THE SYMBOLIC TRANSFORMATION OF THE FOUR CENTRAL CHARACTERS IN MALANG MASK PUPPET PEROFRMING ART, EAST JAVA

This study is intended to describe the symbolization relation of the four central characters in the association of the Malang Mask Puppet ‘Wayang Topeng Malang’ (WTM) in Malang Regency, East Java. The functional- structural approach was used in the study. The data were collected through participatory observation and interview, and were analyzed using hermeneutic method. The function, structure, and characteristic of the characters in WTM were analyzed. The result of the study shows that there was significance in regard to the rational transformation among the central characters: Panji Asmarabangun, Dewi Ragel Kuning, Klana Sewandana, Gunungsari. The symbolic relation is related to the old religion, Hinduism, and the structure of the village administrators. Apart from that, the relation to colors, points of the compass, and market days (pancawara) was also foun

Transformation of Teacher’s Body As Students’ Learning Medium at Non-Traditional Choreography Lesson in Malang, East Java

Research is focused on topic concerning non-traditional (contemporary) choreography learning medium. Actually, this topic is still problematic because in one hand, teacher is positioned as facilitator but in the other hand, teacher is used as learning medium. Many assumptions have been provided to solve this problem. Assumptions are invisible and therefore, giving less controversy. This research attempts to review education phenomenology by deriving information from some experiencing dance art teachers. This approach explores problems behind contemporary choreography, which is in this research functioned as body-oriented learning process. Method of research is using qualitative descriptive that applies symbolic interactional theory. Main data are explored by observing actions of teachers during teaching-learning activity while the remaining is obtained through interview. Data analysis technique is interpretative semiotic. Result of research is explained in several sentences. Human body is basically not neutral because it is already affected by culture and local values that shape human’s personal characteristic and their method in expressing ideas. However, in teaching dance, body is needed as learning medium and therefore, quality of the body becomes important reference because dance activity is actually the expression of subjectivity. Contemporary choreography requires students not only to understand the body as a potential but also to be sensitive to the actual meaning of reality. Teacher’s body helps students to be aware with how to adapt with the current days, to improve self-expression quality, and to determine which part of the body that is already skilled. Learning contemporary choreography has allowed students to recognize which body part has potentials of being sensitive, interactive, and responsive to social reality

Traditional Arts in the Virtual Production Arena

This article reviews traditional arts in the ‘virtual production arena’. Artists of art activities in a virtual production arena must maintain their life energy and belief in the importance of their art works. This situation has forced conservers of traditional arts to be sensitive and set limits on the intervention of other artists. Empathy and participation in traditional arts are seen as a fear of losing ownership and loyalty, and are also perceived as anxiety over the threat of impairment. This article reviews the evolution, function, transformation and structuring that synergize local and global spaces of virtual production. Globalization is a process that reduces the existence of people in local spaces. To cope with this process, traditional arts have emerged, leaving the local buffer zone and entering the realm of generation Z, which has struggled to cope with the COVID-19 pandemic. Traditional arts have undergone mutation in virtual space and live again with new soul, new vision and new shape, synergizing with current trends. Most agencies that conserve traditional arts fail to understand this transformation. Traditional arts have become a capital source that supports the identity of individuals, institutions, organizations and bureaucracies. Clash among art conservers over virtual space represents a path toward structuring. Several activities constitute this structuring, including: constructing new networks, new relations, new identities, and new participation in a global production arena; developing art as a commodity; alleviating the free market impact by presenting art as a social spirituality to help individuals who suffer from loneliness and alienation; and activating individuals who already live alone who are crowded by less important information. A downstream part of traditional art in its struggle for claiming virtual space is its economic implication for art conservers. Keywords: traditional arts, virtual space, art conserver

The Character Adaptation of Masked Puppet Figures in Ruwatan Ritual

One myth that is believed by people living in Duwet village is distress that threatens human beings from when they are born till the day they die. As one way to overcome the distress, people, especially those who are living in Duwet village, hold ritual called as tolak bala. One step in the ritual is self-cleaning oneself from distress or sukerta. In addition to the ritual is a masked puppet as a means of the ritual execution. Thus, this study aims at finding out the functions of the Ruwatan masked puppet. Functional-structural perspective was adopted in the study by implementing observation, interview, and documentation study techniques. Results show that masked puppet has a special function which is to serve as a means of Ruwatan that is specifically to obtain society participation in order to give spiritual support to the process of ritual as a whole tolak bala or distress expulsion process

Critical and Creative Reflection of “Kendi” (Jug) Ceramic Craft Sourced from Garudea Myth in Kidal Temple of Malang, East Java

The research is a reflective review of craft art sourced from “kendi” ( jug) – traditional water container from Java – myth. “Kendi” ( jug) as water container became myth for Javanese. The myth was carved in Kidal temple in ‘Garudea’ story. “Kendi” ( Jug) myth said that it is used to contain “tirta amarta” (water of life) which used as conditions to free Dewi Winata who has been slave to take care Dewi Kadru’s children. “Kendi” Jug)’s function in common people is to store drinking water, just like produced by earthenware crafters in Indonesia. Creative orientation of “Kendi” ( Jug) creation titled “Ceramic Jug sourced from Garudea Myth in Kidal Temple of Malang” based on historical and aesthetic principles. Method used is critical and creative method. Critical method is used to do study of value or meaning contained in Kamandalu jug relief artefact in Garudea relief story of Kidal Temple of Malang. Next, the reflection then created to form ceramic artwork with contemporary jug theme. Creation result in form of “kendi” ( jug) ceramic artwork with contemporary shape using local clay in Malang. Creative approach based on Indonesian aesthetic, which is aesthetic based on spiritual values, eastern culture aesthetic with modern package.   Keywords: ceramic, craft, creative “kendi” ( jug)

Transformasi Artistik-Simbolik Wayang Topeng Di Kabupaten Malang Jawa Timur

Wayang topeng di Desa Kedungmangga sudah ada sejak tahun 1920-an. Kemampuan bertahan itu adalah daya tarik penelitian ini. Dalam mengkaji transformasi artistik-simbolik dibatasi dalam kurun waktu antara tahun 1970-2015. Berpijak daripada itu dirumuskan pertanyaan penelitian sebagai berikut (1) Mengapa wayang topeng di Desa Kedungmangga mampu bertahan, (2) Bagaimana proses transformasi artistik-simbolik wayang topeng di Desa Kedungmangga, dan (3) Apakah dampak transformasi artistik-simbolik terhadap pewaris aktif dan penyangga Wayang Topeng di Desa Kedungmangga. Penelitian ini menggunakan pendekatan fungsional Struktural. Secara spesifik menerapkan teori A-G-I-L. yaitu Adaptation (adaptasi), Goal attainment (tujuan), Integration (integrasi), dan Latent pattern maintenance (pemeliharaan). Teknik pengambilan data menggunakan wawancara, pengamatan terlibat, dan kajian dokumentasi. Proses pengumpulan data menggunakan model snowball. Teknik analisis menggunakan interpretasi. Landasan konseptual penelitian adalah budaya, transformasi, dan pertunjukan. Teori yang diterapkan adalah teori ritual, estetik, sibernetika, dan fungsi. Wayang topeng di Desa Kedungmangga mengalami perubahan sosial dari sistem masyarakat mekanik ke organik. Sistem sosial mekanik didasarkan atas solidaritas kekerabatan yang bersifat hierarki. Kamituwa sebagai pimpinan karismatik membentuk masyarakat bersifat mekanik. Ketua perkumpulan wayang topeng mendorong masyarakat bersifat organis. Melalui sistem sosial kemasyarakatan di Desa Kedungmangga itu ditemukan trasformasi artistik-simboli

Sungai sebagai Transmisi Ritual Urban Kesuburan melalui Pertunjukan Wayang Topeng

Sungai pada saat ini sudah mulai tidak mendapatkan perhatian masyarakat terutamadalam masyarakat urban, kebersihannya sudah tidak ada yang bersedia menjaga.Sampah dan cairan deterjen menjadi bahan yang mengotori kebersihan. Akibatnyaair menjadi tidak lagi bersih, membawa bibit penyakit, dan mengakibatkan bencanabanjir. Sungai bagi masyarakat desa di Malang pada waktu yang lampau memilikiarti penting, seperti tempat tertentu di antara bilik-bilik mandi yang disebutbelik terdapat pundhen desa tempat roh nenek moyang bersemayam. Keyakinanmasyarakat desa di Malang itu dikaji dengan teori strukturalisme-simbolis denganmenggunakan data wawancara dan observasi partisipatoris. Teknik analisismenggunakan interpretasi. Penemuannya adalah relasi yang kuat antara sungai,gunung, dan desa: (1) sungai adalah transmisi pemujaan kesuburan dari dewagunung, (2) sungai menjadi manifestasi sih langgeng (cinta abadi), anugerah singnguripi (yang menghidupi), dan (3) sungai diyakini sebagai wujud tirta pawitrasari; air kehidupan. Ritual urban pemujaan terhadap kesuburan adalah anugerahkehidupan yang diekspresikan melalui media seni pertunjukan Wayang Topeng.The River as a Transmission of Fertility Ritual through the Performing ArtsMedia of Wayang Topeng. Nowadays, the rivers are starting not to get any intentionfrom our society; nobody is willing to keep them clean. Garbage and detergent liquidhave become the contaminated materials for them. As a result for that matter, waterhas not been clean anymore, has carried germs, and has lead to floods. Long time ago,rivers for villagers in Malang had its significant value, like a certain place in the showercubicles called ‘belik’, there was a ‘pundhen desa’ where ancestral spirits dwelled. The villagers’ belief in Malang is analyzed with a symbolic - structuralism theory using the data of interviews and participatory observation. The interpretation is used as theanalysis technique. The finding of the research is that there is a strong relation amongrivers, mountains, and villages: (1) the river is the transmission of fertility worship of themountain Gods, (2) the river becomes the manifestation of ‘sih langgeng’ which meansthe eternal love, the blessing of the almighty support ‘sing nguripi’, and (3) the river isbelieved to be a form of ‘tirta pawitra sari’; the water of life. The worship of fertilityritual is the blessing of life that is expressed through the performing arts media of Wayangtopeng

Ideology Behind Malay Gravestone Artifacts

This research considers gravestone artifacts in the environment of Malay cultural communities. The use of gravestones as cemetery markers is proof that the user communities have been subject to acculturation. The use of gravestones by Malays is a legacy of Middle East culture. Gravestones are often used in a certain way to indicate the religion of the deceased. Moslems’ gravestones are usually inscribed with Arabic calligraphy. Malay gravestone artifacts are decorated with flora carvings, geometric ornaments, and Arabic calligraphy. Most of them are now stored at National Museum of North Sumatera Province, Malaysian National Museum, and library archive at Indonesian National Library. This article uses qualitative descriptions that involve collecting data concerning artifacts through interview, observation and literature studies. Data analysis is conducted using John Fiske’s Semiotic Theory, which explains visual artifacts through social codes at the levels of reality, representation and ideology. After reviewing gravestone artifacts in the Malay community environments, this study identified a relationship between social aspects and spirituality. If the deceased is a poor person, the gravestone will be simple. When the deceased is a member of the nobility, a successful trader, or a government official, the gravestone can be ornate. Therefore, gravestones have various manifestations when considered with regards to their origins, shapes, and cultural ideologies. Keywords: gravestone, cemetery, Malay culture, ideolog

Implementasi Pembelajaran Seni Tari Secara Daring Pada Masa Pandemi Covid-19

Kajian ini bertujuan untuk mendeskripsikan implementasi pembelajaran seni tari secara daring pada masa pandemi covid-19, dengan fokus masalah meliputi (1) aktivitas pelaksanaan pembelajaran, (2) capaian kompetensi hasil belajar, dan (3) problematika pelaksanaan pembelajaran. Penelitian ini menggunakan desain kualitatif. Data penelitian berupa paparan verbal yang dikumpulkan melalui wawancara secara mendalam dengan 7 instruktur seni tari yang melaksanakan pembelajaran secara daring. Analisis data mencakup reduksi data, penyajian data, penafsiran data, dan penyimpulan. Temuan kajian ini menunjukkan bahwa pembelajaran tari secara daring dilakukan secara virtual dengan menggunakan media audio visual, baik dilaksanakan secara sinkronus dan asinkronus. Capaian kompetensi siswa rendah, yakni penguasaan hafalan gerak (Irama) mencapai 50%, kemampuan teknik menari (wiraga) 30%, dan penghayatan (wirasa) 20%. Problematika yang dihadapi oleh instruktur dalam pelaksanaan pembelajaran tari melalui daring ini meliputi: (1) fokus siswa terhadap model gerak instruktur, (2) peran orang tua atau pendamping belajar, (3) mengekspresikan isi tema tari. Temuan tersebut memberikan manfaat bagi pembelajaran tari, yakni sebagai rujukan untuk memperbaiki proses pembelajaran dan pengembangan media pembelajaran tari dan mengoptimalkan teknologi komunikasi secara lebih efektif. Kata kunci: Gerak Tari, Pembelajaran Virtual, Sanggar Tari