Jaipongan is a genre of dance that was born from the creativity of an artist from Bandung, gugum Gumbira. Attention to folk art one of them is making Tap Tilu really know and recognize patterns perbendaharan dance tradition that is at Kliningan / or Tap Tilu Bajidoran. Opening movements, pencugan, nibakeun and several varieties of motion of several arts mincid above have enough inspiration to develop the art of dance or now known as Jaipongan.
Prior to this performance art form emerged, there are several influences behind this social dance form. In West Java, for example, social dance is the influence of the Ball Room, which is usually in a dance-dance association could not be separated from the existence and pamogoran ronggeng. Ronggeng in social dance is no longer functioning for ceremonial activities, but for entertainment or slang way. Existence ronggeng in the performing arts attraction that invites sympathy for the pamogoran. For example in Tilu Tap dance is so well known by the Sundanese people, is expected this art popular around the year 1916. As a folk performance art, art is only supported by simple elements, such as covering waditra fiddle, drums, kulanter two, three beats, and gongs. Similarly with tarinya gestures that do not have a standard pattern of motion, simple costumes dancer as a reflection of democracy.
Along with the waning of the above types of arts, former pamogoran (viewers who actively participate in performing arts, Tap Tilu / Doger / Tayub) turned his attention to Kliningan performing arts, which in the North Coast region of West Java (Karawang, Bekasi, Purwakarta, Indramayu, and Subang ) known as the pattern Kliningan Bajidoran or events tarinya show has similarities with the previous art (Tap Tilu / Doger / Tayub). In the meantime, the existence of dance in popular enough Banjet Mask, especially in Karachi, where some Bajidoran motion patterns taken from the dance in this Banjet mask. In still koreografis dance appeared patterns tradition (Tap Tilu) which contains elements of the opening gestures, pencugan, nibakeun and several kinds of motion mincid which in turn becomes the basis Jaipongan dance creation. Some of the basic movements of dance other than Tap Jaipongan Tilu, and Mask Ibing Bajidor is Tayuban Banjet and Pencak Silat.
The emergence of dance works Gumbira gugum originally called Tap Tilu development, which is due to a basic dance from Tap Tilu development. The first work gugum Gumbira still very thick with color Tilu ibing Tap, both in terms of choreography and iringannya, who later became a popular dance called Jaipongan.
Jaipongan work first began to be known by the public is dance "Leaf Bojong Keser plus" and "Rendeng Bojong" both of which type of dance and dance partner's daughter (sons and daughters). From dance came a few names that are reliable Jaipongan dancers like Tati Saleh, Yeti Mamat, Eli Somali, and Dedi Kurniadi Pepen. Initial appearance of the dance could be a conversation, the central issue is the movement of erotic and vulgar. However, exposure to multiple media from print, the name becoming known Gumbira gugum community, especially after the dance Jaipongan in 1980 staged at the central station TVRI Jakarta. The impact of the popularity of the more increases the frequency of performances, both in the medium of television, celebration and festivals are held by private parties and government.
Jaipongan presence contributes significant to the activist art of dance for more active types of folk dances explore previously less attention. With the emergence of dance Jaipongan, used by activists to organize dance courses dance Jaipongan, used also by the pubs entrepreneur as a decoy night invited guests, where further development of this kind of business opportunities created by the activists of dance as an economic empowerment efforts by Dance Studios names or groups in some areas of West Java region, for example in Subang with Jaipongan style "kaleran" (north).
Characteristic Jaipongan kaleran style, which is fun, erotic, humorous, spirit, spontaneity, and simplicity (naturally, as it is). This pattern was reflected in the presentation of dance on the show, there is a given pattern (Pattern Ibing) as in art Jaipongan in Bandung, as well as others who do not dance dipola (Ibing Saka), for example in art Jaipongan Subang and Karawang. This term can we meet the Jaipongan kaleran style, especially in the Subang area. In the presentation, this Jaipongan kaleran style, as follows: 1) Tatalu; 2) Flower Bluebird; 3) Fruit Kawung Gopar; 4) Dance Opening (Ibing Pattern), usually performed by a single dancer or Tatandakan Sinden (sinden attack but can not sing but dance songs sinden / interpreter kawih); 5) Jeblokan and Jabanan, is part of the show when the audience (bajidor) Sawer money (jabanan) while greeting paste. Jeblokan term is defined as a permanent partner between sinden and the audience (bajidor).
Further development occurred in dance Jaipongan taahun-1980-1990's, where gugum Gumbira create another dance such as Toka-TOKA, Setra Sari, Sonteng, Pencug, Heron dazed, convoy, procession leaves Puring, Rawayan, and Dance Kawung Anten. From these dances up a capable dancer Jaipongan include Iceu Effendi, Yumiati Mandiri, Miming Mintarsih, Nani, Erna, Mira Tejaningrum, Ine Dinar, Ega, nuni, Cepy, agah, Aa Suryabrata, and Asep.
Today Jaipongan dance may be called as one of West Java keseniaan identity, it is apparent on several important events relating to visitors from foreign countries who came to West Java, it was greeted with Jaipongan dance performances. Similarly with missions to foreign countries, art is always equipped with Jaipongan dance. Dance Jaipongan affect many other art-art in the West Java communities, both in the performing arts, puppets, gamelan, genjring / flying, kacapi jaipong, and almost all show the people and the modern dangdut music dikolaborasikan with the arts Jaipong Pong-Dut. Jaipongan has diplopori by Mr. Nur & Leni
Jaipong also when one of the art for the body as well as healthy, beautiful movements and graceful dancers healthy and make the audience stunned, like a young kid nation next sunda do not forget one of the art heritage, we preserve not let the children forget to tell your grandson regards art, because life without art terassa empty, then the special art of his love of art sunda.