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FROM RITUAL TO ENTERTAINMENT: THE CHANGING ROLE OF BARONGAN PERFORMANCE ARTS
Corresponding Author(s) : Muhammad Jazuli
Humanities & Social Sciences Reviews,
Vol. 8 No. 4 (2020): July
Abstract
Purpose of the study: The aim of the study is to 1) describe the Barongan Performance Arts presented in the form of parades and dance-drama on aspects of motion, accompaniment, makeup, fashion, and venue; 2) describe the role of Barongan Performance Arts in Blora society, namely the role of ritual and the role of entertainment that has lasted a long time; and 3) describe the changing role of Barongan Performance Arts from ritual to entertainment in Blora society.
Methodology: This research is based on qualitative analysis—the data collected by observation, interview, and documentation. Data validity is using credibility, transferability, dependability, and confirmability. The data of the form of Barongan Performance Arts were analyzed used the ethnocoreology approach, and the data of the changing role of the Barongan Performance Arts were analyzed used the social action method.
Main Findings: Barongan Performance Arts are displayed in two forms, namely the form of a procession or parade and dance-drama. Barongan Performance Arts from ritual to entertainment because, the development of social and cultural life of the Blora people, this is influenced by economic and globalization factors. The growth and development of Barongan Performance Arts as an entertainment center is inseparable from the participation of artists and managers in introducing Barongan Performance Arts.
Applications of this study: The results of this study are expected to be beneficial for the development of Barongan Performance Arts so that it still exists that is loved by the community, as a reference for local governments in the effort to develop and preserve Barongan Performance Arts, to be an appreciation for and development of Barongan Performance Arts teaching materials and to be an additional aesthetic experience that sourced from Barongan Performance Arts.
Novelty/Originality of this study: The conflict between ritual and entertainment interests in Barongan Performance Arts is definite. Reflection of the conflict can be seen from the existence of competing with each other, influencing each other in its presentation and strategies attracting the attention of a broad audience. While the comparison seems they can live and develop side by side.
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- Abdoh, R. (2018). Theatre Beyond Space and Time. PAJ: A Journal of Performance and Art, 40(3), 16-28. https://doi.org/10.1162/pajj_a_00430 DOI: https://doi.org/10.1162/pajj_a_00430
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- Ali, M. N., & Salim, N. A. (2019). The Arts of Social Reality (Re) Construct Individual Mindset of Post-Independence Community Via Historical Documentary. Humanities & Social Sciences Reviews, 7(2), 270-275. https://doi.org/10.18510/hssr.2019.7231 DOI: https://doi.org/10.18510/hssr.2019.7231
- Anjasuari, N. W., Sumadi, K., & Widana, I. K. (2017). Pertunjukan Tari Barong Sebagai Atraksi Wisata di Desa Pakraman Kedewatan Kecamatan Ubud Kabupaten Gianyar. Jurnal Penelitian Agama Hindu, 1(1), 123-128. https://doi.org/10.25078/jpah.v1i1.143 DOI: https://doi.org/10.25078/jpah.v1i1.143
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- Boivin, N. (2009). Grasping the Elusive and Unknowable, Material Culture in Ritual Practice. Material Religion; The Journal of Objects, Art and Belief, 5(3), 266-287. https://doi.org/10.2752/175183409X12550007729860 DOI: https://doi.org/10.2752/175183409X12550007729860
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References
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Ali, M. N., & Salim, N. A. (2019). The Arts of Social Reality (Re) Construct Individual Mindset of Post-Independence Community Via Historical Documentary. Humanities & Social Sciences Reviews, 7(2), 270-275. https://doi.org/10.18510/hssr.2019.7231 DOI: https://doi.org/10.18510/hssr.2019.7231
Anjasuari, N. W., Sumadi, K., & Widana, I. K. (2017). Pertunjukan Tari Barong Sebagai Atraksi Wisata di Desa Pakraman Kedewatan Kecamatan Ubud Kabupaten Gianyar. Jurnal Penelitian Agama Hindu, 1(1), 123-128. https://doi.org/10.25078/jpah.v1i1.143 DOI: https://doi.org/10.25078/jpah.v1i1.143
Armani, N. (2019). Cultures Are Not Anyone's Property. PAJ: A Journal of Performance and Art, 65-70, 41(3). https://doi.org/10.1162/pajj_a_00487 DOI: https://doi.org/10.1162/pajj_a_00487
Blackledge, A., & Creese, A. (2018). Interaction Ritual and the Body in a City Meat Market. Social Semiotics, 30(1) 1-24. https://doi.org/10.1080/10350330.2018.1521355 DOI: https://doi.org/10.1080/10350330.2018.1521355
Boivin, N. (2009). Grasping the Elusive and Unknowable, Material Culture in Ritual Practice. Material Religion; The Journal of Objects, Art and Belief, 5(3), 266-287. https://doi.org/10.2752/175183409X12550007729860 DOI: https://doi.org/10.2752/175183409X12550007729860
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Creswell, J. W. (2007). Qualitative Inquiry & Research Design, Choosing Among Five Approaches (2nd Ed.). Thousand Oaks, California: Sage Publications, Inc.
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Depdikbud. (1998). Deskripsi Kesenian Barongan. Blora, Jawa Tengah, Indonesia: Proyek Pembinaan Kesenian Jawa Tengah.
Dewi, A. P. (2016). Komodifikasi Tari Barong di Pulau Bali Seni Berdasarkan Karakter Pariwisata. Panggung, Jurnal Seni Budaya, 26(3), 222-233. https://doi.org/10.26742/panggung.v26i3.187 DOI: https://doi.org/10.26742/panggung.v26i3.187
Djazuli, M. (1994). Telaah Teoritis Seni Tari. Semarang: IKIP Semarang Press.
Djelantik, A. A. (1999). Estetika: Sebuah Pengantar. Bandung: Masyarakat Seni Pertunjukan Indonesia.
Effendi, J., & Kusumastuti, E. (2013). Barongan Jogo Rogo Dalam Tradisi Selapan Dino. Jurnal Seni Tari. Jurnal Seni Tari, 2(1), 1-12.
Gottowik, V. (2008). The Barong Wants to Go Out Again: Krisis Moneter and the Sesurgence of Rituals in Indonesia. ASEAS - Austrian Journal of South-East Asian Studies, 1(2), 95-104.
Grimes, R. L. (2012). The Ritualization of Moving and Learning. Time and Mind: The Journal of Archaeology, Consciousness and Culture, 5(1), 85-98. https://doi.org/10.2752/175169712X13182754067467 DOI: https://doi.org/10.2752/175169712X13182754067467
Hull, K. L. (2014). Ritual as Performance in Small-Scale Societies. World Archaeology, 46(2), 164-177. https://doi.org/10.1080/00438243.2013.879044 DOI: https://doi.org/10.1080/00438243.2013.879044
Ibda, H. (2019). Strategi Grup Barongan Blora Sardulo Krida Mustika Dalam Melestarikan Seni Barongan Blora. Handep, 2(2), 161-186. https://doi.org/10.33652/handep.v2i2.35 DOI: https://doi.org/10.33652/handep.v2i2.35
Insoll, T. (2009). Materiality, Belief, Ritual-Archeology and Material Religion, an Introduction. Material Religion; The Journal of Objects, Art and Belief, 5(3), 260-264. https://doi.org/10.2752/175183409X12550007729824 DOI: https://doi.org/10.2752/175183409X12550007729824
Irianto, A. M., Laksono, A., & Hermintoyo. (2018). Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification. Harmonia: Journal of Arts Research and Education, 18(1), 1-12. https://doi.org/10.15294/harmonia.v18i1.11363 DOI: https://doi.org/10.15294/harmonia.v18i1.11363
Jazuli, M. (2014). Sosiologi Seni: Pengantar dan Model Studi Seni (2nd Ed.). Semarang: Graha Ilmu.
Kay, A. (2000). Art and Community Development: The Role the Arts Have in Regenerating Communities. Community Development Journal, 35(4), 414-424. https://doi.org/10.1093/cdj/35.4.414 DOI: https://doi.org/10.1093/cdj/35.4.414
Khoury, S. (2017). On Periodically Potent Places: The Theatre Stage as a Temporarily Empowered Space for Ritual Performances in Cambodia. The Asia Pacific Journal of Anthropology, 18(5), 1-18. https://doi.org/10.1080/14442213.2017.1366545 DOI: https://doi.org/10.1080/14442213.2017.1366545
Manuati, Y. (2006). Identitas Dayak Komodifikasi dan Politik Kebudayaan. Yogyakarta: LKiS Pelangi Aksara.
Marschall, W. (1995). Possession, Barongan, and Social Relief in a Central Javanese Village. Indonesia Circle. School of Oriental & African Studies. Newsletter, 23(66), 100-108. https://doi.org/10.1080/03062849508729841 DOI: https://doi.org/10.1080/03062849508729841
Miles, M. B., & Huberman, A. M. (1994). Qualitative Data Analysis (2nd Ed.). Thousand Oaks, California: Sage Publications, Inc.
Moore, A. (1996). Feasting as Occupation: The Emergence of Ritual From Everyday Activities. Journal of Occupational Science, 3(1), 5-15. https://doi.org/10.1080/14427591.1996.9686403 DOI: https://doi.org/10.1080/14427591.1996.9686403
Murni, E. S., Rohidi, T. R., & Syarif, M. I. (2016). Topeng Seni Barongan Di Kendayakan Tegal: Ekspresi Simbolik Budaya Masyarakat Pesisiran. Catharsis: Journal of Arts Education, 5(2), 150-159.
Narawati, T. (2003). Performance Studies: An Introduction (Sebuah Tinjauan Buku). Panggung: Jurnal Seni Budaya.(27), 6-12.
Okado, K. (2012). The New Role of Javanese Traditional Performing Arts: A Case Study of Educational and Socially Transformative Gamelan Music Programs in Prisons. Journal of Urban Culture Research, 5, 70-85.
Pambudi, F. B., Iswidayati, S., & Supriyanto, T. (2015). Perkembangan Bentuk Topeng Barongan Dalam Ritual Murwakala di Kabupaten Blora. Chatharsis: Journal of Arts Education, 4(2), 83-91.
Parker, S. K. (2010). Ritual as a Mode of Production: Ethnoarchaeology and Creative Practice in Hindu Temple Arts. South Asian Studies, 26(1), 31-57. https://doi.org/10.1080/02666031003737190 DOI: https://doi.org/10.1080/02666031003737190
Purwanto, S. E. (2019). Mysticism of Barong and Rangda in Hindu Religion. Vidyottama Sanatana; International Journal of Hindu Science and Religious Studies, 3(2), 258-283. https://doi.org/10.25078/ijhsrs.v3i2.899 DOI: https://doi.org/10.25078/ijhsrs.v3i2.899
Puspita, D. R., Nurhadi, & Liestyasari, S. I. (2017). Upaya Pelestarian Kesenian Barongan di Kecamatan Cepu (Studi Fenomenologi Tiga Paguyuban Barongan di Kecamatan Cepu Kabupaten Blora). Sosialitas; Jurnal Ilmiah Pendidikan Sosiologi Antropologi, 8(1), 1-10.
Richman, N. I. (2018). What does it Feel Like to be Post-Secular? Ritual Expressions of Religious Affects in Contemporary Renewal Movements. International Journal of Philosophy and Theology, 79(3), 295-310. https://doi.org/10.1080/21692327.2018.1434011 DOI: https://doi.org/10.1080/21692327.2018.1434011
Saputri, A. Y., Saddhono, K., & Sulaksono, D. (2019). Tegas Desa Tradition: Manifestation of Local Cultural Wisdom of Agrarian Community in Ngasem Sragen Indonesia. Humanities & Social Sciences Reviews, 7(6), 596-603. https://doi.org/10.18510/hssr.2019.7690 DOI: https://doi.org/10.18510/hssr.2019.7690
Schechner, R. (2002). Performance Studies: An Introduction. New York: Routledge.
Sedyawati, E. (1983). Seni Dalam Masyarakat Indonesia. Jakarta: Gramedia.
Septiyan, D. D. (2018). Bentuk Pertunjukan Kesenian Barongan Grup Samin Edan Kota Semarang. Jurnal Pendidikan dan Kajian Seni, 3(2), 180-194. https://doi.org/10.30870/jpks.v3i2.4580 DOI: https://doi.org/10.30870/jpks.v3i2.4580
Shafazhinskaya, N. E., Kats, M. L., Smirnov, A. V., Ovsyannikova, V. A., & Kruglova, M. G. (2019). Integration of Traditions in Crossover Music as a Way to Bridge the Intergenerational Gap. Humanities & Social Sciences Reviews, 7(6), 1230-1234. https://doi.org/10.18510/hssr.2019.76174 DOI: https://doi.org/10.18510/hssr.2019.76174
Shaliha, H. M. (2019). Bentuk dan Makna Simbol Tari Barong Banjar di Desa Tanjung Ibus, Kecamatan Secanggang, Kabupaten Langkat. Jurnal Ilmiah Kohesi, 3(1), 10-22.
Shepard, S. (2018). Experimental Theatre Then and Now. PAJ: A Journal of Performance and Art, 40(1), 3-4. https://doi.org/10.1162/PAJJ_a_00388 DOI: https://doi.org/10.1162/PAJJ_a_00388
Slamet, M. D. (2012). Barongan Blora Menari di Atas Politik dan Terpaan Zaman. Surakarta: Citra Sains.
Soedarsono, R. M. (2002). Seni Pertunjukan Indonesia di Era Globalisasi. Yogyakarta: Gadjah Mada University Press.
Spampinato, F. (2019). Choreographies of Power, The Public Movement Collective. PAJ: A Journal of Performance and Art, 41(1), 22-33. https://doi.org/10.1162/pajj_a_00447 DOI: https://doi.org/10.1162/pajj_a_00447
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