Tayuban dance is a traditional art-Indonesian Javanese

Dance invitation from a woman dancer is Tayub symbolized by the laying of the neck scarf male audience. The men who had been tied with the neck seledang can not refuse the dancer. For his services, then the dancers will get the money tayub / Sawer. More Sawer given, then the dancer Tayub longer berjogetnya. They continued to dance to the accompaniment of one unit of Javanese gamelan music beats, kenong, kempol, gong suwukan, trumpet, drums and angklung. In addition, the dancers are also Tayub singing songs or poems like gurindam Java that contains sage advice, are like the advice to develop good household.

Tayub or Tayuban dance is a traditional art-Indonesian Javanese, Art is very popular among the Java community because it looks attractive, dynamic, aesthetic and expressive. By using a special dress old Javanese tempo, such as the use Jarit (long cloth for clothing subordinates) and dileher tied scarves, the women danced with tayub dancers so graceful to entertain and invite the audience dancing.

In this context, according to the interpretation of the writer, the arts can be classified into two forms. First, art has a pattern. In this category, art born from the womb of the priyayi more patterned and structured than the alit art. Second, art is not patterned. In this context, folklore is deemed not to have a clear pattern. This is reflected in the language and symbols used by the alit far from a strict culture of the palace. Regardless of whether the art is also Tayub tangible manifestation of the legitimacy of the nobility, remained Tayub art is a worthy aesthetic claimed as art in the context of Java. Because the reality of this art is has become a prima donna among the people of Java.

Nevertheless, the unfortunate was the emergence of negative stereotypes of the majority of Indonesian people who are always attached to this art genre, Tayub. Elements of art that makes women as the dominant element is still regarded as a defect of the social structure of Indonesian society that his patriarch culture is very strong. In this context, the patriarch of women in society is always placed in an inferior place, while the men are in a more superior.

Negative stereotypes that make art Tayub increasingly marginalized in the life of Javanese society today. If not, the essence of the art Tayub has faded, lost era exposed to flow. In other words, art that initially served as an entertainment art nuanced aesthetic values high culture has been turned into art erotic functions that serve only as mere lust and fulfilling. By highlighting certain aspects, such as sensitive side in women, such as? Sorry? the chest of a woman who was slightly ajar. So, we, too often see this dance no longer displays the essence. Poems that initially contains sage advice turned into songs that negative connotation.

Whereas, in the study etymology, Tayub meaningful? Arranged guyub ben? , Arranged in order to create harmony. This meaning is the essence of art to be displayed Tayub. However, bad image or a negative stereotypes that have been attached to Tayub as ingrained in the joint Indonesian society. Tayub to the public, only seen from the negative side, became an art dirty, low quality and tend erotic. Reality is what the art of cornering Tayub, so stamp art in the form of art Tayub actors, namely dancers Tayub (ledhek) and gamelan players are not artful art.

In general, many Javanese art of nuanced mystical, one of them is Tayub. That said, the women use the medium Tayub dancers or mystical ways, such as the use of the implant as a tool in attracting the allure of the audience or spectators. Moreover, his audience was the wax-man. Whether true or not, yet in reality, the art was kept Tayub mystical dimension. This mystical dimension lies in the Javanese gamelan unit used as a dance music Tayub. In Javanese society, creation and maintenance unit of the gamelan has always been a sacred ritual. For example, this mystical dimension has been represented by Sekaten tradition in the palace of Yogyakarta. In upara Sekaten, two sets of gamelan (Kanjeng Nagawilaga and Kanjeng Kyai Kyai Guntur Madu) became a symbol of the sacred rites performed.

Mystical dimension to the art Tayub, eventually deliver us to the understanding that art is more accurately described as folk art rather than art palace. Magical and mystical symbols that exist in this art is typical of the abangan culture, namely the edge of the culture is not strong religiusitasnya. Such understanding, implicitly this means that art can not be accepted and flourish in society at large. This means that this art can only grow in a limited locus. However, this does not mean that art is not worthy to be called as an artistic entity. Because, after all, according to Kuntowijoyo, the so-called works of art is born or traditions of a particular group.

Meanwhile, Ignas Kleden defines art as a work of art containing elements of fun and full of the value and norms in society. Thus, when referring to the thinking Ignas, provided that this art still maintaining the essence attached to values and norms of Java, of course, a very worthy Tayub be claimed as an art.