Art & Culture
Ketuk Tilu
Ketuk Tilu is a social dance as well as entertainment which is usually performed in marriages party, event closing entertainment show or performed specsifically in a large place. The emergence of this dance in the society has nothing to do with particular culture or sacred ceremony but it is pure as entertainment show and socializing medium. Because of that, the dance of ketuk tilu is widely enjoyed by the people especially in the villages with rare entertainment show.
The term ketuk tilu comes from one of the instrument which is three times knocked boning as a symbol for the other instruments such as rebab, small and big kendang, goong to start the music or just the instrument only. Seen from the aspects of the show, ketuk tilu dance is divided into three parts. The first part, the player performs gamelan, rebab, and kendang rhythm to attract publics’s interest. The second part is when people have gathered to fill the field, then come the dancers introducing themselves to the audience while dancing to steal the attention of audience. The third part is the show itself which is guided by by somekind of moderator in a meeting or juru penerang. In this part, dancers invite the audience to dance together pairing with particular dancer. There are times when someone wants to dance particularly with the dancer, he or she must pay some amount of money. In certain villages in West Java, the show of tari ketuk tilu is often performed through the whole night.
It was said that, ketuk tilu has its own dancing style with the names such as depok, sorongan, ban karet, lengkat opat, oray-orayan (fake snakes), balik bandung, torondol, angina-angin, bajing luncat, lengkah tilu and cantle. These styles are compatible with its respective region characteristics. Nowadays, the regions which still have ketuk tilu art dance are the Regency of Bandung, Karawang, Kuningan and Garut but the amount is very little, that only interested by certain generation (fanatic group towards ketuk tilu art). Whereas, the young generation are more fond of Jaipongan art dance (modified creation of ketuk tilu) because the dance and the rhythm are more dynamic and can be combined with modern dances.
Observed from the stroke instrument, Ketuk Tilu is the name of stroke instrument which spread almost in every part of Land of Sunda. The name of the instrument is borrowed from one instrument consist of three stroke (three piece penclon/koromong). The other instruments are complement stroke for Ketuk Tilu one unit of rebab, one piece of gong, one Kempul, one big Kendang, two Kulanter (small kendang), and one unit of kecrek.
The instruments of Ketuk Tilu in the beginning were gending iringan rumpun tarian (ibing Ketuk Tilu). Yoyo Yohana, a Ketuk Tilu prominent figure from Ujungberung explained that: ”Ketuk Tilu, is one form of independent art performance” which means that it si unbounded or not a part of any other art. In the latter development, the instruments of Ketuk Tilu in several regions of Sunda Land become a part of theater performance. For example: Rongggeng Gunung in the region of Ciamis, Banjet in the region of Karawang and Subang, Topeng Betawi in several regions in JABOTABEK area, as well as Ubrug in Banten.
In the past, Ketuk Tilu has its own performance structure which started by Tatalu (opening gending performance), and then Ronggeng enters the arena. In this part, the Ronggeng enter simultaneously by dancing together. Conutined by Jajangkungan dance which is followed by gamelan (instrumental). The next part is Wawayangan which is done by Ronggeng with teh position of half circle or horse shoe. They dance by singing the Kidung. After Wawayangan finishes, the Ronggeng make a line facing the Panjak (the music performers or Nayaga). If they perform on a stage, then the position of the line turns its back on the audience. Next, the leader of the group burn incense inside the Parupuyan which is stored near to Pangradinan (offerings), and then start chanting, hoping for safety during the performance and the proposal of much gift. Beside that, Asihan is also read (slowly) so the Ronggeng can be liked by the audience. With the Asihan, it is hoped that the audience may be generous enough to give money, so it will automatically add the income for the performance group.
For several phase, Gamelan performs Kidung song. After the dancer of Kidung song made the position of crescent moon, facing the audience, continued with Babak Erang. In this phase, the Ronggeng dancer dance together freely in harmony with Erang song. The male dancers from the audience, dance freely without having to pay Pasakan money (booking money). This phase is specifically performed for audience who likes dancing, as warming up as well as bonus, since they are not requrired to pay for it. After Erang phases finishes, it is continued by Pasakan phase, where the male dancers from the audience who dance along with the Ronggeng, must give money to the dancers or Panjak.
Performed songs consist of: Kidung (obligatory song in the Ketuk Tilu show, Erang, Emprak or Emprak kagok, Polos which later developed into Polos Tomo and sometimes continued with naek Geboy, Berenuk Mundur, Kaji-kaji, Gorong, Tunggul Kawung, Gondang, Sorong Dayung, Cikeruhan, Prangprangtarik, Renggong Buyut, Awi Ngarambat, Bangket Solontongan, Paleredan, Geserh, Kembang Beureum, Sonteng, Ombak Banyu, Gaya engko, Mainang, Karawangan Barlen, Soloyong and so on. The lyrics are in the form of rhyming poet, that is every two first sentences are called sampiran and two last sentences are the eusi (contents). The short poet has the character of lust and love with happy, humorous color. Besides the lyrics which already prepared before the performance, also sometimes the Ronggeng dancer performs lyrics which are made spontaneously.
Ketuk Tilu is a performance art show which movements are done by Ronggeng or Doger or Panjak who has the ability in dancing. Those movements imitate Silat Kembang in Pencak Silat. Besides being a dance show, Ketuk Tilu is also a Social dance, because Ronggeng dancer along with male dancer from the audience with free improving movements, are not bound by martial art or dance standard movements.
From this social dance, often emerges other dance which quality may be equal with other existing social dances. This is possibly caused that between male dancers from the audience, there are dancers who come from noble family and can dance Wayang or Tayub well along with Ronggeng. Therefore, creating harmonious movement combination which is more of a dance rather than martial art (silat).
In choosing Ronggeng as dancing pair, commotion usually happens, thus this phase is called Parabut Ronggeng. That is why, Ketuk Tilu was once forbidden by the Government with the reason of public order and security. But in reality, Ketuk Tilu has not completely extinct in fact there are efforts to preserve it.
Ketuk Tilu and other dances have differences, seen from its unique movements, music, and specific rule in performing it. There are Kendang pattern movements in Ketuk Tilu dance which is a description of daily life, there is also improvise movements which adapted with the rhythm of the song. Besides that, Ketuk Tilu dance also has specific characteristics which are: happy, romantic, arousing, lively, friendly, and full of soul. (Source : www.westjavatourism.com)