DOCSLIB.ORG

The Transformation of Dance Instruction in Bali, Indonesia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Transformation of Dance Instruction in Bali, Indonesia Int. J. Sport Health Sci. Paper : Cultural Anthropology The Transformation of Dance Instruction in Bali, Indonesia Mami Kokuho Faculty of Social Innovation, Seijo University, Seijo 6-1-20, Setagaya-ku, Tokyo 157-8511, Japan E-mail: mami.kokuhou@gmail.com [Received August 26, 2019; Accepted April 29, 2020; Published online May 22, 2020] Dance in Bali, Indonesia, known as Balinese dance, has so far been taught by traditional in- struction methods that involve repeated program imitation and correction. However, in recent years, an instruction method for beginners known as “Dasar,” has been proposed by an in- structor. The purpose of this paper is to consider the problems currently faced while teaching Balinese dance by analyzing the characteristics of the new method of instruction. As a result of analyzing Dasar and comparing it with traditional instruction methods, we found that this method coincides with the changes in the environment for Bali dance and the children who study it. With these environmental changes, passing on Balinese dance to the younger generation, using traditional instruction methods has become difficult. Tailored to such an environment, Dasar, with its uniform instruction methods and presentation of basic movements was proposed with the intention of establishing new standards for teaching all types of Balinese dance. Initially, it may seem as though Dasar adopted an instructional method that did not previous- ly exist. A clear effort by an instructor has been made to recognize and protect diversity while categorizing elements into the old and the new of Bali island culture to further promote dance. Keyword: Bali, dance, instruction method 1. Preface Bali-barihan is the 19th century Legong dance. How- ever, new creative dances also fall into this category. Originating from Bali province (hereinafter, Bali) in As such, Bali-barihan dances are developed and added the Republic of Indonesia, there are various types of each year. Because most Bali-barihan dances require Balinese dance, including ritual votive dances, dances high levels of skill, historical practice entailed that for amusement, and the more recent creative dance children were specifically selected to undergo strict type. Beginning with those containing the strongest training while lodging at temples far away from their ritual elements, these dances are divided into three families; they were thus raised as dancers (Tōkai et categories: Wali, Bebali, and Bali-balihan. As dances al., 1990). Today, however, any interested persons are of the most sacred category, Wali, are highly restrict- permitted to learn these dances by paying monthly ed*1, while Bali-barihan are relatively free and can be tuition fees to practice them a few times each week as performed for tourists. While Balinese votive dances a type of hobby. that have been passed down for generations are con- Given the changing environment, an instructor served through these categories, new dances have also recently proposed a dance called “Tari Dasar”*2 com- been proactively developed to focus more strongly on monly called “Dasar” along with a new method of amusement. instruction. Dasar is a beginner’s dance designed to This study examined how these dances are handed help students learn the basic movements of Balinese down and taught to children by focusing on the cate- dance. Until recently, it was “traditional” for beginners gory of amusement dancing, or Bali-barihan dances, to learn this while standing behind an expert dancer which are intended for public enjoyment and thus and imitating their movements. While special methods performed at events and functions that have little of instruction designed for beginners (such as those religious significance. A representative example of seen in Dasar) are now rare, they are of great interest 180 International Journal of Sport and Health Science Vol.18, 180-188, 2020 http://taiiku-gakkai.or.jp/ The Transformation of Dance Instruction in Bali, Indonesia to studies researching the current state of Balinese There are the following previous studies on the cur- dance. rent dance instruction in which the environment has The purpose of this paper is to consider the prob- changed. British ethnomusicologist Jonathon McIntosh lems facing Balinese dance today by analyzing the conducted fieldwork on the sanggar*4 in Gianyar Pre- characteristics of this instruction method. It is now fecture, and he discussed the role of music and dance common for recent Balinese creative dances to include in children’s daily life. On dance instruction, McIntosh dance elements from other genres. Children also have stated that the traditional method emphasizes “(1) imi- many opportunities to see other genres of dance tation, (2) manipulation, and (3) kinesthetic transfer” through the Internet or on television. In the context of (McIntosh, 2006). Australian ethnomusicologist Peter a globalizing society, the succession of folk dances Dunbar-Hall conducted fieldwork on the sanggar in presents a major challenge not only for Balinese danc- village of Ubud. Like McIntosh, Dunbar-Hall noted ing, but also for that of other cultures. Thus, this study that instruction involves imitation and correction. He also holds the potential to contribute to folk dancing also cited another aspect, namely, “there are no tech- knowledge more broadly. nical exercises, and learning is through performance The research method used is centered on participant of complete pieces” (Dunbar-Hall, 2011). Yagi Reiko, observation and interviews conducted in the field. I a scholar of Ethology for Kansei information and Psy- also interviewed the founder of Dasar regarding its chology for well being, notes that in the teaching of makeup and received dance instructions directly from Gamelan and Balinese dance, great classical songs are her. This paper elaborates on my findings during this used from the start through “a method wherein the process*3. teacher begins to dance right away from the beginning of the song, and the learner focuses solely on imita- 2. Preceding research tion.” (Yagi, 2019) Thus, recent studies on dance instruction refer to a Writings left by foreign visitors to Bali during the repeated process of imitation and correction, but there 1920s and 1930s inform us that contemporary begin- is no reference to the kind of detailed instruction or ners would stand behind instructors or older dancers physical training that Reneng and Cawan received. In while imitating their movements; instructors would my own fieldwork, I have also found that the method then take their hands and correct their motions of repeated imitation and correction is now commonly (Covarrubias, 2006 [1936], Speis and Zoete, 2002 described as “traditional.” Of course, there is no ques- [1938]). Learners would continue practicing until tion that Balinese dance instruction has generally been they were successfully able to perform the movements conducted through repeated imitation and correction alone. However, evidence also indicates that there for a very long time. However, if the term “traditional” were other methods of instruction; Ni Ketut Reneng, refers to methods of instruction that have been used an active dancer at the time who later became an for such a length of time, then methods such as mas- instructor, described her life after being selected and sages designed to make the body supple and begin- trained as a dancer in Bali, Island of Dance (Tōkai et ning by learning the positioning of the feet should al., 1990). Reneng’s training began with massages also be included. Here, “traditional instruction meth- designed to make her body supple from an early stage. ods” refer to those in which an expert dancer performs She practiced dance and trained all day, from morning a dance from the beginning of the song while the be- until night. When learning a dance, she would begin ginner stands behind them to imitate their movements. with the feet and gradually move to the upper body The expert then corrects the learner’s movements. movements. It is also clear that she received detailed Accordingly, this paper refers to these elements as instructions that went beyond simply standing behind “traditional instruction methods.” an expert dancer and copying their movements. Ni Ida Ayu Made Praba Wisnuari take up Dasar as the Ruh Cawan, a dancer who was active during the topic for her graduation thesis for the Indonesian 1930s, also provided descriptions in Bali, Island of Institute of the Arts Denpasar (Institut Seni Indonesia Dance regarding how she underwent physical training Denpasar, ISI). Wisnuari carried out fieldwork at outside dance, such as that designed to accomplish Sanggar Tari Bali Warini (hereinafter Sanggar beautiful eye movements and being bound to a bam- Warini), which is presided over by the founder of boo pole in order to better arch her chest. Dasar, Ni Ketut Arini. She focused on Arini’s instruc- 181 Mami Kokuho tion methods, including that of Dasar, and its effects; home, where she frequently takes the stage to provide of great interest here are discussions on Dasar’s instructions to children. Many current professional uniqueness that include interactions with students dancers and ISI teachers were her students. (Wisnuari, 2016). However, in addition to these, I The Sanggar Warini is the largest sanggar in Den- would also like to research about the background of pasar with over 200 students. In addition to being a Dasar. As such, in this research, I seek to describe renowned dance instructor as mentioned above, Arini and analyze the characteristics of this new method, is also well known for her personality and teaching and then focus on and discuss the current problems of methods, and is popular with neighborhood children Balinese dance instruction. as well as kids who come from further away to learn dance under her tutelage*6. 3. Research subjects 4. Dasar The main target of this research is the Sanggar Warini in Denpasar, Bali’s capital city, which Arini 4.1. Flow of instruction presides over as mentioned above.
Load more

Recommended publications
  • Analysis on Symbolism of Malang Mask Dance in Javanese Culture
    ANALYSIS ON SYMBOLISM OF MALANG MASK DANCE IN JAVANESE CULTURE Dwi Malinda (Corresponing Author) Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 365 182 51 E-mail: malinda-modande@yahoo.com Sujito Departement of Language and Letters, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 817 965 77 89 E-mail: doctor_su@yahoo.co.id Maria Cholifa English Educational Department, Kanjuruhan University of Malang Jl. S Supriyadi 48 Malang, East Java, Indonesia Phone: (+62) 813 345 040 04 E-mail: mariacholifah@yahoo.com ABSTRACT Malang Mask dance is an example of traditions in Java specially in Malang. It is interesting even to participate. This study has two significances for readers and students of language and literature faculty. Theoretically, the result of the study will give description about the meaning of symbols used in Malang Mask dance and useful information about cultural understanding, especially in Javanese culture. Key Terms: Study, Symbol, Term, Javanese, Malang Mask 82 In our every day life, we make a contact with culture. According to Soekanto (1990:188), culture is complex which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. Culture are formed based on the local society and become a custom and tradition in the future. Culture is always related to language. This research is conducted in order to answer the following questions: What are the symbols of Malang Mask dance? What are meannings of those symbolism of Malang Mask dance? What causes of those symbolism used? What functions of those symbolism? REVIEW OF RELATED LITERATURE Language Language is defined as a means of communication in social life.
    [Show full text]
  • Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok
    Cross-Gender Attempts by Indonesian Female Impersonator Dancer Didik Nini Thowok Madoka Fukuoka Graduate School of Human Sciences, Osaka University, Japan mfukuoka@hus.osaka-u.ac.jp ABSTRACT This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia. In addition, it discusses his endeavours of crossing gender boundaries by focusing on his use of costumes and masks, and analysing two significant works: Dwimuka Jepindo as an example of comedic cross-gender expression and Dewi Sarak Jodag as an example of serious cross-gender expression. The findings indicate three overall approaches to crossing gender boundaries: (1) surpassing femininity naturally expressed by female dancers; (2) mastering and presenting female characters by female impersonators and cross-gender dancers; and (3) breaking down the framework of gender itself. Keywords: Didik Nini Thowok, cross-gender, dance, Java, Indonesia © Penerbit Universiti Sains Malaysia, 2014 58 Wacana Seni Journal of Arts Discourse. Jil./Vol.13. 2014 INTRODUCTION This article examines the creative stages of Didik Nini Thowok (1954‒), a female impersonator and cross-gender dancer based in Java, Indonesia.1 In addition, it discusses his endeavours of crossing gender boundaries by focusing on the human body's role and Didik's concept of cross-gender dance, which he has advocated since his intensive study of the subject in 2000. For the female impersonator dancer, the term "cross-gender" represents males who primarily perform female roles and explore the expression of stereotypical femininity. Through his artistic activity and unique approach, Didik has continued to express various types of femininity to deviate from stereotypical gender imagery.
    [Show full text]
  • Balinese Dances As a Means of Tourist Attraction
    BALINESE DANCES AS A MEANS OF TOURIST ATTRACTION : AN ECONOMIC PERSPECTIVE By : Lie Liana Dosen Tetap Fakultas Teknologi Informasi Universitas Stikubank Semarang ABSTRACT Makalah ini menguraikan secara ringkas Tari Bali yang ditinjau dari perspekif ekonomi dengan memanfaatkan Bali yang terkenal sebagai salah satu daerah tujuan wisata di Indonesia. Keterkenalan Bali merupakan keuntungan tersendiri bagi pelaku bisnis khususnya bisnis pariwisata. Kedatangan wisatawan asing dengan membawa dolar telah meningkatkan ekonomi masyarakat Bali, yang berarti pula devisa bagi Indonesia. Bali terkenal karena kekayaannya dalam bidang kesenian, khususnya seni tari. Tari Bali lebih disukai karena lebih glamor, ekspresif dan dinamis. Oleh karena itu seni tari yang telah ada harus dilestarikan dan dikembangkan agar tidak punah, terutama dari perspektif ekonomi. Tari Bali terbukti memiliki nilai ekonomi yang tinggi terutama karena bisa ‘go international’ dan tentunya dapat meningkatkan pemasukan devisa negara melalui sektor pariwisata. Kata Kunci: Tari, ekonomi, pariwisata, A. INTRODUCTION It is commonly known that Bali is the largest foreign and domestic tourist destination in Indonesia and is renowned for its highly developed arts, including dances, sculptures, paintings, leather works, traditional music and metalworking. Meanwhile, in terms of history, Bali has been inhabited since early prehistoric times firstly by descendants of a prehistoric race who migrated through Asia mainland to the Indonesian archipelago, thought to have first settled in Bali around 3000 BC. Stone tools dating from this time have been found near the village of Cekik in the island's west. Most importantly, Balinese culture was strongly influenced by Indian, and particularly Sanskrit, culture, in a process beginning around the 1st century AD. The name Balidwipa has been discovered from various inscriptions.
    [Show full text]
  • Maintaining Social Relationship of Balinese and Sasak Ethnic Community
    International Journal of Social Sciences and Humanities Available online at http://sciencescholar.us/journal/index.php/ijssh Vol. 2 No. 1, April 2018, pages: 92~104 e-ISSN: 2550-7001, p-ISSN: 2550-701X http://dx.doi.org/10.29332/ijssh.v2n1.96 Maintaining Social Relationship of Balinese and Sasak Ethnic Community I Wayan Ardhi Wirawan a Article history: Received 20 August 2017, Accepted in revised form 25 January 2018, Approved 11 February 2018, Available online 9 March 2018 Correspondence Author a Abstract This research aims to study the background of building informal cultural ties as a medium of reharmonization between Balinese ethnic community and Sasak ethnic community in Mataram City, West Nusa Tenggara Province. This study used qualitative interpretive design in order to find answers issues, namely background of establishing a cohesion bond between two ethnic communities. Based on the result of this research, it is found that there are four influential factors, namely cultural contact between Balinese ethnic and Sasak ethnic communities during the historic period, the implementation of Balinese culture and Sasak culture in Lombok, cultural adaptation of each cultural identity, and construction of informal cultural ties as medium of interethnic communication. Keywords The informal cultural ties have an important significance in maintaining the integration between Balinese ethnic community and the Sasak ethnic Ethnic balinese; community in Mataram city. Based on this phenomenon, the recommendation Informal cultural ties; that can be proposed is to maintain the sustainability of informal cultural ties Quotidian; through the cultivation of awareness in each ethnic community and Sasak ethnic; involvement of traditional figures in providing intensive guidance on the Social harmony; importance of preserving the cultural values of ancestral heritage in maintaining social harmony.
    [Show full text]
  • The Origins of Balinese Legong
    STEPHEN DAVIES The origins of Balinese legong Introduction In this paper I discuss the origin of the Balinese dance genre of legong. I date this from the late nineteenth century, with the dance achieving its definitive form in the period 1916-1932. These conclusions are at odds with the most common history told for legong, according to which it first appeared in the earliest years of the nineteenth century. The genre Legong is a secular (balih-balihan) Balinese dance genre.1 Though originally as- sociated with the palace,2 legong has long been performed in villages, espe- cially at temple ceremonies, as well as at Balinese festivals of the arts. Since the 1920s, abridged versions of legong dances have featured in concerts organized for tourists and in overseas tours by Balinese orchestras. Indeed, the dance has become culturally emblematic, and its image is used to advertise Bali to the world. Traditionally, the dancers are three young girls; the servant (condong), who dances a prelude, and two legong. All wear elaborate costumes of gilded cloth with ornate accessories and frangipani-crowned headdresses.3 The core 1 Proyek pemeliharaan 1971. Like all Balinese dances, legong is an offering to the gods. It is ‘secu- lar’ in that it is not one of the dance forms permitted in the inner yards of the temple. Though it is performed at temple ceremonies, the performance takes place immediately outside the temple, as is also the case with many of the other entertainments. The controversial three-part classification adopted in 1971 was motivated by a desire to prevent the commercialization of ritual dances as tourist fare.
    [Show full text]
  • An Analysis of the Characteristics of Balinese Costume - Focus On The Legong Dance Costume
    Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 67, No. 4 (June 2017) pp. 38-57 https://doi.org/10.7233/jksc.2017.67.4.038 An Analysis of the Characteristics of Balinese Costume - Focus on the Legong Dance Costume - Langi, Kezia-Clarissa · Park, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Associate Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2017. 1. 12, revised date: 2017. 4. 11, accepted date: 2017. 6. 16) ABSTRACT1) Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the charac- teristics of Balinese costumes by focusing on the Legong dance costume. Quantitative re- search was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illus- trates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers.
    [Show full text]
  • The Artistic Prominence and Tension of the Malat in Painting and Contemporary Balinese Performance Emily Austin SIT Study Abroad
    SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2017 Panji's Present Predicament: the artistic prominence and tension of the Malat in painting and contemporary Balinese performance Emily Austin SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Dance Commons, Other Arts and Humanities Commons, Other Classics Commons, Painting Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Austin, Emily, "Panji's Present Predicament: the artistic prominence and tension of the Malat in painting and contemporary Balinese performance" (2017). Independent Study Project (ISP) Collection. 2585. https://digitalcollections.sit.edu/isp_collection/2585 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact digitalcollections@sit.edu. Austin !1 PAÑJI'S PRESENT PREDICAMENT: the artistic prominence and tension of the Malat in painting and contemporary Balinese performance Emily Austin Advised by Garrett Kam SIT Study Abroad Indonesia: Arts, Religion and Social Change Spring 2017 Austin !2 Table of Contents Table of Contents ..............................................................................................
    [Show full text]
  • Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung
    Bali 1928: Gamelan Gong Kebyar Music from Belaluan, Pangkung, Busungbiu 2 Introduction 6 A Sketch of the Time Period of these Recordings 11 Emergence of Kebyar 29 The Balinese Gamelan Recordings from Bali, 1928: a track–by–track discussion: 33 Gamelan Gong Kebyar of Belaluan, Denpasar 46 Gamelan Gong Kebyar of Pangkung, Tabanan 50 Gamelan Gong Kebyar of Busungbiu, Northwest Bali 57 List of Silent Archival Films 58 Acknowledgments 61 References Cited and Further Readings * Glossary on Separate PDF File1 1 The spellings in this article follow modernized Balinese orthography of dictionaries such as Kamus Bali Indonesia, by I Nengah Medera et.al. (1990). Although this system was proposed as early as 1972 it has been applied irregularly in writings on the arts, but we have chosen to adhere to it so as to reflect a closer relationship to actual Balinese aksara ‘letters of the alphabet, language’. For instance, many words with prefixes frequently spelled pe or peng are spelled here with the prefixes pa and pang. 1 Introduction These historic recordings were made in 1928 as part of a collection of the first and only commercially–released recordings of music made in Bali prior to World War II. This diverse sampling of new and older Balinese styles appeared on 78 rpm discs in 1929 with subsequent releases for international distribution. The records were sold worldwide (or not sold, as it happened) and quickly went out of print. It was a crucial time in the island’s musical history as Bali was in the midst of an artistic revolution with kebyar as the new dominant style of music.
    [Show full text]
  • Living/Writing/Teaching/Dancing Between Cultures
    University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses & Projects Faculty of Education Projects (Master's) 2002 Nasi goreng and hot dogs : living/writing/teaching/dancing between cultures Darmaningsih, Maria Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2002 http://hdl.handle.net/10133/1072 Downloaded from University of Lethbridge Research Repository, OPUS NASI GORENG AND HOT DOGS: LIVINGIWRITING/TEACHINGIDANCING BETWEEN CULTURES MARIA DARMANINGSIH B.A., Jakarta Institute of the Arts, 1987 A Project Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfillment of the Requirements for the Degree MASTER OF EDUCATION LETHBRIDGE, ALBERTA JANUARY 2002 Dedication Aum Sri Krishna Arpanam 111 Abstract The purpose of this project is to explore my life through dance and text. It is an autobiography of my life as a human being, an Indonesian woman, a Classical Javanese dancer and teacher, and a mother through the transition of becoming a person who has learned to view life in freer and more independent ways. This was facilitated by the combination of my dance, my move to Canada with my three children, and the opportunity to study as a graduate student in education. I have created a dance piece, Nasi Goreng & Hot Dogs, as part of the process ofre-educating myself. Although Javanese culture remains a very important part of me, I have discovered a new vision, an inner freedom and knowledge, which have added fullness to my life. This process has been a personal journey that has inspired my teaching. IV Acknowledgements I would like to thank the Ford Foundation for its support, which allowed me to study at the University of Lethbridge.
    [Show full text]
  • The Hero Disguised As a Servant Interview by Cristina Wistari
    The Open Page Ni Nyoman Candri The Hero Disguised as a Servant Interview by Cristina Wistari When did you start to dance? I was seven years old when I started to dance. My father, I Made Kredek, first taught me the Baris, a vigorous warrior I like him because he is gracious, dance that develops stamina, resistance and muscle power. polite, kind, delicate and My father was a renowned dancer who knew several charming. I do not like people genres of the Balinese repertoire: Topeng, the masked who are impolite and talk dance drama; Arja, the operetta; Gambuh, the most rudely. I like gentle refined ancient form of dance drama; and Parwa the masked dance people. Mantri Manis sings at a drama that narrates the Mahabharata epic. My father very high pitch and in a very played the Wijil, the king's servant in Topeng, Arja and sophisticated way. I identify with Parwa. He was small and thin and therefore this role suited such a character because he him very well. At that time only men danced Gambuh and embodies all the qualities that for therefore they played all the female roles. In Gambuh, my me are of main importance in a father played the Condong, the maid of the princess. human being and he portrays them through both dance and Whose choice was it for you to learn Baris? voice. My father decided I had to start with Baris, because this is the traditional way in Bali, at least for young boys. Baris incorporates a lot of the dance vocabulary of the male repertoire.
    [Show full text]
  • Heirs to World Culture DEF1.Indd
    15 New Sundanese dance for new stages Irawati Durban Ardjo In this essay I will discuss part of my life in dance, beginning with my experiences studying and performing dance in an era when con- ditions were very different to those of today both in Indonesia and abroad. My essay, unlike other contributions to this volume except for Melani Budianta’s, are based on personal experience. While Melani’s essay recounts her personal experience and the cultural life of Per- anakan Chinese in Malang, a town in East Java, I am writing about the experience of a Sundanese dancer on the national stage and my trav- els abroad which influenced developments in the arts in Indonesia.1 When I came to write about this experience, I discovered many things of which I had previously been little aware. The time, during the Soekarno period, when I began to know dance, to love it and to participate in it so enthusiastically was in fact an important period in the young nation in its efforts to shape Indonesian-ness; as a people, as a nation and in the arts. President Soekarno was a statesman and an artist who loved the arts, particularly the dance of Indonesia’s regions. The period that forms the timeframe of this book, 1950-1965, is fit- ting because we can consider it the period when the foundation pil- lars were set in the search for national culture and in awareness of the importance of regional arts within it. Furthermore, political and cultural contacts with the outside world resulted in a new context for regional dance and dancers, and new stages for them.
    [Show full text]
  • Balinese War Gamelan (From the 10Th to the 21St Century) PROGRA
    J.06 GAMELAN PERANG DI BALI (ABAD KE-10 SAMPAI AWAL ABAD KE-21) Balinese War Gamelan (from the 10th to the 21st Century) Oleh: Hendra Santosa NPM. 180130140006 DISERTASI untuk memperoleh gelar Doktor dalam Ilmu Sejarah pada Universitas Padjadjaran Dengan Wibawa Rektor Universitas Padjadjaran Sesuai dengan keputusan Senat Komisi I/Guru Besar Universitas Dipertahankan tanggal 12 Desember 2017 Di Universitas Padjadjaran PROGRAM STUDI ILMU-ILMU SASTRA PROGRAM PASCASARJANA (S3) FAKULTAS ILMU BUDAYA UNIVERSITAS PADJADJARAN BANDUNG 2017 ABSTRAK Judul Disertasi : GAMELAN PERANG DI BALI (ABAD KE-10 SAMPAI AWAL ABAD KE-21) Subjek : 1. Sejarah 2. Bali 3. Gamelan 4. Perang Abstrak Disertasi ini berisi kajian tentang gamelan perang di Bali, abad ke-10 sampai awal abad ke-21. Permasalahan yang diangkat dalam penelitian ini adalah: pertama bagaimana asal-usul gamelan perang di Bali, kedua mengapa terjadi perubahan nama dari mredangga, bedug, dan kemudian menjadi tambur, ketiga apakah instrumentasi gamelan Mrĕdangga sama dengan instrumentasi gamelan Bheri, dan keempat bagaimana proses perjalanan gamelan Banjuran menjadi Adi Merdangga. Metode yang dipergunakan dalam kajian ini adalah metode sejarah, yang dilakukan dengan empat tahapan kerja yaitu heuristik, kritik, interpretasi, dan historiografi. Untuk menganalisa perubahan-perubahan yang terjadi, antara lain menggunakan teori perubahan perubahan yang dicetuskan oleh Claire Holt dimana perubahan dipicu oleh faktor eksternal. Selanjutnya perubahan dari John E. Keamer yang menyebutkan bahwa inovasi bisa berasal dari salah seorang anggota kelompok masyarakat yang bersangkutan (atau senimannya), maka dengan demikian konsep perubahan taksu dan jengah pada masyarakat Bali diterapkan dalam membedah perubahan yang terjadi pada gamelan perang. Untuk melihat perkembangan dan penyebarannya dipergunakan teori dari Bourdieu tentang habitus dimana kebiasaan merupakan pusat tindakan.
    [Show full text]