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			<h2>BEDHAYA</h2>		
		<p>Bedhaya is a ceremonial, religious and sacred dance which have always put forward the harmony of Wiraga, Wiratma, and Wiratma, of gestures, rhythms, and feelings.</p>		
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			<h2>Mahatari</h2>		
			<h2>BEDHAYA</h2>		
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								Javanese dance and Yogyakarta and Surakarta 
											
				
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															<p>Tari Jawa, gagrak Yogyakarta dan Surakarta selalu mengutamakan harmonisasi Wiraga, Wirama, Wirasa antara gerak tubuh, irama dan rasa.</p><p>Musik Karawitan pengiringnya selalu menyelaraskan nada dengan kandungan filosofi syairnya dan Gendang sebagai penentu iramanya.</p><p> </p><p><em>Javanese dance and Yogyakarta and Surakarta gagrak have always put forward the harmony of Wiraga, Wiratma, and Wiratma, of gestures, rhythms, and feelings. </em></p><p><em>The accompanying karawitan music always harmonizes its melody with the philosophical meaning of the lyrics and the gendang (trans. gong) as the beat. </em></p>
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								Who created Bedhaya? 
											
				
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															<p>Siapakah pencipta Bedhaya?</p><p>Menurut tradisi Bedhaya awalnya adalah tarian Candi yang bernama Lenggotbawa dan diciptakan oleh Bethara Wisnu dengan music pengiring bernama Lokananta</p><p>Perkembangan selanjutnya tidak lagi ditarikan di pelataran candi untuk pemujaan para dewa tetapi di pendopo istana untuk upacara penghormatan bagi Raja yang bertahta dengan musik pengiring bernama Gamelan</p><p> </p><p><em>Who created Bedhaya? </em></p><p><em>According to tradition, Bedhaya was a temple dance called Lenggotbawa created by Bethara Wisnu with an accompanying music called Lokananta. </em></p><p><em>Over time, Bedhaya is no longer danced in temples to worship the gods, but in palace gazebo to pay respect to the reigning king, accompanied by gamelan music. </em></p>
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								Matahari Bedhaya then became a heritage dance
											
				
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															<p>Mahatari Bedhaya menjadi tari pusaka karena hanya ditarikan setahun sekali untuk upacara tingalan dalem jumenengan dan memiliki komposisi music, tari dan suasana yang khas seperti suara rebab yang digesek mengiringi para penari keluar dari dalam menuju pendopo</p><p>Dengan pandangan mata penuh khidmat dan sikap yang agung setibanya dihadapan raja yang duduk di singgasana mereka duduk bersila dan melakukan sila sembahan</p><p>Bedhaya adalah tarian yang erat hubungannya dengan upacara, sakral dan religious</p><p> </p><p><em>Matahari Bedhaya then became a heritage dance because it is performed only once every year for the tingalan dalem jumenengan ceremony. It is composed of unique combination of music, dance, and atmosphere, such as one created by the strumming of rebab that follows the dancers’ footsteps towards the gazebo.</em></p><p><em>With solemn gaze and graceful movement, once they arrive in front of the king on the throne, they sit cross-legged and perform sila sembahan. </em></p><p><em>Bedhaya is a ceremonial, religious, sacred dance. </em></p>
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								Bedhaya is a heritage dance of Javanese royal palaces
											
				
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															<p>Bedhaya adalah tari pusaka yang dimiliki istana kerajaan di Jawa. Setiap istana memiliki keindahan dan kemegahannya sendiri, seperti Bedhaya Ketawang dari Kraton Kasunanan Surakarta Hadiningrat; Bedhaya Semang dari Kraton Kasultanan Ngayogyakarta Hadiningrat; Bedhaya Anglir Mendung dari Puro Mangkunegaran, Surakarta dan Bedhaya Angron Akung dari Puro Pakualaman, Yogyakarta.</p><p> </p><p><em>Bedhaya is a heritage dance of Javanese royal palaces. Each royal palace has its own aesthetics and grandeur, such as Bedhaya Ketawang from Kraton Kasunanan Surakarta Hadiningrat; Bedhaya Semang from Kraton Kasultanan Ngayogyakarta Hadiningrat, Bedhaya Anglir Mendung from Puro Mangkunegaran Surakarta, and Bedhaya Angron Akung from Puro Pakualaman Yogyakarta. </em></p><p> </p><p>Sebelum jaman modern. Tari Bedhaya punya fungsi yang sangat khas dalam kebudayaan. Menurut thesis Raffles dalam buku History of Java, Sejarah Jawa, para penari Bedhoyo dulu merupakan selir. Dalam Wrido Pradonggo agaknya bahwa setiap bupati atau abdi dalem dari kerajaan menyerahkan anak puteri atau cucu puteri dan putri itu menjadi sembilan penari yaitu penari Bedhaya. Ini satu usaha untuk solidaritas di kerajaan</p><p>Di Wrido Pradonggo disebut bahwa sembilan pimpinan seolah-olah menjadi sembilan saka dari rumah dan tiap-tiap tarian Bedhaya mengingatkan kembali atas jasa sembilan pimpinan tersebut. Bedhaya itu pusaka, apalagi teks yang dinyanyikan oleh pesinden yang penuh dengan symbol.</p><p> </p><p><em>Before the modern era, Bedhaya dance had a specific function in culture. According to Raffles in his book History of Jaca, Bedhaya dancers used to be concubines. In Wrido Pradonggo, it appears that every regent or abdi dalem from each kingdom/sultanate would present their daughter or granddaughter to be part of the nine Bedhaya dancers as an act of solidarity in the kingdom. </em></p><p><em>It was mentioned in Wrido Pradonggo that the nine leaders represented the nine pillars of the kingdom, and each Bedhaya dance was a reminder of their merit. Bedhaya is a heritage, symbolic through the lyrics sung by the pesinden (trans. singer). </em></p>
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								Bedhaya Angron Akung is an excerpt from a romance story 
											
				
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															<p>Sebagai salah satu pusat pelestarian dan pengembangan budaya Jawa, Kadipaten Pakualaman Yogyakarta memegang peranan penting untuk selalu menggali dan memperkenalkannya kepada masyarakat luas, antara lain melalui tari. Salah satu tari atau beksan yang ditampilkan disini adalah beksan Bedhaya Angron Akung. Dilihat dari judul tarinya, Angron Akung terdiri atas dua kata, yaitu Angron berdaun dan Kung, asmara. Dimaknai sebagai indahnya rasa kasih yang tumbuh bagai suburnya daun yang terus bertunas.</p><p>Bedhaya Angron Akung, salah satu nukilan yang bersumber dari kisah Panji menceritakan tentang kuatnya jalinan kasih antara Panji Inu Kertapati dengan Dewi Sekartaji. Meskipun ia dipisahkan akhirnya bersatu berkat kekuatan kasih, kesetiaan dan percaya akan kemurahan Tuhan, seperti yang tertulis didalam teks pengiring beksan Angron Akung yang berbunyi (Javanese Text)</p><p>yang artinya bahwa atas kehendak Kanjeng Gusti Pangeran Adipati Aryo Paku Alam Kedelapan dicipta tari bedhaya putri yang merupakan revitalisasi lelangen dalem Paku Alam yang terdahulu yang lalu disambung dengan pernyataan bahwa lelangen beksan ini sebagai pelipur hati. Pada saat Jumemeng Dalem Kanjeng Gusti Paku Alam Kesepuluh, Bedhaya Angron Akung ditampilkan dengan harapan kehidupan di lingkup kadipaten Paku Alaman bahagia, sejahtera berkat cinta kasih, ketulusan, dan keteguhan hati seperti yang tertera pada kisah yang diekspresikan dalam Bedhaya Angron Akung</p><p> </p><p><em>As one of the cultural preservation and development centres in Java, Kadipaten Pakualaman Yogyakarta has an important role to research and introduce heritage and culture to the wider public, and one of the ways is through dance. One of the dances or beksan presented here is Bedhaya Angron Akung beksan. From its title Angron Akung, it consists of two words, the former meaning leafy and the latter meaning romance. It means a beautiful romance blossoming like the evergreen leaf. </em></p><p><em>Bedhaya Angron Akung is an excerpt from a romance story between Panji Inu Kertapati and Swi Sekartaji. The two lovers were separated, but later re-united through their mutual love, loyalty, and trust in the Almighty, as was written in beksan Angron Akung’s accompanying text: (Javanese text), which reads, “by the grace of the eighth Kanjeng Gusti Pangeran Adipati Aryo Paku Alam, the bedhaya putri dance was created to revitalize the previous lelangen dalem Paku Alam,” and then it continues to read that this lelangen beksan was for a consolation. During the tenth Jumemeng Dalem Kanjeng Gusti Paku Alam, Bedhaya Angron Akung was performed with the hope that life within kadipaten Paku Alaman to be blithe and prosperous through the power of love, sincerity, and determination as was told in the story of Bedhaya Angron Akung</em>. </p>
			<h2>.:: BEDHAYA ::.</h2>		
		<p><strong>Kostum</strong></p><p>Tata Rias dan Busana Bedhaya Angronakung menggunakan Paes Ageng gaya Yogyakarta</p><p><strong><em>Costume</em></strong></p><p><em>Bedhaya Angro Akung’s makeup and costume are using Yogyakarta-style Paes Ageng. </em></p><p><strong>Ragam Gerak</strong></p><p>Urutan Mahatari Bedhaya</p><p>Posisi badan tegak, pandangan lurus kedepan, kedua tangan lurus disamping badan, tangan kiri memegang seredan, kedua kaki melangkah bergantian</p><p><strong><em>Movements</em></strong></p><p><em>Matahari Bedhaya sequence</em></p><p><em>Stand up straight, forward-facing gaze, both hands straight next to the body, left hand holding seredan, and two feet walking forward. </em></p>		
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		<p><strong>Para penari saat memasuki bangsal sewatama</strong></p><p>Para penari sudah menempatkan diri sesuai posisinya dengan duduk bersila kedua tangan diletakkan tertelungkup diatas lutut (tangan kanan diatas tangan kiri) Pada posisi ini dibacakan Kandha</p><p>Dalam duduk bersila para penari melakukan sembahan yang mengandung arti memohon diberikan keselamatan kepada Tuhan yang Maha Esa dan memberikan penghormatan kepada penguasa yang sedang bertahta</p><p> </p><p><strong><em>Dancers entering Bangsal Sewatama </em></strong><em><br /></em></p><p><em>The dancers have positioned themselves, sitting cross-legged with both hands (right hand over left hand) above the knees. Kandha is read in this position. While sitting cross-legged, the dancers perform prayers to God Almighty wishing for safety and pay respect to the reigning leader. </em></p>		
			<h2>.:: GALLERY ::.</h2>		
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			<h2>.:: VIDEO BEDHAYA ::.</h2>		
		https://youtu.be/jwLBxSodTnc