Local language programs in cultural radios to maintain Indonesian national identity

Private radio, which relies on programs with local cultural content in local languages, affects the success of reaching large audiences and financial benefits. In East Java, four private radios have the advantage of local cultural programs, namely Radio Jodhipati FM in Nganjuk, Radio Sritanjung FM in Banyuwangi, Radio Nada FM Sumenep, and Radio Media FM in Surabaya. This study aims to determine what cultural programs can increase the number of listeners and profitability on the four cultural radios. Furthermore, to find out why listeners like local cultural programs of each radio. This research on broadcast content on four cultural radios uses virtual ethnographic methods by collecting data, both offline and online. Researchers are involved in broadcasting activities on four cultural radios (offline) and listener interaction activities in the virtual world (online), namely Facebook and WhatsApp. This study conducted interviews with twelve informants representing radio management, local cultural figures, and loyal listeners. The results showed that each radio has excellent cultural programs with a solid appeal to maintain listener loyalty. The four cultural radios involve cultural experts in designing cultural programs. Listeners try to maintain local tastes because they realize that love for local culture is a strengthening of national identity, which is the richness of Indonesian culture

Global Modernities and Post-Traditional Shadow Puppetry in Contemporary Southeast Asia

Under global modernity, Southeast Asian shadow puppet theatre is being re-worked in art galleries, the internet, community arts contexts, intermedial collaborations and festivals. Even while cultural conservatives mourn vanishing traditions, a generation of Southeast Asian practitioners are seizing the codes of performance culture, inhabiting received forms and re-making them to speak to both local particularities and global issues. These post-traditional artists mine traditions for political parody and carnivalesque revelry, violating the sacred aura of puppets to assert their own authorship and critique heritage discourse and development policies. Puppeteers fashion new performance genres, ephemeral creations re-negotiating connections between the local and the global. Animators and game designers re-work the figures, performance dynamics, and stories of shadow play traditions in digital milieus. Such abductions and radical interpretations stoke debates about cultural identity and patrimony, aesthetic norms and moral values, individual agency and collective creativity, postcolonial exoticism and the politics of recognition

Heroic Figures’ Characters in Wayang Wong Dance Drama: A Character Education For The Elementary School Students?

Wayang Wong is one Javanese traditional dance drama combining drama arts and wayang performance. The stories in Wayang wong performances are taken from Mahabarata and Ramayana. Many stories presented through wayang wong performances give various life examples through each figure’s characters. Of those contained in wayang wong performances, this article only selected the figures from Mahabarata story as not only well known by the society like Gatotkaca, Arjuna, Bima/Werkudara, or Kresna, but also many Mahabarata story figures have good characters appropriate to become the examples for the character education at schools. Love, forgiveness, patience. responsibility, helpfulness, and other good characters belong to the Mahabarata story protagonist figures. This descriptive qualitative research used a cultural approach by identifying wayang wong figures’ characters in both Ramayana and Mahabharata stories. The research data were collected using literature reviews on various relevant references to wayang wong to dig and obtain the descriptions of the wayang wong figures’ characters in both Mahabharata and Ramayana stories as the character education for elementary school students. This article is greatly interesting because by introducing the protagonist figures through wayang wong performances, the children from Javanese ethnicity are expected to have good characters sourced from the local cultures. This is important because by knowing wayang figures, children are taught to love and conserve their nation’s cultures. &nbsp

Oživljavajući javansko kazalište svitaka

Wayang beber is a form of picture performance from the Indonesian island of Java. It has a centuries-long oral tradition, from its beginnings in royal palaces to finally finding its place in two villages, where it has been preserved to this day. However, despite the significance and the strong performative and ritualistic aspects that wayang beber had in the past, this theatrical form became very rare and unknown even to the majority of the Javanese. This article offers a historical overview of the wayang beber and analyses its existence today in both traditional and contemporary styles.Wayang beber je kazalište svitaka s indonezijskog otoka Jave. Ta je višestoljetna tradicija započela u kraljevskim palačama te se prenijela u sela Središnje i Istočne Jave gdje se zadržala do danas. Međutim, usprkos velikoj važnosti te snažnim performativnim i ritualnim aspektima koje je wayang beber imao u prošlosti, taj je kazališni oblik postao rijedak i nepoznat većini Javanaca. Članak daje povijesni pregled wayang bebera i analizira njegovo postojanje danas u tradicionalnim i suvremenim oblicima

Sindhenan Banyumasan: An Example of Variation and Pluralism of the Javanese Female Singing Tradition

Sindhenan Banyumasan, meaning the female traditional Javanese singing in the style of Banyumas, represents an interesting “regional variant” of sindhen vocal tradition. Flourished in the court of Surakarta in the 19th century, the sindhen practice has spread rapidly across the centuries, reaching many territories outside the court centers. Deeply connected with the ancient practices of the singer dancers, sindhen styles are still indicative of the local traditions and a testimony of differences and continuity with the formal teaching of central Javanese institutions. Despite the importance of the local variants, existing international studies on sindhenan have mainly focused on the styles of Yogyakarta and Surakarta, often neglecting rural areas, like Banyumas. The aim of this paper is to shed some light on sindhen practice in Banyumas territory; and to investigate its history, performance practice, repertoires, and vocal style. The research outcomes reveal how Banyumas singing tradition has many common traits with Yogyakarta and Surakarta vocal practices, though it maintains some specificities, index of the pluralism of Javanese music and performing arts