The word dolalak is derived from the word "do la la" which is the saying of diatonic song notation sung by Dutch soldiers in tangsi, dominantly sung while dancing. The words "do la la" are from songs 1-6 - 6, by the people of Purworejo who are close to tangsi imitated to dolalak, including imitating the movements and fashion motifs used by Dutch soldiers who eventually became the folk art of Purworejo.
Origin -Usul dolalak art is said to have been discovered by 3 santri who were still brothers who imitated the movements danced by Dutch soldiers. They are Rejotaruno, Duliyat and Ronodimejo. Approximately in 1925 the three santi were the same people who had been Dutch soldiers forming Dolalak Art.
Origin -Usul dolalak art is said to have been discovered by 3 santri who were still brothers who imitated the movements danced by Dutch soldiers. They are Rejotaruno, Duliyat and Ronodimejo. Approximately in 1925 the three santi were the same people who had been Dutch soldiers forming Dolalak Art.
Initially dolalak arts were not accompanied by musical instruments but enough with the vocals that were played alternately by the dancers in turn. Subsequent developments the community began to like the art, and then dolalak dance was given an accompaniment instrument with Javanese songs and solawatan songs.
Entering the 5th decade of the twentieth century dolalak art was danced by men and limited to certain areas. However, entering the 7th century of the twentieth century dolalak performances were allowed to be danced by women and the spreaders had spread throughout the entire Purworejo region. Starting from the village of Kaligoro, it continues to seep into the Kaligesing area and almost all of the Kaligesing District area arises dolalak art.
Departing from Kaligesing sub-district, dolalak art developed into the city of Purworejo and became an interesting city spectacle / show and was very popular with the residents of Purworejo city. All layers of society throughout Purworejo Regency considered that the performance of Dolalak dance was a healthy folk performance. The people and government always try to preserve, develop, improve and disseminate dolalak art according to and in line with the progress of the times. Dolalak art is a means and media for mass collection, as well as healthy, cheap and lively entertainment.
The accompaniment of musical instruments is drum, fly, kendang, kecer, kentongan, pianika. The dancer's dress wears socks and hats along with the slempang that has been modified according to the dancers who are currently not narrated by men but women. Song lyrics use romantic Indonesian and Javanese. The dancer's property is usually black glasses and is used by female dancers when possessed.
The use of the sledang was originally only wrapped around the waist but now using "sanmpur cendala giri" which is tied in front is a sabet tool right / left people usually dance. Dolaka art is a lively entertainment / spectacle and has always been the pride of the Purworejo community.
Supporting factors of the existence of dolalak wanit dance are both officials, rich, poor, religion, age, traders, farmers, teenagers, students, students, men, women are very fond of the dolalak dance. While the inhibiting factor of the community is very thin because dolalak art shows are in great demand even strong audiences until one night as well as puppets.
Supporting factors of the existence of dolalak wanit dance are both officials, rich, poor, religion, age, traders, farmers, teenagers, students, students, men, women are very fond of the dolalak dance. While the inhibiting factor of the community is very thin because dolalak art shows are in great demand even strong audiences until one night as well as puppets.
