Bedhoyo Ketawang remain displayed during the reign of Sri Paku Susuhunan Buwana to-XII (now), it's just been a shift of philosophy. Major Bedhoyo Ketawang now been amended on various aspects, even though the show order form still refers to the ritual traditions of the past. But its value has shifted into a cultural heritage that is considered worthy of artistic value to be preserved. Dance Clothing Bedhoyo Ketawang use Dodot Ageng with motives Banguntulak reason why that makes the dancers feel graceful.
Gamelan music is very special accompanying gamelan "Kyai Kaduk Manis" and "Sweet Kyai Renggo". Instruments gamelan instrument that is played just a few namely Kemanak, Kethuk, Kenong, kendhang Ageng, kendhang Ketipung and Gong Ageng. Instrument-specific instrument considered in addition to also exist that have a sacred name. Two Kendang Ageng Kanjeng named Kyai Kyai Kanjeng Denok and Alexander, two of fiddle Kanjeng named Kyai Kyai Kanjeng Grantang and consolation as well as a multi Gong ageng named Kanjeng Nyai Kemitir. Performing Bedhoyo Ketawang during Susuhunan Sri Paku Buwana XII is now held on the second day of the month of Sha'ban in Calendar Ruwah or Java.
Bedhaya Ketawang can be classified in a dance that contains elements and the meaning and nature of which is closely connected with: (1) Traditional Ceremony (ceremony), (2) Sacred (3) Religious (4) dance dance Romance or Marriage.
Bedhaya Ketawang definitely not a dance that for sheer spectacle, because only danced for something special and in a very formal atmosphere. The whole atmosphere became very holy, because this dance is only related dipergelarkan associated with the anniversary of the throne of the kingdom alone. So this dance only once a year dipergelarkannya During the dance lasts no dish out, also tidakdibenarkan people smoke. Food, beverages or smoking will be considered only way to reduce the solemnity of this sacred ceremony.
Ketawang Bedhaya is viewed as a dance queen all being fine creation. Even in believing that every time Bedhaya Ketawang danced, the creator is always present is always present as well and even danced. Not everyone can see it, only to those who are sensitive indrawinya only the creator can dilihat.Konon in exercises conducted, serig also the creator of this visible straighten oneself out-fix mistakes made by the dancers. When the eyes of ordinary people do not see it, then sometimes the dancer in question just who feel his presence. There are allegations, that originally Bedhaya Ketawang it is a dance in the temples.
2. Religious religious aspect can be ascertained from the words sung by suarawatinya. Among other things there that reads: ... tanu agni astra kadya urube, kantar-kantar ... yen die ngendi surupe, clerics? "(... ... If the dead where the goal, Kyai?).
3. Dance Dance Romance or Marriage
Dance Bedhaya Ketawang symbolizes the outpouring of love romance Kangjeng Queen to Sinuhun Sultan Agung. Everything was painted in hand gestures and all parts of the body, how to hold sondher and so forth. Nevertheless spark any symbol has been made so fine, up to lay eyes sometimes be difficult to understand. The only thing that is clear and easy allegations about a relationship with a marriage is, that all the dancers makeup as usual temanten / bride to be reunited. About the words contained in the song that accompanies the dance, showing a picture outpouring of love Kangjeng Queen, seduce and caress. When reviewed as well as perceived, viewers who understand the words, will be easy to evoke feelings of lust. The original performance lasted for 2 1 / 2 hour. But since time X held Sinuhun Paku Buwana reduction, until it became only 1 1 / 2 hour saja.Bagi those who are directly or indirectly involved in this holy activity that applies a special obligation. The day before the dance danced family members Sinuhun cleanse themselves, and unseen. This regulation in the days before was still adhered to correctly. Although considered very burdensome and meyusahkan, but thanks to the awareness and observance and devotion to the holy majesty Ketawang Bedhaya it, all rules are implemented also with a sense of genuine and sincere. What is important is that for them this is a work Bedhaya Ketawang a sacred heritage. To this they all comply with any regulations applicable procedures.
For the dancers there are more stringent regulation again, because the manner of a trusted, they will be directly related to the Queen of South. They therefore also always be in a pure state, both in times of exercise and in the pergelarannya.Sebagai has been presented in front, queen of the South Kangjeng presence can be felt only by those directly touched or held, if the correct way of dancing is still lacking. Therefore, at each exercise that was held on the days Anggarakasih (Tuesday Kliwon), each dancer and all gamelan players and must always be in a state suarawatinya suci.Persiapan preparation for a performance-Bedhaya Ketawang to do your best, with very careful . If there is felt to face obstacles monthly, better not to register first. In addition to a number of dancers are available, the necessary backup dancers. Therefore it was deemed more prudent to choose dancers who are old enough soul, so kekhusukan and perseverance dance can be more assured. Altogether this will add grandeur atmosphere later performances.
Who is the Creator Bedhoyo Ketawang?
This question arises, because people started thinking, why Bedhaya Ketawang was considered so sacred. According to tradition, considered a masterpiece Ketawang Bedhaya Kangjeng Kidul Kencanasari queen, who was Queen spirits throughout the island of Java. The royal palace at the bottom of the ocean. Central region is Mancingan, Parangtritis, in the Yogyakarta area.
But according R.T. Warsadiningrat (court employees Kraton Solo musician), Queen of South Kangjeng actually just added two more dancers, so that nine people, then the dancers are dedicated to the King Mataram.Menurutnya initial creator actually is Bathara Teacher, in the year 167 AD Originally drafted an entourage, consisting of seven angels, for the dance called "Lenggotbawa". Gamelan accompaniment initially only five kinds; barreled pelog, pathet five, and comprising:
1. gising - kemanak 2, the barrel of a small Jangga / sweet penunggul;
2. kala - kendhang
3. thought - gong
4. pamucuk - kethuk
5. sauran - kenong.
If so, then it Bedhaya Ketawang Siwaistis nature and age Bedhaya Ketawang very old, older than the Queen Kangjeng Kidul.Bahkan by GPH Kusumadiningrat, creator of "lenggotbawa" is Bathara Vishnu, When sitting on Balekambang. Seven beautiful jewel-beautiful have diciptanya and changed his form into seven beautiful angel, who then danced around Bathara Vishnu by turning to the right direction. Seeing this the Bathara very happy heart. Because god is considered inappropriate to turn to the right and left, then the eye diciptanyalah lot number, its location is spread all over his body.
According Sinuhun Paku Buwana X, Bedhaya Ketawang describe the symbol of love lust Kangjeng Panembahan Queen of South at Senapati. Any motion depicts gentle persuasion and flattery lust, though always be avoided by Sunuhun.bahkan Queen of South and then pleaded, for Sinuhun go with him settling in oceans and bersinggasana in Sakadhomas Bale Kencana, (Throne by King Ramawijaya deposited on the ocean floor.)
However Sinuhun not want to obey the will of Kangjeng Queen of South, because they still want to achieve "sangkan paran". Then once he was willing to marry Kangjeng Queen of South, konsewensinya hereditary. descendants who reigns on the island of Java will be bound by a promise by Kangjeng Queen of South at the time of the inauguration of the increase throne.
Queen of South Kangjeng himself who asked to come on the mainland to teach dance Bedhaya Ketawang on Sinuhun favorite dancers. And this then is executed. These dance lessons are given every day Anggarakasih, and for this purpose Kangjeng Queen of the South are expected to attend.
Gendhing who used to accompany Beghaya Ketawang called Ketawang Gedhe. Gendhing can not be used as gendhing to klenengan, because the official was not gendhing, but including Gamelan iringannya Gerong song, as has been described before, consists of five different types: kethuk, kenong, kendhang, gongs and kemanak. In this case obviously audible sound is kemanaknya. The dance is accompanied divided into three scenes (round). Surprisingly, in the midst of all the dances barrel switch to slendro briefly (up to two times), then back again into the barrel pelog, until the end. In part (round) accompanied sindhen Durma first, then switch to Retnamulya. At the time of his way to accompany dancers in and out again into Dalem Prabasuyasa Ageng gamelan instrument plus the fiddle, xylophone and flute gender. This is all done to increase the atmosphere of harmony. During the dance done at all is not used keprak. The exit of dancers from Dalem Ageng Prabasuyasa headed Pendapa Ageng Sasanasewaka, with walking sequence one after another. They circled Sinuhun who sits on the throne (dhampar). Similarly, his way back inside. What is different with others dance prevalence, the dancers are always circling Sinuhun Bedhaya Ketawang, while he was sitting right next to them (his "right" right). On the dance Bedhaya or serimpi usual, the dancers in and out of the right Sinuhun, and back through the same road.