Jepaplok merupakan judul dari sebuah karya tari kelompok yang di dalamnya melibatkan sembilan penari perempuan. Kata Jepaplok yaitu berasal dari Njeplak (Manggap) dan Nyaplok (mencaplok). Karya tari ini berawal dari pertunjukan Jaranan di Tulungagung Jawa Timur. Barongan atau biasa disebut Caplokan/Jepaplok adalah penggambaran hewan mitologi berupa ular naga sebagai penguasa hutan yang jahat. Sosok yang dilihat dari segi visualnya menyeramkan dan ganas, serta dari sudut geraknya yang sangat ekspresif. Gerak-gerak dasar yang digunakan antara lain seperti leang-leong, ngaplak, ngepruk, sondongan, pattetan, dan sundangan. Karya tari Jepaplok terdiri dari 4 bagian adegan. Pada bagian introduksi dipertunjukkan sosok Barongan dan Jaranan yang berbeda ruang dan kemudian saling menyerang. Bagian 1 berfokus pada gerak Barongan tanpa menggunakan properti topeng. Pada bagian 2 persiapan penyerangan terhadap penari Jaranan, sehingga dalam bagian ini sudah menggunakan properti topeng. Bagian 3 lebih kepada esensi penggunakan topeng dan diolah dengan permainan ritme dan menggunakan komposisi berpasangan. Bagian 4 yaitu akhir dari pertunjukan karya tari Jepaplok yaitu perangan Barongan dan Jaranan. Tetapi pada bagian akhir ini tidak semata-mata saling berhadapan satu dengan yang lain melainkan hanya sebatas permainan per kelompok. ABSTRACT Jepaplok is the title of a workgroup in which dance involving nine female dancers. The word Jepaplok is derived from Njeplak (Mangap) and Nyaplok (annexed). This dance originated in the works of interest in dance salon when watching a show used Jaranan (dance horse) in Tulungagung, East Java. The point of view of the Director of the dance stopped when one of the characters enter the staging area performance Barongan. Suspenseful atmosphere emerges when section toward the battle between used Horse and Barongan. Barongan or commonly called Caplokan/Jepaplok is the depiction of mythological animals in the form of a dragon serpent as ruler of the evil forest. The figure is seen in terms of the Visual sinister and vicious, as well as from the point of highly expressive movements that inspired the stylist for him to dance in a group dance with paper based on motion and feel the music used Jaranan Sentherewe Tulungagung, East Java. The focus of the implementation work of the dance called Jepaplok is more to perangan and Barongan figures. Basic motion-motion that is used among other things such as leang-leong, ngaplak, ngepruk, sondongan, pattetan, and sundangan. In the work of this Jepaplok dance doesn't bring up the story and consists of four parts of the scene. On the introduction of a dance figure demonstrating Barongan and different spaces used Horse and then each other. Part one is more focused on motion the Barongan poured into members of the body of a dancer without using the mask property. In part two, namely more to preparation which showed Barongan attacks against dancers used Horse, so in this section are already using property mask. Part three more to the essence of the use of mask and mingled with the game rhythm and composition using paired. Part four, namely the ending of the show dance work Jepaplok, as in general the final part of the art used Horse namely perangan and Barongan used Horse. But in the end, it does not solely face each other with one another but rather only as a game between groups.
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