KALAPAN SEBAGAI UNSUR EKONOMI KREATIF PADA JARANAN BROMO-TENGGER-SEMERU (BTS): TUMPANG

Jaranan Bromo-Tengger-Semeru (BTS): Tumpang places the kalapan/trance session as the highlight of an attractive event and becomes an element of the creative economy that significantly contributes to the actors and their community. This research aims to describe how dancers can experience insanity and why the kalapan session is an element of the creative economy. The research method used is a qualitative approach with a multi-case study in two different settings. Collecting data through interviews, observation and documentation on two groups of jaranan, namely 1) Anusopati and 2) Tugu Sari Panggung Rejo. Data is verified by source triangulation data triangulation to obtain validity for efforts to prepare the episode of kalapan, the main attraction in Jaranan BTS: Tumpang.  The results of the study: 1) some rituals must be carried out and followed to become a Jaranan dancer who can go crazy/trance, namely the nyetren ritual which is routinely carried out every Friday Legi, 2) the episode of kalapan/trance is a part that has extraordinary appeal, is magical, mystical and attractiveness that always manages to bring in many spectators and many traders in the venue. The trance dancer is not in a state of pretending, but is indeed possessed by a supernatural spirit invited and entered by the handler. This research is expected to be a helpful reference on the existence of a process for infatuation/introduction that can be an element of the creative economy for the community of actors, fans and the general public. This research also expected as supporting data for writing the E-Book Jaranan Bromo-Tengger-Semeru (BTS): Tumpang

Perceptions of Senaputra Dance Students About the Art of Classical Dance and Traditional Creations

Around the 1970s, professional dance arts education for the general public began to grow. Students of professional dance were mostly the sons and daughters of wealthy individuals or government officials. Dance was regarded as a source of prestige for parents at the time. Such a perception exists because society is unable to contribute to the development of such status. After 50 years, though, that perception has changed. This study considered Sanggar Tari Senaputra Malang with the aim of examining the differences in perceptions among dance students at professional dance facilities. This was descriptive qualitative research and data were collected through observations of training activities and interviews with the leader of the Senaputra Dance Workshop (Siti Sofiana, 47 years old) and four trainers. Data were analyzed using phenomenological interpretation. The results demonstrated that: (1) classical dance takes a relatively long time to learn and is personal in nature to gain social prestige; and (2) traditional dance creations are simpler and faster to learn, and tend to establish social relationships. Keywords: classic dance, traditional dance, dance teacher, Sanggar Danc