Pesona Seni Dan Teknologi Pada Pertunjukan Fire Dance Di Komunitas Flownesia

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Pesona Seni Dan Teknologi Pada Pertunjukan Fire Dance Di Komunitas Flownesia Jurnal Kajian Seni, Vol. 06, No. 02, April 2020: 202-220 VOLUME 06, No. 02, April 2020: 202-220 PESONA SENI DAN TEKNOLOGI PADA PERTUNJUKAN FIRE DANCE DI KOMUNITAS FLOWNESIA Rifa Fitriana1, Paramitha Dyah Fitriasari1, Wiwik Sushartami2 Awardee LPDP PK-113 1 Prodi Pengkajian Seni Pertunjukan dan Seni Rupa Sekolah Pascasarjana, Universitas Gadjah Mada 2Prodi Pariwisata, Fakultas Ilmu Budaya, Universitas Gadjah Mada [email protected] ABSTRACT Flownesia is one of the Indonesian flow-art communities that usevisual performance with fire props. Based on the existing phenomena, researchers see the existence of special tricks that are used when performing and also various forms of property for enchanting the audience, so this research will explore the aesthetic impact that has emerged on visual fire dance performances and the role of technology in the Flownesia community. This research uses a qualitative method, that is done with participant observation. Alfred Gell’s (2006) theory of technology of enchantment was chosen to analyze the forms of visual art and technology performances in flow-art performances. The results of this research flow-art performances in the Flownesia community is a manifestation of art and technology, especially when exploring innovations in their performances. The enchantment that displayed is the result of extraordinary techniques also thr concept of modern and tradition, elaborated on the fire dance props. The movement structure, floor pattern, choreography and tool exploration are important aspect to create interesting visual effects in the Flownesia community performance. Keywords: aesthetic expressions, art and technology, flow-art, fire dance. ABSTRAK Flownesia merupakan salah satu komunitas flow-artdi Indonesia yang menggunakan bentuk pertunjukan visual dengan properti api. Berdasarkan fenomena yang ada, penulis melihat adanya trik khusus yang digunakan saat pementasan dan juga bentuk properti yang beragam untuk memukau penonton, sehingga penelitian ini akan menelusuri tentang dampak estetis yang dimunculkan pada pertunjukan visual fire dance dan peran teknologi di komunitas Flownesia. Penelitian ini menggunakan metode kualitatif, yang dilakukan dengan participant observation. Teori Alfred Gell (2006) tentang technology of enchantment dipilih untuk menganalisis bentuk pertunjukan visual seni dan teknologi pada pertunjukan flow-art. Hasil penelitiannya, pertunjukan fire dancepada komunitas Flownesia merupakan manifestasi akan seni dan teknologi, terlebih jika menelisik inovasi di dalam pertunjukannya. Pesona yang ditampilkan merupakan hasil dari teknik-teknik gerak yang extraordinary serta konsep modern dan 202 Rifa Fitriana, Paramitha Dyah Fitriasari, Wiwik Sushartami, Pertunjukan Fire Dance tradisi, dielaborasikan pada properti fire dance. Struktur gerak, pola lantai, bentuk koreografi dan eksplorasi alat adalah aspek penting untuk menimbulkan efekvisual yang menarik dalam pertunjukan komunitas Flownesia. Kata kunci: ekspresi estetis, seni dan teknologi, flow-art, fire dance, PENGANTAR art telah memadukan properti flow Dunia pertunjukan bersifat dengan teknologi cahaya baik berupa dinamis dan temporal, sehingga akan api (fire dance) atau lampu yang mampu berubah dari waktu ke waktu mengikuti menghasilkan cahaya berubah-ubah, dan perkembangan zaman. Memasuki era membentuk sebuah pola. Pada awalnya revolusi 4.0, perkembangan teknologi konsep flowdigagas oleh Csikszentmihalyi modern telah menjadi tranding topic Mihaly, seorang filsuf dan psikolog asal bagi masyarakat Indonesia dan dianggap Hungaria. Csikszentmihalyi Mihaly sebagai produk dari fenomena kemajuan menjelaskan bahwa, flow ialah sebuah zaman. Fenomena tersebut kemudian konstruk kondisi psikologis, perhatian telah mempengaruhi kreativitas seniman dan keterlibatan yang optimal (Chilton untuk menciptakan sebuah karya seni dan Wilkison, 2009:27-35). Sedangkan yang dikombinasikan dengan teknologi. flow-art adalah istilah umum untuk Tidak sedikit juga pernyataan pro dan mendeskripsikan persimpangan berbagai kontra oleh seniman tentang hadirnya disiplin gerak termasuk tari, juggling, teknologi dalam sebuah karya seni fire-spinning, dan manipulasi objek dapat menghilangkan rasa otentitasnya. (Flowartsinstitute.com, yang diakses Ditambah persoalan seni yang dipandang pada tanggal, 15 Februari 2019). Sesuai sebagai keindahan (estetis) yang mutlak, definisi tersebut,flow-art dapat diartikan atau hanya dipandang pada aspek sebagai sebuah kegiatan yang melibatkan intelektualnya saja. Dalam hal ini, koordinasi tubuh, pikiran, dan properti penulis mewacanakan salah satu objek untuk menghasilkan sebuah gerak yang seni yang hadir mengikuti persepsi optimal. polemik di atas dan akan dilihat melalui Di Indonesia fire dance dalam sudut pandang kajian pertunjukan. bentuk free style mulai populer saat Objek seni tersebut adalah komunitas munculnya Belda Zando di acara televisi di Yogyakarta yang mengembangkan fire Indonesia Mencari Bakat di tahun 2010. dance dengan teknik flow, sebagai seni Sebelum itu, istilah fire dancemengacu pertunjukan visual melalui cahaya, yang pada salah satu seni sakral di Bali yang bernama Flownesia. sudah ada sejak zaman pra-Hindu yang Secara luas flow dapat mengacu bernama Sang Hyang Jaran. Penari di berbagai bidang seperti, desain dalam pertunjukan Sang Hyang Jaran visual, psikologi, seni pertunjukan, akan mengalami kerawuhan roh Agung teknik komputer, dan masih banyak dan menari di atas bara api, namun lagi. Dalam seni pertunjukan, flow- hadirnya budaya barat pada tahun 2000- 203 Jurnal Kajian Seni, Vol. 06, No. 02, April 2020: 202-220 an, istilah fire dance atau kini dikenal Vasternburg, Festifal Payung 2018 di dengan istilah baru flow-art,menjadi lebih Candi Borobudur, Mahkota Wedding luas dengan berbagai bentuk eksplorasi Expo di Jogja City Mall, Pekan Budaya gerak dengan properti api, digital dan Tionghoa Yogyakarta 2019, Festival Be lampu. Seperti halnya pada komunitas Kraf di Surabaya , Jogja Cross Culture, Flownesia yang mengembangkan salah Festival Lima Gunung 2019 dan masih satu bentuk seni pop tersebut. banyak lagi. Pada komunitas Flownesia, Berangkat dari berbagai macam fire dance kemudian dikemas dalam latar belakang keahlian yang berbeda pertunjukan tari yang menarik dengan seperti, pesulap, badut, bartender, bentuk pertunjukan visual. Ekspresi penari, pemain ruyung, mahasiswa, dan estetis yang dihasilkan dalam pertunjukan psikolog, komunitas Flownesia berhasil tersebut berupa bentuk visual properti memodifikasi bentukfire dancemenjadi yang dibakar dan dimainkan dengan seni yang diminati semua kalangan. teknik gerak tertentu (extraordinary Keberhasilan eksistensi komunitas technique). Komunitas yang baru Flownesia pada dunia pertunjukan, dibentuk pada tanggal 09 September tidak terlepas dari kreativitas anggota 2018 Surakarta , dan pernah diberi nama membuat, konsep, peralatan yang dibuat Kalachakra kini menjadi komunitas sendiri dan teknik kerumitan gerak. yang terkenal di kalangannya, berkat Dalam pementasannya, komunitas membawa bentuk gaya baru dalam seni Flownesia menggunakan musik pertunjukan. Komunitas Flownesia juga MIDI dengan tempo yang konsisten, mendapatkan tanggapan positif dari sedangkan untuk acara modern seperti masyarakat melalui pertunjukan yang Jogja Cross Culture, sajian fire dance ditampilkan, karena mengusung konsep menjadi pertunjukan pengiring musik modern dan tradisi. Seperti hal nya live yang diiringi langsung oleh DJ, yang telah diungkapkan oleh salah satu perkusi maupun orkestra. Busana dan narasumber anggota komunitas bahwa, tata rias dibuat natural, tergantung tema komunitas Flownesia mengenalkan acara yang diselenggarakan. bentuk seni baru fire dance dengan Berdasarkan fenomena di atas, konsep tradisi tidak hanya free style, komunitas Flownesia memiliki cara hal tersebut dilakukan agar mudah khusus untuk mengolah pertunjukan lebih dipahami oleh masyarakat awam fire dance yang diminati banyak orang. (Wawancara Hangga Uka, 28 Januari Pertunjukan visual yang tampak 2020). Dengan konsep tersebut, ditujukan pada pola cahaya properti, komunitas Flownesia mendapat banyak sedangkan tubuh sebagai media utama tawaran untuk mengisi acara sebagai gerak hampir tidak terlihat dipanggung. bintang tamu pada event besar hingga Dengan begitu penulis ingin mengetahui saat ini seperti, acara Solo International bagaimana hubungan antara seni Performings Art (SIPA) 2018 di Beteng dan teknologi dalam pertunjukan fire 204 Rifa Fitriana, Paramitha Dyah Fitriasari, Wiwik Sushartami, Pertunjukan Fire Dance dance sehingga pertunjukan tersebut dalam karya seni terdapat pada tekniknya. mempunyai daya enchantment. Di sini Gell tidak mendimaterialisasi objek seni yang memiliki nilai estetis PEMBAHASAN dalam wujudnya, ia justru meng-highlight Menyoal tentang kehadiran teknologi bahwa wujud estetis seni merupakan dalam bidang seni, ternyata masih hasil teknik senimannya. Ternyata ada sangat menarik untuk dibahas. Hadirnya banyak hal yang harus dipertimbangkan pro dan kontra antara klaim hasil karya untuk menjustifikasi estetika pada seni yang dihasilkan oleh teknologi, objek seni, di luar dari tekstual dan dipandang tidak mempunyai nilai estetis. kontekstualnya. Dua pandangan tersebut Hal tersebut sama diungkap oleh Walter tentu bisa menjadi pisau bedah yang Benjamin, seorang filsuf aliran Marxisme tajam untuk mengulas sebuah objek menyebutkan bahwa, teknologi telah karya seni berdasarkan tekstual dan menghilangkan pesona dalam karya seni. kontekstualnya. Seperti koreografer Walaupun perkataan tersebut merujuk kontemporer
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