摘要：In the Javanese court culture there are a variety of different dance genres which until the present day continue to exist and thrive in the community. The traditional dance genres which can be found in the Kasunanan Palace in Surakarta include: bedhaya, srimpi, pethilan, and wirèng. One of these genres that is still in existence today is wirèng. In the Javanese tradition, the wirèng genre is the habitat for several dances that are performed by a pair of male dancers in a strong masculine style, including Bandayuda, Bandabaya, Bandawala, and Lawung. The wirèng genre is a representation of the strength, resilience, discipline, skill, and gallantry of a soldier when practising for battle. The presence of the wirèng genre in the midst of the Javanese community is made use of as a form of entertainment. In addition, it provides a means of character building for the younger generation, through its messages and heroic or military values. For this reason, it is important to have an earlier understanding of the underlying concept of wirèng. It is extremely important and relevant for a choreographer and dancer to have an understanding of the basic concept of Surakarta court style wirèng as a foundation, reference, and guideline for development in his work as a dancer. For the audience, as the passive cultural heirs, an understanding of this concept can guide them to have a better level of appreciation for the dance. The concept of the Surakarta style genre of wirèng dance has a number of characteristics: (1) a military theme; (2) a strong masculine character; (3) a dance performed by two male dancers; (4) a dance structure consisting of: maju beksan, beksan (beksan 1, perangan, beksan 2), and mundur beksan; (5) a similarity between the two dancers in one dance and another in terms of the theme, movements, facial expressions, or polatan, dance steps, costume, make-up, properties, and music; (6) in the battle movements, no-one wins or is defeated; (7) the structure of the musical accompaniment, or gendhing, uses lancaran patterns for maju beksan, ladrang for beksan 1, a repeat of the lancaran for the battle, a repeat of the ladrang for beksan 2, and a repeat of the lancaran for mundur beksan; (8) the battle movements are accompanied by kendhang kalih (a large and small drum). Keywords : Wirèng dance, concept, and court style.
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