Blencong. round tube filled with coconut oil, on the side of the existing perforated pipe where the inclusion of benag axis, as a means of illumination (sort of, a lamp), which hung in the middle of the veil, just above the head dhalang the puppet show.Bokongan. Imitation of the buttocks in order pantatnta look big. Clothing is usually worn for the role of men in the puppet or how to put on equal dhandhan.Guarantor. material makeup or makeup on the wayang wong dance-colored or yellow. Cream is often also called scrubs, its function is usually to give color to the entire body so that it becomes yellow. According to tradition the dancers must have a yellow skin color.Pufferfish. section or wayang wong dance clothing made from paper that ermacam-range color. Pieces of folded paper as a way, so after a tied and strung together a round-shape into small round, which is approximately 70-10 cm in diameter. The series of papers were arranged elongated roundabout approximately up to 2 meters. According to tradition, bloated as the completeness of the bride Javanese traditional clothes that originally made from leaves. Pufferfish derived from the word meaning bontel variety of colors.Oxtail. Artificial tail for the role of an ape. how to wear a belt worn on the back like a tail, the tip is connected to the Irah-irahan. Danger to Yogyakarta style made from cotton that is inserted in the fabric so that the rounded shape and length of approximately 1.50 m.Tail lizards. places to hold kemanak long and shaped like the tail on the curved edges.Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.Cawi. sunggingan shape and inlay on the skin for dance clothes shaped like tiny lines bentukl needle.Kohl. part of the eyelids which were black, so that more eyes look big or sharp.Pants banner. Dance pants length approximately to below the knee.Celuk. Introductions with a vowel, usually using the first verse or the last verse of one song (see song).Cemehi Samandiman. Whips carried by Wirayuda in dance Waterford Jathilan or horse shows.Mobile. Kothak bat on the puppet show. Mobile is made of wood shaped like a stupa with a diameter of about 10 cm and length 15 cm. In Yogyakarta, mobile made of brass or bronze that looks smaller, used as a hitter kepyak with dijapit toes.Ceplik. Often also called borokan, is thothok ornament consisting of a pair on the right and left.Cindhen. Motives and pants sampur pennants and other parts of Yogyakarta style dance costumes are basic colored red, blue, green, yellow.Congoran. Often called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others were dressing. Congoran Yogyakarta style used in Langenmandra Vanara.Corekan. Make-up after the front of the given base, yaiu mustache, eyebrows, godhek and others.Cundhuk teeter. Jewelry (see cundhuk mentul) that serves as cundhuk that looks like a comb or a teeter. Jewelry is usually made of gold or imitation gold.Cundhuk Mentul. Jewelry is usually for a princess. This jewelry as cundhuk like flower shape that moves like a pear or a Java language-mentul mentul. This ornate jewelry worn on the bun, the material is made of gold or imitation gold.Dhadhan. Dance as part of artificial dhadha seupaya look big. This section is used for roles that wear clothes, especially the role and the giant ape. Dhadhan is made of cotton wrapped in a cloth, or with woven from rattan which is formed in such a way. How to use it given the strap and worn around the neck.Dhampar. Chairs lined square ottomans for seating the king and the knights of the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.Dhendhan. Logs are located on the right and left upper rancakan gender where there is a hole to insert pluntur as a rope to stretch gender pitches. This is a tool Dhendhan pluntur fasteners. In the area of Yogyakarta is a similar form of gravestone (dhendhan kijingan).Dhingklik. Chairs lined round ottoman to seat the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.Dhuduk. The woman in charge of delivering weapons menladeni prang like a shield and arrows to the dancers Srimpi Yogyakarta style.Dhuwung. Java language Krama (high, smooth) to the keris is a Javanese dance costume supplies Yogyakarta style which is also used sa gun fight. The role of princess wearing a dagger in front tucked in a belt attached to the abdomen, while the role of the son of someone wearing a dagger in front such as the gods, sages or hermits, but is generally worn tucked behind the belt. To Yogyakarta style of leather.Dhuwung Branggah. Selosongnya keris head shape (order) pointed next door. To dance Yogyakarta style dagger is used which is also used as a weapon of war. The role of princess wearing a dagger in front of the belt menmpel inserted in the abdomen, while the role of the son of someone wearing a dagger in front such as deities, sage, or ascetic, but is generally worn tucked behind the belt. To Yogyakarta style of leather.Dhuwung Gayaman. Keris which forms the head of the slug (order) blunt to dance kerisini Yogyakarta style worn by dashing son of a dancer.Dodod.1. Berkain way. Fabric size is smaller than the seam, approximately 4 meters long, 1.10 meters wide. In addition to clothing dance, in a ceremony imposed by the greatness of the king's consort, and the king's daughters who are married.2. Menthak slipcover made of velvet fabric decorated with golden thread, commonly used in the gamelan panbuh Yogyakarta area.Dolanan Sondher. Range of motion describing the left and right hand were playing (Dolanan) scarves (sampur or sondger) contained in a smooth and handsome son dance style of Yogyakarta. This motion is used in Kelana dance.Dolanan Supe. range of motion describing the left and right hand dancer playing (Dolanan) with the ring (superior) in Yogyakarta style dances. This motion is used in dance and Klana Golek.Gabahan. Guided eye makeup part of puppet forms, such as grain. The role that has the form of the eye as the characters are usually smooth, like Arjuna, Krishna, Rama and so on. grain means 'grain'.Gada. Weapons of war dance gallant sons of Yogyakarta style paddle. In Yogyakarta shaped beater who has three flat sides.Gadhung Mlati. Motif color or color combination that is often used in dance costumes, among others, to fabric, sampur, headbands, tank and so forth. The color consists of white and green colors.Bun. Irah-irahan or close a motive such as hair ornaments coiled or curved backward. Irah-irahan inibiasa used a figure both heroic knight and smooth. Examples such as Arjuna, Bhima, Gathutkaca, Hanuman and so on.Bokor bun. Bun motif used in dance Bedhaya or Srimpi, especially Yogyakarta style. Named for the shape bun bun bowl resembles a bowl or bowl of water or vegetable place.Bend your bun. Bun motif that is used when an adult daughter who had entered the palace. this way comes with a cloth wearing strapless or semekan. The development is now often to sanggulan types of dance.Gendreh. Motifs that form of batik cloth or paranganya lereknya smaller than the machete damaged. Usually used for the role of Arjuna, Puntadewa and so forth.Gendring. Slawatan kind that many in Bantul. Dance is a fan brought KITAP called tuladha or tldha, read by dhalang. This folk dance serves as a ceremony of maturity such as circumcision, or also kaulan. This dance is not the kind of public spectacle, because the present senua danced. This dance is accompanied by the music fly.Gimbalan. Type-irahan Irah made of fake hair that long and only given zamang only. Irah-irahan used this particular role or giant rekasasa the trash that is not the principal role in the puppet.Lipstick. Material makeup or makeup that color is red or pink, which is used to color the cheeks look so much younger or prominent.Godheg. Artificial hair that grows on the face of the ear under the forehead, by way of makeup. In the Wayang Wong this godheg forms vary according to the character.Godheg Ngundhup Turi. Bentuknyaseperti turi flowers are still blooming buds yet. In the Wayang Wong this godheg form for smooth character or for the daughter.Godheg Pengot. Shaped like a knife or similar pengot. In wayang wong or the fingers of this type, for the brave or tough character.Grompolan. Sumping decorations mounted on a headband made from buffalo skin tepen or sapai, small shape like a flower ..Halup-halup. Basic make-up, usually white. This term is often used in a particular way of dressing Wayang Wong style of Yogyakarta.Iket Kodhok Bineset. Headband or blangkon but the top is open, so that after the top of the hair worn look.-Ilatan physical defect. Part of mekak. Called-ilatan physical defect because it resembles a long tongue, used in the middle of the chest extends down to cover the function buttons or straps mekak.Stitches. How to makeup for the eyes to the type of dance styles Bedhaya Yogyakarta. The shape is based on the entire face scrubs, but in part around the eye is not, so in the form of the eye that can njahit.Zamang. Terbuaat headdress of buffalo or cow leather, inlaid and disungging or dinada and given kepet, nuts such as lobes or necklace. This ornament is the unity of the Irah-irahan. Zamang motifs vary according to type-irahannya Irah or character.Janget. Same with jenjetan, except that the material is made of cow leather which formed flat of approximately ½ cm, often there is a round flat there is a square.Januran. Zamang or Sumping form that is often also called zamang or Sumping pundhak setegel. Roles in the wayang wong using this form, among others, Bhima, Hanuman, and other Ontorejo sebaginya.Arrow. Krama Javanese (high, smooth) to Yogyakarta style arrow that the bow with his arrows into one. The use of arrow in the war did not sincerely, because the arrows can not be separated from his bow when fired, but only cause noise thek.Impur Alus. Type of fine son Yogyakarta style dances for the knights a smooth and humble like Arjuna, Rama, Admiral, Panji and Darmawulan. Arm motions rather open, many uses symmetric arm design and use sampur. This type of dance is also often simply called impur.Alus Kalang be all white. Type of fine son Yogyakarta style dances for the subtle but dynamic knight such as Salya, Bhishma and Wibisana. The motions of the arm slightly open, a lot of use with an asymmetric design and use sampur. This type of dance is also called clumsy be all whiteAndhe-andhe Lumut. Folk dance drama that developed in many areas of Bantul and Kulonprogo. This dance drama contains stories Andhe - andhe Lumut. That story Panji. The show was accompanied by a set of gamelan tunings or slendro slendro. Formerly enumerated by male dancers only danced alone, but perkembanan now is not the case. Motion under the influence of puppet dance wong, especially Yogyakarta style. The dancers convey its dialogue with the form of song and prose.Ngajeng wedge. The first dancer from the right first row of spectators pad assemblies Bedhaya Yogyakarta style.Wingking wedge. The first dancer from the right audience on the third row of the assembly Bedhaya Yogyakarta style.Bedouin. Rodhat kind that developed in many areas Sleman. Dancers advance of 20 to 80 people each pair. Dancer-dancers carried a fan and broom tanga. The form of songs sung dialogue and sholawat with language support as well as Indonesian language and the Java language. Dance motion performed in a standing position. Any change to the tent gerakn whistles sounded by the head of the dancer. Bedouin dance from Sleman never get the first prize at the festival of folk dances of Indonesia in Jakarta in 1977.Ballet, Ramayana. Yogyakarta dance drama without dialogue that bring the story of the epic Ramayana. Ballet terms derived from French, ballet has the same meaning as the term ballet. The word ballet widely used by groups which organized the Ramayana dance performances for the tourists.Bango Mate. Variety ngruji motion with his left hand, right hand nyempurit. Like the motion of a bird bango. This motion contained the daughter of Yogyakarta style dances.Students get up. Students Cobras kind, in the middle there pertujukan acrobatic demonstrations. The show consisted of playing on the torch on a rope stretched at the two ends of the tall bamboo about fifteen feet.Bapang Dhengklik Keplok Asta. Type gallant son of Yogyakarta style dances for the role-pranan giant armies. Shows the characteristic motion dhengklik said one leg lifted up and set out with knee bending and pressure. For the army of giants who used the hand position is called keplok asta which means "clap hands"Wipe Asta Dhengklik Bapang Keplok Rawis. Type of dance styles Yogyakarta khusu gallant son to the giant genie who has no good character.Bapang Kentrog. This type of dance style gallant sons to dance Bugis khusu Yogyakarta Yogyakarta style. Motion-motion comes on Bapang, but coupled with the motion of the motion kentrong hopping on one battery.Sekar Bapang Suhun Dhengklik. Type gallant son of Yogyakarta style dances for roles king or prince giant giants like King Newata Kawaca and Kumbhakarna. Sekar suwun is the name of the position of the arm which is always pointing upward and the other leads diagonally down. Shows the characteristic motion dhengklik said one leg lifted up ditapakan with bending and pressure.Bapang Ukel Asta. Type gallant son of Yogyakarta style specifically for that character humor god is Bathara Narada.Barong. Jathilan or animal figures in Incling. Barong is often called Barongan is danced by two hooded cloth or bagor, so the shape of large animals. One person was in front of moving his head, was only behind moving his butt and tail. This Barongan big-headed beast with a big mouth, but it is not clear what type animals.Batak. Dancers second lane from the right audience at the center of the assembly Bedhaya Yogyakarta style. Together endhel pajeg, dancer Batak plays an important role in the story presented by Bedhaya. In a telling Bedhaya Srikandhi Meguru Manah, dancer Batak is what serves as Srikandhi, while the dancers endhel pajeg role as Arjuna.Beber.1. This type of puppet show which way spread the cloth that has been painted with images of puppets and has a color are offered, taking the story of Panji cycle. Puppet beber there are still areas in the Village Panung Pacitan, East Java.2. How to offer in ngamen gamelan performances sounding drums in such a way as to make known to the general public in order menanggapnya.Bedhah Earth. The first dancer to dance tayub ngibing, usually at the ceremony that started the dance village clean ngibing is the host. Bedhah earth has a symbolic meaning, namely intercourse, bedhah means opening (njebol) yatitu dancer son, was the earth that is land that is the dancer putrinya.Upacara it is a symbol of clean soil fertility in the village after the harvest time.Botoh.1. Two interpreters or referee on a separator Lawung Yogyakarta style dances that berfumgsi as signal giver training when the war begins and ends as well as lead the way exercise. Botoh using a type of dance prop gallant son of the king be all white.2. Gambler.Arjunawiwaha, Bedhaya. Bedhaya Yogyakarta style of processing results of Raden Lurah Sasmitamardawa Kawedanan hageng Punakawan Krida Mardawa Yogyakarta Palace in 1976, taking the story when Arjuna meditated in Indrakila with all sorts of temptations to kill Niwatakawaca then crowned the king of fairies. Gendhing Ranumanggala accompaniment, Pelog nem.Dewa Ruci. Bedhaya. Bedhaya Yogyakarta style of dance composition prepared by Sudharsono Pringgobroto in 1946, which was first staged at the opening of the University of Gadjah Mada in Yogyakarta. Costumes, dance techniques, as well as the amount equal to Bedhaya classical dancers, but the theme is sung is a story of Dewa Ruci, an episode in the epic Mahabharata which describes the event when Bhima is being tried by his teacher, that Drona, in search of living water in the bottom Samodra. After all the hurdles can be overcome, Bima met with the god who gave him instructions Ruci-opetunjuk good.Laleha, Bedhaya. Bedhaya to the accompaniment of the piece and is one of Laleha Bedhaya Sultan Hamengkubuwono VI creation time, take fiber Harjunasasra when the war against Sumantri.Sexual intercourse, Bedhaya. Bedhaya using gendhing sexual intercourse as a retinue, and was created in the days of Sultan Hamengkubuwono VII in Yogyakarta. This dance contains romance Panembahan meeting of Mataram by Senapati Kajeng Queen of South on the coast of the South Seas (Ocean Indonesia).Manten, Bedhaya. Composition Bedhaya Yogyakarta style dances that illustrate the process according to traditional Javanese wedding ceremony, was created by Sultan Hamengkubuwono IX in 1943. Dance technique and dance clothes like Bedhaya others, but the dancers only six people.Mattock, Bedhaya. Bedhaya order gendhing accompaniment: Ketawang Pangkur gendhing kemanak Ladrang Kembangpepe in larasd pathet manyura slendro.Prabudewa, Bedhaya. Bedhaya ciptaaan Sultan who later in the time of Sultan Hamengkubuwono VI reprocessed, as well as heirloom Bedhaya awarded in the Duchy.Revolution, Bedhaya. Bedhaya Yogyakarta style of dance composition prepared by Sudharso Pringgobroto in 1959. The theme of the series of events that brought the history of Indonesia menggambarklan started since Dutch colonial times until the time of the restoration of security in 1950 that describes secar symbolic. Bedhaya Revolution also brought by nine dancers princess, but her clothes to wear on the wayang wong daughter Yogyakarta style and make-up and head to use bridal princess of Yogyakarta.Sapta, Bedhaya. Bedhaya dance composition prepared by Tumenggung Purbaningrat in the forties, danced by seven female dancers. Bedhaya Seven (Sapta means seven) mengisahksn story when Sultan Agung (1613-1645), king of Mataram Mataram III makes the boundary between the Pasundan.Student Park history, Bedhaya. Dance composition prepared Bedhaya Sudharso Pringgosubroto in 1952, described the history of the College Student Park in 1922 with the character Ki beat Dewantara. Costumes, dance techniques and the amount equal to Bedhaya classical dancers, only just a new theme.Begalan.1. Folk art that developed in many areas of Banyumas. Contains folk art discourses, so that the show often to enliven the wedding party. These performances are overlooked dialogue, being gerask simple and spontaneous dance-influenced dance movements Java and Sundanese dance. The contents of the story is unclear, only consists of two dancers, yatitu as a mugger and the mugged, as a symbol between good and evil.2. In the war flower wayng skin, which happened after the war because, the war between a knight against a giant who is usually called blind robber.Beksa Alus. Son delicate dance techniques Yogyakarta style used for the role of fine-knight role of Mahabharata, Ramayana, Panji and Darmawulan like Arjuna, Krishna, Rrama, Admiral, Panji, Darmawulan and others. Characteristic of the type of fine is the son of an open lower leg position, the step is, removal of lower leg, arm position slightly open, his movements slow motion except in war. Beksa alus, Java language Krama (high, smooth) of djoged alus usually sung by men who are somewhat slim boned.Beksa Gagah. Son of the dashing style of dance technique that is used to Yogyakarta roles gallant knights of the epic Mahabharata, Ramayana, Panji, Darmawulan and forth, like Bhima, Balarama, Ravana, Klana, Sewandana, Menakjingga and so on. Characteristic of the type of gallant sons is an open foot position rather quickly. beksa dashing, Java language Krama (smooth, high) of the gallant Joged typically sung by a man who boned sturdy and tall.Princess., Beksa. Daughter of Yogyakarta style of dance technique that is used for dance Bedhaya, srimpi, doll and daughter roles in dance dramas of Java. Cir typical type of dance is the daughter of foot position is closed, a very small step, the position of the arm rather closed, small head motion without pressure, bending-bending limbs are not sharp, motion-slow motion. Beksa daughter usually danced by women, except before 1918 for doll and daughter roles in wayang wong, and Langen Mandrawanara Langendriya performed by male dancers who are still teenagers, slender and flawless.
Bindi.1. Weapons of war on the dance dashing son of Yogyakarta in the form of a cylindrical bat.2. Percussion (bat) Bonang, Kethuk, Kempyang and Kenong.Bliu Tau. Belajarmemainkan wrong way atu misalanya rebab gamelan instruments but without the correct method, generally only by listening and imitating.Bronjong Wire. The attitude of the hand like a man eating rice without using a spoon or fork, which uses the fingers to take food. Attitudes do seem to be rigid.Bugis. The composition of Yogyakarta style of dance in pairs, performed by one or two pairs of dancers, using a type of dance is typical for the gallant sons of Bapang kentrong.Tari Bugis is estimated born outside the palace in the 19th century, depicting soldiers from ethnic Bugis from Sulawesi South who were practicing war.Knapsack. Dancer number 7 on the middle lane of the assembly Bedhaya Yogyakarta style.Cakilan.1. This type of dancing giants.2. Small round bamboo magnitude approximately two-thirds cm length is two and a half inches, was used as a means of retaining gender pitches, slenthem tied to pluntur.Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.Canthang Balung. One of the dancers on the dance doll gambyong. Canthang cockscomb an antagonist and is described as a unique figure.Cekehan. Leg movements in the dance horse shows, which is run by foot or mendhak modestly, but time will step foot lifted high by jumping a little bit. This movement can be carried forward and rewind, slow rhythm.Cepet. Figures in dance or Incling Jathilan wearing masks cover the entire face. In this show there are two dancers, namely cepet lanang black mask, and cepet wadon white mask. The two leaders are also often called Hurry or Kecepet.Cindhil Ngungak Tumpeng. Range of motion imitating a young rat (cindhil) who saw a flash (ngungak) lump of rice (cone). This motion contained in Yogyakarta dashing dance or role that will be insolent.Copyright Budhaya. Private organizations Yogyakarta style of dance education in Yogyakarta is now no longer active.Coklekan. Bending motion of the head to the left or right side of the dance style of Yogyakarta.Gallop. dance dance at horse shows similar motion drap (see drap), but his legs straight not bent, somewhat slower than drap rhythm.Congoran. Often called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others were dressing. Congoran Yogyakarta style used in Langenmandra Vanara.Wisnuwardhana Contemporary Dance School. Creation of new dance educational institutions founded by private Wisnuwardhana (see Wisnuwardhana).Cundrik. Prop dance as a weapon of war, shaped like a dagger, but without a sheath. Prop is usually used to dance the role of women, particularly in the Wayang Wong dance style or Surakarta.Damarwulan. Art historical story of the original Java depicting a knight named Damarwulan who are willing to defend the kingdom of Majapahit against the rebel Duke of Blambangan Menakjingga. Damarwulan Menakjingga managed to kill, and to preserve his love with the Goddess Anjasmara, daughter Patih Logender of Majapahit. This story is the theme of the opera Javanese dance drama named Langendriya Yogyakarta style. Damarwulan also often staged in the drama of a new dance called ballet.Deder Sampur. Sampur who worked as arrows superimposed on the left arm, and pulled with right hand fingers.Dhadha.1. Dancer of the number 6 on the middle lane of Bedhaya assembly (see assembly Bedhaya) Yogyakarta style.2. The name of the tone in the gamelan (see gamelan). For normal recording is replaced with the number 3, for the barrel and barrel slendro slendro.Dhadha Mungal. Dada (dhadha) raised to the top (Mungal). This position is a good chest position in Yogyakarta style dances.Dhuduk. The woman in charge of delivering weapons menladeni prang like a shield and arrows to the dancers Srimpi Yogyakarta style.Drap. Leg movements in the dance horse shows in the Waterford area, the movement ran with kakai lifted and bent a bit high, fast rhythm.Sitting Wuluh. range of motion contains the left and right with ngoyog sideways motion, ending with the left arm diagonally leads straight down, right arm bent in a position like hips. This motion contained the daughter of Yogyakarta style dances.Ebeg. Emblek kind that brings the local banayak Banjarnegara. the dancers ride horse shows with a sword, usually wear glasses varying in color. at the climax of the show were also held with the game of war glass mirror reflects the light, atahari addressed to his opponent.Emblek. Jathilan kind of Kedu in mountainous areas. Players consist of 7 persons, six dancers horse shows that berpasanga-pairs, one as a leader. The show with war and war with the game of glass reflecting the sun, addressed to his enemies. Usually they danced round and round until there are no conscious and possessed spirits (ndadi).Encot. Motion of the whole body down after a stop is moved back to the top. This motion contained the daughters and sons smooth dance style of Yogyakarta.Encot-encot asta. Variety encot footwork that diakkhiri denganlengan aligned diagonally to the bottom right. This motion contained in Yogyakarta style dance princess.Pajeg, Endhel. Dancers strip number 3 in the middle of the assembly Bedhaya Yogyakarta style. Together batak dancers play an important role in the story presented by Bedhaya. In narrating Srikandhi Bedhaya Meguru Manah, dancers endhel pajeg is what serves as Arjuna, while the dancers act as Srikandhi Batak.Wedalan Ngajeng, Endhel. Dancer number 2 on the third row of the assembly Bedhaya Yogyakarta style.Wedalan wingking, Endhel. Dancers number 9 on the third row of the assembly Bedhaya Yogyakarta style.Endraya. The attitude of the left hand ngelak dragon in a position in front of the navel. While the right hand with the attitude mangap ambaya hand on his back with the fingertips touching the right hip.Engkrang. Range of motion of the left and right hand position sampur sampur nyanthok and then thrown out. If the motion is followed by lifting and bending the left leg is called engkrang kiwa. and if the right leg raised and bent called engkrang Tengen. Engkrang used to smooth and handsome son of dance styles in enjeran Yogyakarta, which is a preparation for the war dance.Engkrang Mlampah. Range of motion is coupled with leg engkrang step. This motion contained in the smooth and handsome son dance style of Yogyakarta.Enjeran. Dance preparation and heating at Yogyakarta-style war dance composition. Enjeran second part of the composition of the whole war dance that consists of four parts, namely advanced gendhing, enjeran, war and retreated piece.Sampur moaned. Imitating motion sindhen, by covering the lips and use sampur as cover.Erek. A movement if it will be war in the kind of dance Jathilan. Before the war usually two dancers use movement erek horse shows, which is like spinning a composition of the circle.Etheng, Beksan. Composition of Yogyakarta style dance group who danced in pairs by 12 male dancers, which was created by Sultan Hamengkubuwono I in the 18th century. This is a dance war dance performed by three groups of dancers, a group that uses a type of dance smooth four sons who pitted his strength, the type of dance groups receipts 4 people as a dashing son of the complainant, and the comedian group consisting of 4 people anyway.Impur dashing. Type of Yogyakarta style dances for the gallant son of gallant knights, but false in behavior such as King Suyudana and Patih Udawa. Open arm motions, many uses symmetric arm design as well as on the type of use sampur alus impur son dance. This type is also commonly called impur clumsy.Kalang be all white, Gagah. Type of Yogyakarta style dances for the gallant son of gallant knights and aggressive like Suteja, Sentyaki, Indrajit and so on. Motions of the open arms, many using sertamenggunakan sampur symmetric arm design. This type of dance is also often simply called a loop be all white.Kalang be all white King, Gagah. Type of Yogyakarta style dances for the gallant sons of the kings of valiant and aggressive as Balarama and Ravana. Principle the same as the stout prop motion be all white, but there is little abnormality in his left hand motions. This type of dance is also often simply called a loop be all white king.Flowers, Gagah. Type of dance son gagahgaya Yogyakarta for gallant knights and honest and steadfast stance as Bima, Gathutkaca Yogyakarta style, Antareja and Antasena. Open arm motions, many uses symmetric arm design and use of hand positions without sampur ngepel. This type of dance is also commonly called kambeng.Gajahan. Range of motion with one arm bent upward until hands are near the ear, the other arm diagonally downwards performed alternately left and right. This motion is used in Yogyakarta style dance son.Ngoling elephant. Range of motion of both hands above his right ear and left like an elephant who was ngoling (stretched) by waving its trunk up in the dance style of Yogyakarta. This motion is used in dance and srimpi Bedhaya.Gambyong.1. The name of one of the existing role of dancers in dance Golek Gambyong.2. The name of bonang carabalen tone gamelan.Gambyongan.1. The name of suatubentuk piece.2. A form of rhythm in the Javanese gamelan.Gapruk. Motion clashing weapons commonly mace, sword or spear in the war dance style gallant son of Yogyakarta. Gapruk means clashing.Gebesan. Head motion in the dance horse shows similar pacak Gulu, a simple movement of the head is moved to the right and to left together with moving the horse's head braid.Gedheg. Shook his head to the left and right on the dance son Yogyakarta style. Head movement is usually used by the masked roles in order to advance seems to live ..Gedrug. Motion stomp one foot left or right to the floor with toes behind the other foot on the dance daughters and sons fine Yogyakarta style. If the left leg snapped named gedrug kiwa, and when the snapped right leg named gedrug Tengen. Kiwa is left, Tengen is right.Degree. Classic war strategy widely used in classical dance dramas such as wayang wong Yogyakarta style. This title was different, among others, degree of shape formation Garudha Nglayang like an eagle that was flying, a form of degree CVD Neba CVD formation like birds in large quantities that are flying, degree Wulan Tumunggal the formation of curved like the moon which had just stepping on the first day, a form of degree Meta Dirada formation like an elephant who was angry, and others.Gendhewa. Compound bow, which is part untukmelepaskan arrows. In the wayang wong gendhewa often brought untukmenunjukkan that which brings the knight.Genjotan. Motion major step to the left or right along with this tekanan.Gerak present in Yogyakarta style dances gallant son.Genjring. The name of the instrument, shaped like a small fly on the wood but a hole to place a thin metals. Genjring also called tamper or triangle.Genukan. Same with grimingan. This term is generally used pedhalangan Yogyakarta.Gidrah. Range of motion, which ended by bringing his left hand and right in front of the abdomen. This motion is used in the dance style princess of Yogyakarta.Gladhi Rehearsal. This term is used to refer to the last exercise as a preparation stage or dance performances. According to tradition the role of the son wearing the banner, cloth sapit urang (can also use ordinary cloth wiron), coal belt buckle dictionary, dagger, without clothes, udheng. As for the daughter of the fabric, kebaya, bend or ukelan ordinary bun.Asmaradana, Golek. This type of puppet styles of dance that accompanied the piece asmaradana Yogyakarta.Swing-swing, Golek. This type of puppet dance that accompanied the piece Yogyakarta style swing-swing.Surenggraha doll. This type of puppet dance that accompanied the piece Yogyakarta style Surenggraha Tumenggung Purwadiningrat created in 1967 and is the oldest Golek in Yogyakarta.Segara thunder. The composition of the group pairs Yogyakarta style dances, performed by four dancers son, using a type of dance gallant son. Dance depicting a war between two pairs of these knights were created by Sultan Hamengkubuwono I in the century - 18. Both pairs of knights ittu Jayasena which is danced by two dancers and Guntur Segara is danced by two dancers as well. Both knights who fought it are the characters of the story Bannerman.Impang Gout. Range of motion with his right foot crossed the left leg, which ended with encot footwork. This motion contained the daughter of Yogyakarta style dances.Impang Lembehan. Range of motion dengankaki right leg crosses over left, with the hand motion followed by a pitch (lembehan). This motion contained the daughter of Yogyakarta style dances.Impang Ngawer Udhet. Range of motion of the left leg crossed right dengankaki left hand to the front range with ngruji position, right hand holding udhet (belendang) with an upward movement digerak-e dank bottom. This motion contained the daughter of Yogyakarta style dances.Indra. Motion in the dance style of Paku Alam Bandabaya where repeatedly done in the same attitude that is followed to step right foot left foot near the heel gedrug right. While carrying shields near the left hip and right to bring a sword, thighs and arms straight near sharp sword straight section above.Parallelogram. Four dancers on the dance Lawung son Yogyakarta style with the status as a soldier. Parallelogram using a type of dance Bapang son.Jongko Ngilo. Reflecting the range of motion dance style smooth and handsome son of Yogyakarta style is done with the left hand holding the position sampur miwir and right hand nyempurit.Jangko means "high", ngilo means "mirror". This motion is used in the preparation of enjeran yangmerupakan war dance.Tall w ith. Range of arm movement with mencangkolkan sampur on the left and right elbow followed by a movement called the head w ith. This motion contained the daughter of Yogyakarta style dances.Jaran pounder. Dancer in the dance horse shows Dhoger that serves as the principal dancer. Usually dancers are dancers dhadhak peacock until ndadi, after dancing horse consciously kept changing until ndadi pounder also.
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