DANCE PERFORMANCE TO ACHIEVE MURI: STUDY OF REJANG SANDAT RATU SEGARA DANCE PERFORMANCE IN TANAH LOT, TABANAN, BALI

Rejang is a sacred dance that has certain standards in its creation and performance. This sacred dance is performed during the Dewa Yadnya ceremony by taking into account the place, time, and means of offerings that have been determined. However, recently a new creation of Rejang dance has emerged which has a function not for religious ceremonies, but for other purposes such as entertainment to achieve a MURI (Indonesian Record Museum) record. This type of Rejang Dance is the Rejang Sandat Ratu Segara Dance which was staged on August 18, 2018 in Tanah Lot, Tabanan, Bali. This certainly attracts the attention of the people of Tabanan and causes this dance to be widely discussed on social media and in real life. This article examines the form of the Rejang Sandat Ratu Segara Dance and finds out how it differs from the Rejang dance in Bali. The research method used is qualitative research with descriptive and explanatory exposure. In this study, there are several differences in the form of the Rejang Sandat Ratu Segara dance with the Rejang dance that developed in Bali such as movement, dancers, clothing, and settings.

Segara Dance, the theory of deconstruction is used as a 'scalpel'. Through the method of deconstruction, Derrida uncovers various assumptions hidden in structural linguistics.
These hidden assumptions generally escape the attention of structural linguists and Derrida reacts to them, then overturns them (Yusuf, 2014: 39). In this study, the categories or assumptions that will be dismantled are the differences in the form of the Rejang Sandat Ratu Segara Dance with the Rejang dance in Bali. In addition to aesthetic forms, verbal and nonverbal forms are also fundamental things that are learned in the Rejang Sandat Ratu Segara Dance. In conducting this research, no articles or journals have been found that discuss the Rejang Sandat Ratu Segara Dance, especially regarding the study of its performance.
This research was conducted in Tabanan Regency, precisely in Beraban Village and Tanah Lot DTW. The research method used is qualitative research with descriptive and explanative exposure. Data was collected by using three techniques, namely observation, interview and document study. Observations were made at the staging site and mingled directly with the people who felt the impact of the performance. Furthermore, in the interview and determination of prospective informants, purposive sampling and snowball sampling techniques were used. As well as in the study through document studies carried out on photos, videos and diaries obtained via the internet and coming directly to the staging area.
In conducting data analysis, there are three stages, namely data reduction, data presentation, and drawing conclusions. The results of research in the field are in the form of observations and interviews which are equipped with a literature review, then processed to get the results that are poured into a paper. Data analysis results are presented in the form of writing and tables. With these methods and techniques, readers are expected to be able to understand the findings obtained through qualitative research.

DISCUSSION
The Rejang Sandat Ratu Segara dance is a colossal dance with 1800 dancers.
The performance was held at the second Tanah Lot Festival which was held at the Tanah Lot Tourist Destination, Kediri, Tabanan on 18-8-2018 at pkl. 18.00 pm. Based on the results of the research conducted, it can be stated that the functions of the Rejang Sandat Ratu Segara dance performance include the function as an offering, a function as a promotion to increase the visit of Tanah Lot DTW and as a means of breaking the MURI record. Classification of Balinese dance based on its function can be divided into wali, bebalih and balih-balihan dances. Rejang dance is included in the guardian dance which is intended as a complement to the Dewa Yadnya ceremony. However, nowadays, the Rejang dance has increased its function to other things as mentioned above.
Dance is a form of human expression embodied into motion supported by other elements. Motion is an important element in dance. Balinese dance is closely related to its environment; it was demonstrated in the expression of its movements. Dance creators are inspired by the natural environment so that they can create dances that are rich in movements. For the shape to be perfect, the movements were still arranged in such a way as to fulfill the three elements of wiraga (body build and movement quality), wirama (music or rhythm), and wirasa (authority and expression) (Bandem, 1996:32). Other things that support dance are music, costumes/dress, make-up, stage settings, and properties. If the combination of the elements is managed properly, it will create an entertaining dance form to be enjoyed. As an art form performed or exhibited to the public, dance can become a form whose basic elements or components can be visually captured by the human senses.
Visually, the basic components in dance have artistic values that can captivate the audience to live it (Maryono, 2015:24).

Verbal Components of Rejang Sandat Ratu Segara Dance
As Maryono has described, the form of the verbal component consists the types of the language contained in dance performances, which can be in the form of: (1) Tembang (song) literature (in the form of ada-ada, macapat, pathetan, sindhenan, gerongan, sendhon, jineman, and palaran); (2) janturan (monologue); (3) antawecana (dialogue); (4) geguritan (poetry), and (5) verse (Maryono, 2015:24 The sindhenan work is a Javanese tembang (song) sung by only a singer (solo), usually by a female vocalist, whose voices interrupt between taps. The function of sindhenan work is more directed to express a feminine impression which has a smooth, soft and sweet nature (Maryono, 2015:34 with a pure heart so that we get the holy light. This can be seen clearly in the lyrics used in the pesindhenan section. Then in the second part, gerongan is continued by using the song Kawitan Wargasari with the following lyrics. Music, (10) Stage, (11) Property, (12) Lighting, (13) Setting (Maryono, 2015:52).

Theme
The theme becomes the guideline in framing a dance work. As in the Rejang Sandat Ratu Segara Dance, which takes the theme of the presentation, every other

Storyline
The storyline in dance works formed from rhythm can be observed in the types of folk dances that do not use story patterns. This means that this form of dance work is based more on cultivating the rhythm or tempo of motion, including: loud-slow, fast-slow, strong-weak supported by the rhythmic playing of the accompaniment music (Maryono, 2015: 53). In the Rejang Sandat Ratu Segara dance, the storyline or dramatic plot is divided into four parts, namely the initial round (papeson), the middle act (pengawak), the final round (penget), and the closing (pekaad).
The initial round (papeson) depicts the majesty of Kanjeng Ratu Kidul which is illustrated with motion and accompaniment music. The atmosphere shown in this section is a magical and authoritative Javanese atmosphere. The middle act (pengawak) describes a welcome (pendak) that shows a majestic and solemn atmosphere. The final part (pengecet) describes an offering of gratitude to Ida Betara Ratu Segara (the Ocean God) who has been pleased to provide purification of nature and its contents, always given safety and welfare. The atmosphere described in this section is that of a joyful offering.
The closing part (pekaad) is the part that describes the return of Ratu Segara after giving Her grace and mercy to nature and its contents. She returned to the middle of the sea with a magical atmosphere. Movements Motion in dance is a language that is formed into the movement patterns of a dancer. The principles of form that need to be analyzed include, among others: unity, variation, repetition, transition or displacement, series, comparison, and climax (Hadi, 2007: 25).

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First, unity is a very important principle in the form of motion or choreography.
"Unity" implies being a whole. The unity of the aspects of motion, space, and time that are present in dance is a whole that is ready to be lived and understood (Sumandiyo Y. Hadi, 2007: 25 This is not found in the Rejang dance that developed in Bali. However, the principle of variation is not really for the sake of "variation" itself; variation must develop in wholeness and unity (Hadi, 2007: 26).
Third, the repetition involved in the Rejang Sandat Ratu Segara Dance can be seen in each round. In the early stages, Javanese movements seen are repeated for accentuating the Javanese atmosphere highlighted. As Juana said, the initial part (papeson) only uses Javanese movements aiming to emphasize the Javanese concept.
The fourth is displacement or transition. A dancer must understand very well the meaning of transition, analysis of transitions, transfers, or connections from one motion to another smoothly and skillfully, the entire series of forms of motion become more effective in creating unity or wholeness (Hadi, 2007: 27). The Rejang Sandat Ratu Segara Dance has a clear connection or transition from the initial part that has a Javanese nuance to the second part with Balinese nuances. Like the Rejang dance in general, from the second part to the third part, as well as from the third part which has Balinese nuances until part four which again has Javanese nuance. It shows that the choreographer succeeded in placing the transition so that this dance can form a unity. The fifth, which is a series or can be analyzed as a continuity, is one of the principles that need to be considered because dance movement form can be felt like experience (Hadi, 2007: 28). The Rejang Sandat Ratu Segara dance seems to use the ABCA formula in a continuity relationship. ABCA is performing a Javanese movement in the first and fourth parts. However, in the second and third parts, Balinese movements are performed. The analysis of the climax principle Judging from its function, the Rejang dance is more sacred because the dancer or the Rejang dance itself is a dance offering to God, it is why the dancers at the time of dancing must be genuinely pure, therefore the average dancer age is six to eight years old (Agung, 1982: 38). In sacred dance performances such as the Rejang dance, the dancer is the most crucial element. However, it is difficult for the Rejang Sandat Ratu Segara Dance performance committee to ensure that the 1800 dancers involved in the performance are pure girls or not during their menstruation.
According to I Wayan Muder, the presence of impure dancers who are in their period and pregnant but still participate in the performance, became one of the reasons that triggered the mass chaos that occurred after dancing the Rejang Sandat Ratu Segara Dance. Not only dancers who were in their period but some dancers are married. It was explained by Putu Adnya Semapta as the leader of EO Jayapro, that after being tracked down, there were dancers who were married. Whereas in her book, Ni Putu Eka Wiryastuti explains the criteria for Rejang Sandat Ratu Segara dancers are dancers who are still teenagers and are not in their menstruation period (cuntaka). The number of dancers who are representatives from each school, causes the condition of the dancers to be uncertain.
Consequently, when someone violates the rules, the sacredness of the dance is questioned. As stated by Ni Luh Putu Sintayani, a dancer from SMP 2 Kerambitan admitted that she participated in this Rejang dance performance because she was appointed by the school. Likewise, Gusti Ayu Nandita Ari Trisna, a dancer from SMP 1 Kerambitan said that participating in this performance was because of a recommendation from a friend.

Floor Pattern
The floor pattern is a line formed from the dancer's body movements that cross the floor. Various types of lines formed by dancers on the floor or performance stage are imaginary lines that can be captured with sensitivity (Maryono, 2015: 58). In the Rejang Sandat Ratu Segara dance, the floor pattern used is more symmetrical. The floor pattern used during the performance at Pura Luhur Tanah Lot is the beach filled with sand and coral. The direction of the floor pattern used is facing the audience or back to the beach and Tanah Lot Temple. This is confirmed by I Wayan Juana, I Wayan Muder, and Putu Adnya Semapta, that the dancers are impersonating the Ratu Segara who emerges from the sea giving blessings to the community and will later return to the sea. It is why the dancers seem to come from the sea, facing the audience.

Facial Expression
Facial expression is a change in the visual condition of a person's face. Facial expressions are a means to get an understanding and description of a person's psychological condition (Maryono, 2015: 60).

Make-up
Characters or figures in dance performances are mostly formed from make-up.
Make-up in performing arts is not only to beautify the dancers but also for the expression so that the shape is very diverse according to the designed character (Maryono, 2015: 61). In the Rejang Sandat Ratu Segara Dance, the dancers use beautiful make-up and green colors following the color of Ratu Kidul. As explained by Muder, in art, one must use make-up that fits the theme. The Rejang Sandat Ratu Segara dance is also adapted to the character of Ratu Segara, so that the make-up worn should represent Ratu Segara, in shades of green. The make-up worn includes foundation, powder, green and brown eyeshadow, eyelashes, eyebrow pencil, mascara, blush, and eyeliner. In addition to make-up equipment, hair make-up worn includes gold sandat accessories, imitation roses, and imitation jasmine flowers. It is different from the Balinese Rejang dance make-

E-Journal of Cultural Studies
August 2022 Vol. 15, Number 3, Page 1-14 DOAJ Indexed (Since 14 Sep 2015) ISSN 2338-2449 https://ojs.unud.ac.id/index.php/ecs/ up, in which the dancers wear a bun containing fruit or flowers harvested by the community in the village that owns the Rejang.

Dress/Costume
For the Balinese people, clothing as a primary need can seem drowned out by secondary needs, such as the need for the value of beauty, and the need for appreciation.
By dressing well and beautifully or expensively, the wearer feels and hopes to be appreciated by others (Agung, 2004: 1). Clothing, in addition to having a shape or fashion, also has a meaningful color as symbols in the show. Maryono explained that the symbolic types of shapes and colors of the dancers' clothing are intended to have a role as a) identity, b) characteristics, and c) aesthetic expression.

Music
Music as an illustration of dance is the gendhing (gamelan [an Indonesian orchestra consisting of percussion instruments] melody). In dance performances, it is used to illustrate a description of the ongoing condition of the atmosphere. The function of the gendhing here forms the atmospheres that allow the dancers to express themselves (Maryono, 2015: 65). The Rejang Sandat Ratu Segara dance uses gong kebyar (a style or genre of Balinese gamelan music of Indonesia) as accompaniment music in its performance. The musical nuances produced are divided into two types, namely Javanese and Balinese nuances. As the wish of the former Regent of Tabanan, Ni Putu Eka Wiryastuti, that the beginning and the end of this dance depicts Javanese nuances.

Stage
A stage is a place that distinguishes the position of the dancer from the audience. types of dance work, and c) a path for performances that has carnival or walking type.
The third one is suitable for: folk and mass dance work (Maryono, 2015: 67). Based on Maryono's explanation, the venue for the Rejang Sandat Ratu Segara Dance is on the open field, in this case, is a beach with a colossal type of dance performance.

Property
Based on observations through video performances, the Rejang Sandat Ratu Segara Dance did not use property in its performance.

Lighting
The Rejang Sandat Ratu Segara dance performance did not use a lot of lighting.
Based on observations through video, lighting was only used in the audience area While in the dancers, there was only natural light used, the sunlight.

Setting
In setting up a decent, adequate, and attractive performance quality stage, it is necessary to take into account and consider the artistic setting. A good artistic form of the stage is to meet the following requirements: providing illustrations of the theme of the show, illustrating each scene of the performance, and giving the power of expression of the show (Maryono, 2015: 70