History shows that the nations of India,
Arabic, Chinese, and Western (European plains) have an effect on
the growth of cultural arts, especially the art of dance in
Indonesia. Touch and creative ideas of the artists of this nation
very influential on the culture of other nations so it is not
again visible foreign cultural traits.
fingers ngruji hand, nyempurit, and ngiting on
Javanese dance (Yogyakarta and Solo style) is an influence
attitude of Indian understanding. All three contain meaning
different in the Indian Dance art book, the Natya Sastra works
Baratha Muni.
This influence is in line with the process of cultural development
become dissolved in the culture of the local community. As
small samples, the intermingling and dissolution of cultures among nations
different in your traditional dance arts, is in shape
dance moves that resemble each other, but with
different names. In Yogyakarta style dance, motion like
ngruji used for the form of hand motion as well
used for one of Balinese dance movement. The shape of motion that is
same term used ngruyung for Solo style, and in Sunda
used the term nanggre.
The term mudra pataka or ngruji, or ngruyung on
Indian teachings derived from Natya Sastra, contain
meaning as follows:
- Forest
- river or sea
- horses
- night time
- full moon
- rainy day
- sunlight
- month or year
In general, the use of this mudra hand attitude meng-
prioritize the aesthetic aspect rather than symbolically expression.
In other words, although the shape of motion is equal to
symbol of Hindu teachings in India, the movement is not done
contains a certain meaning for you. Movement is used and
placed in choreography on the grounds just because
the shape is considered beautiful.
After passing through the phase of feudalism, socio-economic conditions
in Indonesia improved, the development of traditional dance art
got an 'improved' place anyway. Society no longer
hesitate to creativity pouring ideas and works that
innovative, having been shackled by social status
assume that the native (inlander) is stupid. Previous,
dance is only for the nobility and the people
colonial officials, as a satisfying entertainment
they. At a time when the nation is detached from colonialism, the art world
Traditional dance spread like mushrooms in spring, every region
has dance studios filled with enthusiasts.
Twenty-even hundreds of dances-in every region
studied, introduced, and entered into as officials
entertainment or dance offerings. This gives rise to passion
for choreographers to further increase the wealth of art
Indonesian dance. They organize dance festivals
regions, as well as dance courses for all walks of life.