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CATHARSIS 9 (1) 2020 Halaman: 77-84 CATHARSIS 9 (1) 2020 Halaman: 77-84 p-ISSN 2252-6900 I e-ISSN 2502-4531 Catharsis: Journal of Arts Education http://journal.unnes.ac.id/sju/index.php/chatarsis The Values of Jaranan Pogogan Art Teguh Rahayu at Sugihwaras Village, Prambon Sub-District, Nganjuk Regency Wahyu Prasetyo Bekti , Sunarto Sunarto, Udi Utomo E-mail: [email protected] Universitas Negeri Semarang, Indonesia Received 26 January 2020, Accepted 15 March 2020, Published 31 May 2020 Abstract Jaranan Pogogan art Teguh Rahayu have its own uniqueness. The uniqueness lies in the presentation performed on stage, and is presented by two male dancers who dress up like a pretty woman. A dancer is as a Sasra and another dancer is as Pogog. The purpose of this research is to analyse the values of the art performance of Jaranan Pogogan Teguh Rahayu. This study used a descriptive qualitative approach with a case study model at the art performance of Jaranan Pogogan Teguh Rahayu. This research was conducted in Sugihwaras village, Prambon Sub-district, Nganjuk Regency. The data in this research is classified as two, namely primary data and secondary data. The data collection techniques in this study are field observations, interviews, documents, and library studies. The triangulation is used as the process in the validity of the data of this study. Technique of analysis data used data reduction, data presentation and conclusion and verification. The results showed that there are four values contained in the Pogogan Teguh Rahayu Arts Museum, they are as follows; the value of deity, the value of goodness, the value of righteousness, and the value of beauty. This analysis uses some value on the Pogogan Teguh Rahayu Art which the values reflected in daily activities. Keywords: Values, the art of Pogogan Teguh Rahayu DOI : https://doi.org/10.15294/catharsis.v8i4. 37936 INTRODUCTION Jaranan Pogogan art has been established since 1956, headed by mbah Maridjo. The art 77 Wahyu Prasetyo Bekti, et al./ Catharsis: Journal of Arts Education 9 (1) 2020: 77-84 has its own uniqueness. The uniqueness lies in the mountain Ronggeng allowed a change in the presentation performed on stage, and is the function and value of the art. From sacred presented by two male dancers who dress up to Profan, from ritual to entertainment. The like a pretty woman, a dancer is as a Sasra and research is useful as a reference about value. another dancer is as Pogog. Pogogan is the name The research results are examined by of the accessories worn by a figure known as Widya Susanti titled "The Aesthetic value of Pogog. The name of the artistry only takes the traditional performances of Jathilan Tuo in name of Pogog, because it is very prominent and Magelang Regency". This research discussed dominant in the arts. how the form and the aesthetic value found in These Pogogan Jaranan dancers (Mogol) the show Jathilan Tuo. The origins of the word are similar to kuda kepang or Jaranan that exist Jathilan are rooted from the word "Jan" which in Reog Ponorogo, there are differences in means very and "Thil-Thilan" which means a lot motion and the presentation in both Jaranan. of motion, which is then connected to the Its resemblance between the Jaranan Pogogan movements very much as the running horse of and Reog Ponorogo is on the story as a the Jejondilan. This research is useful as a choreographer. Jaranan Pogogan Art also has reference to the value of the arts that will be another uniqueness, namely the art is far from examined. magical elements, and movements are just a The research results were written by movement of entertainment, and not like other Opta Septiana, titled "Cultural value of music Jaranan that prioritizes magical elements and performances in Semende society". This study acrobatic movements. Jaranan Pogogan art had discussed the values of live music been studied. First, it was examined by performances. The singing music of the song is Fibrianto and Alrianingrum (2016) entitled Art about the praise to the Prophet Muhammad of Pogogan in Sugihwaras village of Prambon Saw to remind and give good advice to the District Nganjuk in 1956-1980. This study perpetrator and audience. The cultural values discussed how the early formation of the reflected in the music performances are Pogogan Arts was formed. Secondly, the reflected when the people relate to the five research was studied by Anggraini (2018) aspects of God, man, nature, work and time so entitled Jaranan Pogogan Teguh Rahayu at as to produce religious values, responsibilities, Sugihwaras village Prambon subdistrict mutual cooperation, solidarity, economic value Nganjuk District (holistic art critique). This And the value of love culture. The research is study discussed how the art form of a Jaranan beneficial as a reference to value. Pogogan Teguh Rahayu and holistic art The results of the research written by criticism is found in the Pogogan Teguh Rahayu Gugun Gunardi under the title "Cultural role of Art Museum. With the research, the author is 'Mikanyaah Munding' in the conservation of interested in developing existing research in Sundanese art tradition". This study discussed order to be more perfect. the cultural role of the Mikanyaah Munding. The results of the study written by Risa The value of "Mikanyaah munding" has lived Nopianti entitled "From Ronggeng Gunung to culturally and cultured in the context of space Ronggeng Kaler: Change of value and and time of social cultural life in the function". This study discussed the changes in Cirangkong-cikeusal society. It has managed to the value and function of the Roggeng Gunung bequeath indigenous values, aesthetics, ethics, art. Ronggeng Gunung is as an art from a long and character in the form of concepts and history of narrative which is a typical art that matters of practice, as well as the content of depicts the condition and identity of the meaning that implicates the social action. The community in Ciamis District, especially the study was useful as a reference to traditional community in Ciulu village, Banjarsari. The arts and values. emergence of Ronggeng Kaler adapted from 78 Wahyu Prasetyo Bekti, et al./ Catharsis: Journal of Arts Education 9 (1) 2020: 77-84 The research results written by Dyah subjects. The primary data form in this study is Suryanti Retna Sari entitled "Dance the oral information of the research subject. Devolution Gending Sriwijaya and educative The Data obtained is sourced from the leaders values at the art gallery of Princess Hair Selako of the Jaranan Pogogan Arts Group, the head of Palembang City". Gending Sriwijawa dance is Sugihwaras village, the head of the film and a traditional dance of South Sumatera region regional Arts from the Tourism Office, Youth, that has the potential form and value that needs Sports and culture, and the community of to be maintained and inherited, art education in Sugihwaras village. Secondary data is data that the workshop is a traditional dance devolution is in the form of information material obtained effort as done by art gallery of Princess Hair indirectly. The data in question are the archives Selako. The research is useful as a reference to or documents, data such as video value (documentation) documented by The researchers examined the Jaranan DINPORABUDPAR and researchers during Pogogan due to several backgrounds, namely: 1. the performance, as well as other relevant Jaranan Pogogan arts are almost extinct; 2. every supporting data. year, Jaranan Pogogan art is always asked to be The data collection techniques in this performed by the local government; 3. Jaranan study are field observations, interviews, Pogogan art is only preserved in Nganjuk documents, and library studies. Creswell district; 4. Jaranan Pogogan arts have never been (2012:267-270) states that data collection researched as a thesis, but the Jaranan Pogogan procedures in qualitative research involve four art was studied as an article and thesis. types of strategies namely qualitative Therefore, the author is interested in reviewing observation, qualitative interviews, document the arts under the title "Values on the art studies (qualitative documents, audio, visual performance of Jaranan Pogogan in Sugihwaras and audio materials and library studies. village, Prambon sub-district Nganjuk regency". RESULT AND DISCUSSION METHOD The Values of Jaranan Pogogan art Teguh Rahayu The methods used in this study are The art group of Jaranan Pogogan qualitative research methods with interpretive Teguh Rahayu is located in Jimbir, Sugihwaras models. This means that the acquisition of data village, Prambon subdistrict has the comes from the field by conducting characteristics of dance movements, Ndagel observations and deep interviews, then style is as the main scene of the Jaranan Pogogan described and interpreted with the theories or and has musical instruments that is similar to concepts of the form of the show. The research those owned by the arts of Jaranan Pogogan in object in this writing is Pogogan Teguh Betet Village. Jaranan Pogogan Teguh Rahayu is Rahayu's Jaranan. The focus of research is the also characterized by the dialogue between actors Jaranan Pogogan Teguh Rahayu. The actors. All dancer is male, while the female formula of the problem taken is how the values dancer is a man who is dressed up like a girl. of the performance of Jaranan Pogogan art in the The goal is to attract community interest as well village of Sugihwaras, Prambon Sub-district, as to invite laughter from the audience. The Nganjuk district. distinguishing characteristic of the Jaranan In this research the data source is Pogogan "Teguh Rahayu" with another Jaranan divided into two, namely primary data sources Pogogan is in its musical instrument of Kepyak and secondary data sources, primary Data is where the instrument is not found in another obtained through direct observation conducted Jaranan Pogogan.
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