Tayub, Mystical Dimensions of Women's Java 0

Tayub or tayuban is typical Javanese traditional arts, especially in Central Java and East Java. Tayub is a term used by the Javanese in the art of dance. Art is very popular among the Java community because it looks attractive, dynamic, aesthetic and expressive. Tayub Dance is the art of dance that makes women as the dominant element. By using the typical dress of the Javanese past, such as the use jarit (long cloth for clothing subordinate) and the bound dileher scarves, the women danced with dancers tayub so gracefully and took dancing to entertain the audience. The audiences here are mostly men.
Joget invitation from the woman dancer is symbolized by the laying Tayub scarf at the neck male audience. The men who had been tied by the neck seledang can not say no to the dancer. For his services, then the dancers will get the money tayub / Sawer. The more Sawer is given, then the longer the dancer Tayub berjogetnya. They continue to dance to the accompaniment of one unit of Javanese gamelan music of percussion, kenong, kempol, suwukan gongs, trumpets, drums and angklung. In addition, the dancers Tayub usually also hummed songs or poems that contain Java as couplets wise counsels, are like the advice to foster home as well.

            History records, art Tayub first appeared among the people Blora, Central Java. Art is a public entertainment event Blora which incidentally are mostly farmers. The farmers who tend to have traditional patterns of life and thought, in this context is more fond of local arts-traditional than modern urban art. However, whether tayub art is the result of folk art? This question, at least we will deliver on the theory initiated by Clifford Geertz.
If we follow the social category that was initiated by Clifford Geertz in his book "The Religion Of Java", then this art can be classified as art belongs to the gentry. Priyayis here are those who have a family lineage of the noble courts of central Java, Yogyakarta and Surakarta namely kesunanan. It was no secret when the arts are considered sufficiently representative to represent the Java community as a whole is art produced by the palace. Meanwhile, the art is born from the womb of the alit, small people are not sufficiently representative so that their art is more often marginalized. That is, art produced by a small people often do not get recognition, especially from the palace.
In line with the thought above, more Kuntowijoyo interpret art is born from the womb of the gentry as a legitimation for the power of the palace. In this context, the author's interpretation, the arts can be classified into two forms. First, the arts that have a pattern. In this category, art is born from the womb priyayis more patterned and structured than the artistry of the alit. Second, art is not patterned. In this context, folk art was deemed not to have a clear pattern. This is reflected in the language and symbols used by the alit far from strict cultural palace. Regardless of whether the arts Tayub also a concrete manifestation of the legitimacy of the nobility, Tayub still was a decent aesthetic art that is claimed to be art in the context of Java. Because the reality of this art has become the prima donna among the people of Java, especially for the periphery.
Nevertheless, the unfortunate was the emergence of negative stereotypes of the majority of Indonesian people who are always attached to this art genre, Tayub. Art that makes the elements of women as the dominant element is still regarded as a defect for the social structure of Indonesian society that its culture is very strong patriarch. In this context, women in patriarchal society has always placed in an inferior place, while the men in a more superior.
Negative stereotypes is what makes art Tayub increasingly marginalized in Javanese society today. If not, the essence of art Tayub has faded, missing buffeted by the current era. In other words, art that initially serves as a nuanced art of aesthetic entertainment with valuable cultural values ​​have been converted to erotic art which only serves as a mere gratification of lust. With certain sides of the highlight, for example, sensitive side in women, such as "sorry" part chest on a woman who is rather open. So, we-had often seen this dance no longer displays the essence. Poems that initially contains wise advice turned into songs that negative connotation.
In fact, the study of etymology, Tayub meaningful "ben arranged friendly", is set to create harmony. This is the essence of the meaning of art to be displayed Tayub. However, a bad image or the negative stereotypes that have been attached to Tayub as ingrained in the joint lives of the people of Indonesia. Tayub to the public, only viewed from the negative side, it becomes a nasty art, low-quality and erotic tendencies. This reality is increasingly cornering Tayub art, so that the stamp art in the form of art Tayub actors, dancers namely Tayub (ledhek) and gamelan is an art that is not artful.
Mystical Dimensions

            In general, there are many nuances of Javanese mystical arts, one of which is Tayub. That said, the women dancers Tayub using medium or mystical ways, such as the use of implants as a means of appeal in attracting the audience or spectators. Moreover, the audience it is the men in. Whether true or not, yet in reality, in art Tayub did hold a mystical dimension. This mystical dimension lies in the unit that is used as a Javanese gamelan music accompaniment Tayub dance. In Javanese society, the creation and maintenance unit of gamelan has always been a sacred ritual. For example, the dimensions of this mystical tradition has been represented by Sekaten in the palace of Yogyakarta. In upara Sekaten, two sets of gamelan (Kanjeng Kyai Nagawilaga and Kanjeng Kyai Guntur Madu) became a symbol of the implementation of the sacred ceremony.

            Tayub mystical dimension in art, in the end deliver us to an understanding that art is more accurately described as folk art rather than art palace. Magical and mystical symbols that exist in this art are the hallmark of abangan culture, namely the culture of rural communities is not strong religiosity. Such understanding, implicitly means that this art is not acceptable and thrive in the wider community. That is, art can only be grown in a limited locus. However, this does not mean that art is not worth mentioning as an artistic entity. Because, however, according to Kuntowijoyo, the so-called work of art is born of tradition or a particular group.
Meanwhile, Ignas Kleden defines art as a work of art that contain elements of entertainment and full of values ​​and norms in society. So, when referring to thinking Ignas, provided that this art is still maintaining its essence is attached to the Javanese values ​​and norms, of course Tayub be claimed as a very worthy art.
In addition, Tayub also can be said as an art form of resistance Javanese women. At least, through the arts Tayub, the dancers could Tayub moment apart from the snare of the social culture of the patriarch in the Java community. With the receipt of wages, female dancers Tayub incarnated as a person who is more independent than women in general Java is just asking for money from him (her husband). Not only that, Tayub also can become a means to socialize with each other in the community. The closeness of the dancers with the audience has eliminated the gap. They seemed bound in an artistic emotion. So, the question is, whether the range of these values ​​can still survive? Perhaps the only trip time that can answer it. Nevertheless, we must still strive to maintain and preserve the art of dance Tayub as one of the nation's cultural treasures.