of Shiva.
Such Perwara temple Semar, in addition to the Dieng also found in the ancient temples of old age old classic, such as the temple Gedongsanga.

 
Figure 2. One group Gedong Songo

In the temples belonging to the old temple Perwara only one. But the temples are younger will increase the amount of ancillary temples, such as those contained in this Sambisari temple, the amount of ancillary temple into three pieces.
 
Figure 3. Sambisari
From sisa2 Dieng temple, according to J. Dumarcay, formerly ancillary temples, temple Semar may be similar, there are also front Sembadra temples, temple Puntadewa and Heroine.

Candi Bima. Dieng plateau in the south, near the hill temple situated Panggonan Bima.
 
Figure 4. Candi Bima
The temple faces east, the plan is almost square with size 4 .. 43 x 4.93 meters, with a building at the entrance to the viewer. Like the temples at Dieng other, Bima temple has three parts of the temple, but the differences are striking, Bima temple roof follows the style of the roof of the North Indian (Aryan style), the layers of the roof is not visible, and the roof is decorated with amalaka (a kind of flat balls) , at the top of the tower corners, and perhaps also the temple top. In addition to the decoration amalaka, Bima temple roof in a series of decorative niches with statues of false figures head as if seen from a window. Niches in India called kudu or gavaksa decorative.

Bima temple has architectural characteristics are very different from temples in Dieng other. Candi Bima influenced by the characteristics of North Indian temple, while the temple 6 (not including the temple Semar) follows the style of South India. But if one looks closely, Dieng temples shows the variation of traits in terms of the structure of the temple and the decoration. This means that the temples were made by some people silpin who acts as the chief architect of the temple (sthapati). Most likely this sthapati had studied the religion in India. From writing bukti2 known that Indonesian people ever studied religion in India. They made hostel in Nalanda (Bengal) and in Nagapatnam (South India) to stay for there.
Religion, both Hinduism and Buddhism, are very closely related to the arts especially the art of building, and the art of sculpture. In India there are several arts centers, for example in Mathura, northern India, Nalanda Buddhist center in the region of Bengal, South India Amarawati and so on. The sthapati in addition to religious education, as well as studying the books of Vastu (Vastusastra), then go to the centers of art in India. Then they make replicas of sacred buildings in accordance with what is described in Vastusastra, to what is seen in the arts and is certainly pusat2 adjusted basis as Javanese culture, then made replicas of the temple to take home as an example to make the temples in Java and may also elsewhere in the archipelago. If they (the silpin who later became sthapati) just brought home a replica of the temple example, then by itself can be understood why until now we have never found Vastusastra in Indonesia.

CLOSING
Old temples found in Java are mostly religious Shiva, among others Dieng temple, Gedongsanga, Gunungwukir, Pringapus and others.
It has been argued earlier, these temples are similar to the face kuil2 India, but that will be very different to be correct, both architecturally and in terms of the placement of statues. Some say the temple is very similar to the Milky Bhitargaon temple is in Cawnpore, Utar Pradesh. However, the equation was limited to decorative flower motif that is also found on the walls of the temple Bhitargaon. Other features can not be compared because it is very different, would not that make the temple Bima Indonesia is the artist? Although the artists are familiar with the rules in the archipelago Vastusastra and have visited arts centers in India, but all that knowledge mixed, processed, with elements of the local culture.

Prof. Hariani Santika

Kesenian indonesia

Kesenian di wilayah indonesia beraneka ragam.tiap tiap daerah memiliki lebih dari satu kesenian yang cukup menarik diantaranya di ponorogo 
terkenal dengan reog ponorogo.

di jawa tengah kuda lumping

.di di jakarta ondel ondel

dan masih banyak yang lainya .mungkin kita belum memahami arti dari kesenian ini.akan tetapi sebagai generasi muda selayaknya kita harus ikut serta dalam menjaga kelestarian kesenian sendiri .inilah modal kita untuk menarik para wisatawan asing atau domestik.

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Karya tulis ilmiah Pengaruh modernisasi terhadap terpinggirkannya tari tradisional dalam perspektif remaja

Karya tulis ilmiah

Pengaruh modernisasi terhadap terpinggirkannya tari tradisional dalam perspektif remaja

 

SMAN 1 PURWAREJA KLAMPOK

Pengaruh Modernisasi Terhadap Terpinggirkannya Tari Tradisional Dalam Perspektif Remaja

Bab 1 pendahuluan

1 .1  Latar belakang

Kebudayaan menjadi ragam warisan Indonesia yang memiliki keanekaragaman kesenian dari berbagai bidang seni. Ragam seni itu sendiri memiliki nilai keindahan dari berbagai bidang kesenian termasuk bidang tari tradisional. Tari tradisional juga memiliki nilai keindahan yang khas dari berbagai gerak-geriknya. Gerak-gerik itu juga memiliki nilai budaya yang indah di mata masyarakat, apalagi dengan iringan yang menarik perhatian dan yang lebih menonjol dengan alunan gendang-gendingnya.

Kita sebagai makhluk budaya, harus lebih mencintai kebudayaan Indonesia. Baik budaya seni modern maupun seni tradisional. Namun, lebih kita ketahui, budaya seni tradisional termasuk seni tari, masih di pandang rendah oleh kalangan remaja. Kalangan remaja lebih menyukai seni-seni modern dari pada seni tradisional. Seiring perkembangan zaman, masyarakat justru lebih berkiblat terhadap seni modern yang berasal dari Korea. Banyak kalangan remaja yang lebih mengidolakan tari-tari asal Korea. Mereka lebih suka memvariasikan tari-tari Korea seperti menirukan gaya-gaya tari Korea, mereka senang mengunduh tari-tarian maupun lagu-lagu asal Korea. Mungkin, memang Negara Korea terkenal dengan seni-seni modernnya salah satunya tari-tarian dancenya yang lebih bergejolak bagi para remaja yang lebih terpesona melihatnya. Hal ini memengaruhi kebudayaan Indonesia menjadi terpinggirkan.

Terpinggirkannya tari tradisional di zaman modern seperti saat ini menimbulkan dampak rendahnya kebudayaan Indonesia. Masyarakat memang berhak mengidolakan atau menyukai berbagai kesenian di Negara manapun. Namun, kita harus lebih memprioritaskan budaya kita, agar bisa lebih terutamakan dan teridolakan budaya kita terhadap Negara lain.

1  .2  Rumusan masalah

Berdasarkan uraian pada latar belakang masalah, penulis merumuskan masalah dalam penelitian ini sebagai berikut.

1.      Bagaimana melatih kesadaran remaja terhadap terpinggirkannya tari tradisional dalam pengaruh modernisasi ?

2.      Dengan cara apakah agar para remaja bisa memandang indah dalam budaya tari tradisional Indonesia dari pada tari internasional ?

1  .3  Tujuan penelitian

Penelitian ini memiliki tujuan sebagai berikut.

1.      Mengetahui pengaruh modernisasi terhadap terpinggirkannya tari tradisional.

2.      Menjelaskan cara agar bisa memandang indah dalam budaya tari tradisional Indonesia dari pada tari internasional.

1  .4  Manfaat penelitian

Penelitian ini diharapkan memberi manfaat bagi:

1.      Kalangan remaja
melalui penelitian ini remaja diharapkan mampu melatih agar bisa lebih mencintai budaya tari tradisional

2.      Peminat budaya
melalui penelitian ini para peminat budaya mampu mengkreasikan budaya untuk menarik minat kaula muda

1 .5  Metode penelitian

Dalam penelitian ini penulis menggunakan metode survei dan kajian literatur

1  .6  Sistematika penulisan

Penelitian ini memiliki sistematika sebagai berikut.

Bab1: pendahuluan yang terdiri atas latar belakang, rumusan masalah, tujuan penelitian, manfaat penelitian, metode penelitian, dan sistematika penulisan.
bab 2: landasan teori
bab 3: pembahasan
bab 4: penutup

Bab 2 landasan teori

2  .1   Pengertian budaya

Budaya atau kebudayaan berasal dari bahasa Sanskerta yaitu buddhayah, yang merupakan bentuk jamak dari buddhi (budi atau akal) diartikan sebagai hal-hal yang berkaitan dengan budi dan akal manusia.

Dalam bahasa Inggris, kebudayaan disebut culture, yang berasal dari kata Latin Colere, yaitu mengolah atau mengerjakan. Bisa diartikan juga sebagai mengolah tanah atau bertani. Kata culture juga kadang diterjemahkan sebagai "kultur" dalam bahasa Indonesia.

Budaya adalah suatu cara hidup yang berkembang dan dimiliki bersama oleh sebuah kelompok orang dan diwariskan dari generasi ke generasi.^[1] Budaya terbentuk dari banyak unsur yang rumit, termasuk sistem agama dan politik, adat istiadat, bahasa, perkakas, pakaian, bangunan, dan karya seni.^[1] Bahasa, sebagaimana juga budaya, merupakan bagian tak terpisahkan dari diri manusia sehingga banyak orang cenderung menganggapnya diwariskan secara genetis.

2 .2   Pengertian seni

Seni pada mulanya adalah proses dari manusia, dan oleh karena itu merupakan sinonim dari ilmu. Dewasa ini, seni bisa dilihat dalam intisari ekspresi dari kreatifitas manusia. Seni sangat sulit untuk dijelaskan dan juga sulit dinilai, bahwa masing-masing individu artis memilih sendiri peraturan dan parameter yang menuntunnya atau kerjanya, masih bisa dikatakan bahwa seni adalah proses dan produk dari memilih medium, dan suatu set peraturan untuk penggunaan medium itu, dan suatu set nilai-nilai yang menentukan apa yang pantas dikirimkan dengan ekspresi lewat medium itu, untuk menyampaikan baik kepercayaan, gagasan, sensasi, atau perasaan dengan cara seefektif mungkin untuk medium itu.

adapun beberapa teori seni rupa menurut beberapa tokoh :
1. Ki. Hadjar Dewantara
   Seni adalah segala perbuatan manusia yang timbul dan bersifat indah, menyenangkan dan dapat menggerakan jiwa manusia,

2. Herbert Read
   Aktivitas menciptakan bentuk-bentuk yang menyenangkan,

3. Ahdiat Karta Miharja
Kegiatan rohani yang merefleksi pada jasmani, dan mempunyai daya yang bisa membangkitkan perasaan/jiwa orang lain.

2  .3   Pengertian tari

Unsur utama yang paling pokok dalam tari adalah gerak tubuh manusia yang sama sekali lepas dari unsur ruang, dan waktu, dan tenaga.

Tari adalah keindahan ekspresi jiwa manusia yang diungkapkan berbentuk gerak tubuh yang diperhalus melalui estetika.

Haukin menyatakan bahwa tari adalah ekspresi jiwa manusia yang diubah oleh imajinasi dan diberi bentuk melalui media gerak sehingga menjadi bentuk  gerak yang simbolis dan sebagai ungkapan si pencipta (Haukins: 1990, 2). Di sisi lain ditambahkan oleh La Mery bahwa ekspresi yang berbentuk simbolis dalam wujud yang lebih tinggi harus diinternalisasikan.Untuk menjadi bentuk yang nyata maka Suryo mengedepankan tentang tari dalam ekspresi subyektif yang diberi bentuk obyektif (Meri:1987, 12). Dalam upaya merefleksikan tari kedua tokoh sejalan.

2  .4   Pengertian dasar tari

Media tari adalah gerak tubuh manusia. Melalui gerak tubuh manusia dipakai untuk mengungkapkan ide-ide, perasaan, dan pengalaman sang seniman kepada orang lain.
Ciri khas gerak tari adalah gerak yang sudah diolah dari aspek tenaga, ruang, dan waktu.
Ada dua jenis tari, yakni tari tradisional dan tari non-tradisional. Hal yang termasuk tari tradisional Indonesia adalah tari primitif, tari rakyat, dan tari klasik. Ketiga jenis tari ini tujuan upacara, hiburan, dan tontonan Sedangkan yang termasuk dalam jenis tari non-tradisional adalah tari kreasi baru, tari modern, dan tari kontemporer. Ciri khas tari kreasi baru adalah tari tradisional yang diperbaharui. Ciri khas tari modern dan tari kontemporer adalah penemuan baru dalam hal tema, bentuk, dan penyajian tari.
Wujud tari modern dan tari kontemporer Indonesia biasanya merupakan gabungan dari unsur-unsur budaya setempat dengan unsur budaya dunia. Ada pula yang sepenuhnya menampilkan unsur budaya dunia. Ciri khas tari kontemporer Indonesia adalah menyajikan tema, bentuk yang sedang terkenal, sedang menjadi sorotan saat ini. Jika tari kontemporer cirinya menyajikan tema dan bentuk yang sedang terkenal, sedang menjadi sorotan saat ini, namun tari modern belum tentu menyajikan tema dan bentuk yang sedang terkenal saat ini.

 .5         Fungsi Tari

Peranan seni tari untuk dapat memenuhi kebutuhan manusia adalah dengan melalui stimulan individu, social dan komunikasi.

Oleh karena itu tari dapat berperan sebagai pemujaan, sarana komunikasi, dan pernyataan batin manusia dalam kaitannya dengan ekspresi kehendak. Secara garis besar fungsi tari ada 4 antara lain :

1. tari sebagai upacara

fungsi tari sebagai sarana upacara merupakan bagian dari tradisi yang ada dalam suatu kehidupan masyarakat yang sifatnya turun temurun dari generasi ke generasi berikutnya sampai masa kini yang berfungsi sebagai ritual.

2. tari sebagai sarana hiburan

salah satu bentuk penciptaan tari ditujukan hanya untuk di tonton. Tari ini memiliki tujuan hiburan pribadi lebih mementingkan kenikmatan dalam menarikan

3. tari sebagai sarana pertunjukkan

tari pertunjukkan adalah bentuk momunikasi sehingga ada penyampai pesan dan penerima pesan. Tari ini lebih mementingkan bentuk estetika dari pada tujuannya. Tarian ini lebih digarap sesuai dengan kebutuhan masyarakat setempat

4. tari sebagai sarana pendidikan

tari yang digunakan untuk sarana pendidikan dengan mengajarkan di sekolah – sekolah formal.

2  .6   Pengertian bakat

Bakat (aptitude) adalah kemampuan bawaan yang merupakan potensi yang masih perlu dikembangkan atau dilatih untuk mencapai suatu kecakapan, pengetahuan dan keterampilan khusus, misalnya kemampuan berbahasa, bermain musik, melukis, dan lain-lain.

Bakat dan kecerdasan merupakan anugerah tuhan yang maha esa yang dimiliki manusia yang apabila di kembangkan akan menjadi sebuah keistimewaan yang sangat bermanfaat bagi kehidupannya. biasanya anak yang cerdas dan berbakat memiliki kemampuan yang berbeda dengan yang lain. Dan ada beberapa bidang yang dapat dikategorikan menjadi sebuah kecerdasan dan keberbakatan misalnya saja Bakat Seni dan Olahraga.

Dalam Bakat Seni (Gifted art) terdapat 3 Kategori yaitu seni music, seni tari dan seni rupa, dan memilki kemampuan seperti Musikalitas           ( kepekaan, pengetahuan, bakat atau seorang ahli musik ), Artistik Obilities  (mampu menciptakan sesuatu buruk menjadi indah ), Practical Intelligence (kemampuan individu dalam menyesuaiakan diri dengan lingkungannya ). Social Competence: keterampilan melibatkan responsif, contohnya : Fleksibelitas, empati, peduli, kemampuan komunikasi dan rasa humor.

Karakteristik CI + BI Seni Tari yaitu Mampu menyelesaikan tarian secara terfokus dan penuh percaya diri, mampu mengerakkan tubuh sesuai irama music, menunjukkan kekuatan (power), fleksibilitas, keseimbangan, pengendalian tubuh dan yang terpenting mampu mengomunikasikan gagasan dan rasa melalui gerak sehingga dapat memberikan keindahan bagi yang melihatnya. Sedangkan dKarakteristik dalam bidang Seni Tari yaitu berminat pada seni rupa sejak usia dini melalui bentuk gambar, objek benda atau instalasi, menggunakan gambar sebagai target hiburan dna biasanya dalam mencari ide mereka lebih suka menyendiri, dan menggunakan ingatan visual dan kinestetik dalam membuat gambar.