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The Aesthetic Taste Representation of Coastal Community Harmonia: Journal of Arts Research and Education 20 (1) (2020), 108-116 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.17426 The Aesthetic Taste Representation of Coastal Community Joko Wiyoso, Bintang Hanggoro Putra Department of Drama, Dance, and Music, Faculty of Languages and Arts, Universitas Negeri Semarang, Indonesia Submitted: December 31, 2019. Revised: March 9, 2020. Accepted: July 4, 2020 Abstract Aesthetic tastes of a person to an art form are determined by the knowledge and experience that comes from the culture of the community. In this regard, this study aims to determine the aes- thetic tastes of coastal communities as reflected in the collaborative packaging of the traditional art of Barong Ngesti Wargo Budoyo. The method used was a qualitative research method with data collection techniques, observation, interviews and documentation, then the data were ana- lyzed based on interactive data analysis which the flow were data reduction, data presentation, drawing conclusions and verification. The results showed that the collaborative packaging of the traditional art of Barong Ngesti Wargo Budoyo received tremendous appreciation from coastal communities, it was shown that every performance of this art was always full of audiences of all ages. The audience in the show as if there is no distance, the audience can also interact with players. The phenomenon that occurs in collaborative performances of traditional arts, indicates that the collaborative packaging of traditional arts represents the packaging of shows that suits the aesthetic tastes of coastal communities. Community tastes based on their characteristics can be categorized into popular taste. Keywords: Collaborative Packaging; Aesthetic Tastes; Coastal Communities How to Cite: Wiyoso, J., & Putra, B. H. (2020). The Aesthetic Taste Representation of Coastal Community. Harmonia: Journal of Arts Research And Education, 20(1), 108-116. INTRODUCTION a large mask as an embodiment or depicts four-legged animals, in Bali known as Ba- The area of Weleri, Kendal Regen- rong Ket, Barong Celeng and Barong Landung cy, precisely in Penyangkringan area has (Soedarsono, 2002) Barongan, in Blora, is a potential traditional art, it is Barong (Ba- the mask used is in the form of a tiger, rongan), namely Barong Art Group ”Nges- this is related to the Blora people’s belief ti Wargo Budoyo”. The existence of this art that the spirit of the tiger is as the most is quite widely known by the Weleri and powerful spirit in maintaining safety (Sla- surrounding communities. The indications met, 2003). Therefore the movement also are that each time the group performs, mimics the movement of the tiger. While people flock to watch the performance. the tiger dance movement that was deve- Community members from children to loped, contains a special meaning, specifi- adults mingle with one another to watch cally representing and describing the life this artistic attraction. of Blora Regency agricultural community Barongan is a group dance that uses in Indonesia (Budy, 2017). Corresponding author: E-mail: [email protected] 108 Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 109 In general, Barongan is in the form of a shift in function towards mere enter- group dances, which mimics the might of tainment. Septiyan (2018), the results re- a giant lion. The role of Singo Barong in the ported that the form of Barongan Samin totality in the presentation is a very domi- Edan was a typical dance of Blora which nant figure, in addition there are several mimicked the movements of animals na- inseparable figures, namely:Bujangganong, mely tigers. Movement in Barongan Samin Pujonggo Anom Joko Lodro, Gendruwo Pasu- Edan has a special meaning; specifically kan Berkuda, reog Noyontoko Untup (Andri, representing and illustrating the life of the 2017). Barongan in barongan art is a tool farming community in Blora, Indonesia. that is made to resemble Singo Barong or a Dewi (2016), the results report that there big lion as a ruler of a haunted forest and has been a change in the function of the very fierce. The Singobarong character in Barong dance, which initially had more the barongan story is also called Gembong religious value but after being commodi- Amijoyo, which means a large tiger in po- fied changed functions to commercial va- wer. lues. Karyono (2013), reported that the Ba- Barong art in the Weleri Penyang- rongan children’s performance model can kringan area, turns out to be different from be used as teaching material for Barongan the art barongan illustrations mentioned children’s learning in schools or as a form above. Barong art in Weleri is unique in of Barongan learning model in sanggar or the format of the show. This uniqueness in Barongan groups. occurs as a result of the Barong art perfor- Some of the previous studies with mance material that collaborates on how the theme of barongan art above, their re- many traditional arts in one show. Tra- levance to the research carried out are both ditional arts that are packaged into one related to barongan arts, the difference is performance include Barongan, Buroq, Da- the focus of their studies. Research con- wangan, Jaran Kepang, Balinese Dances, and ducted by previous researchers is more Balinese Barong. focused on the form of performance and The presence of an art presentation material changes, while the research con- package, of course, cannot be separated ducted examines the fun of the barongan from the role of the community as its sup- based on the perspective of the aesthetic porters. Therefore, collaborative packa- tastes of those supporting the arts. ging as happened in the Singo Barong Furthermore, previous research Ngesti Wargo Budoyo Art group, can be on aesthetic tastes was done by Sitowa- received or get a positive response from ti (2012), the results reported that people the community certainly cannot be separa- who have classical music tastes as both ap- ted from the tastes of the community itself. preciators and those who study them are Collaborative packaging offered will be citizens who belong to the upper classes in accepted and supported if the packaging social strata. Purhonen (2017), the results is suitable or meets the wishes of the com- report that there is a connection or relevan- munity as recipients. As mentioned at the ce between culinary tastes, musical tastes beginning, the presence of this art which and political attitudes in Finland. form of collaborative packaging has recei- The research above, its relevance to ved a positive response from the north co- the research conducted is the same topic ast communities of Java, especially in the about aesthetic tastes, the difference is the Kendal region. The community was very focus of the study. The research conducted enthusiastic to watch each time the group by Sitowati focuses on the case of the classi- performed. cal music community in Yogyakarta, then Previous studies related to Barongan Purhonen’s research focuses on the rela- Art have been carried out, such as Andri tionship between culinary tastes and mu- (2017), the results reported that the exis- sic tastes and political attitudes. While this tence of Barongan art in Pati experienced research is focused on the aesthetic tastes 110 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116 of the north coast communities of Central one’s temperament, both artists and con- Java as a supporter of a performance at the noisseurs of art. This temperament is of Singo Barong Ngesti Wargo Budoyo Art course not determined by education and Group in Weleri, Kendal Regency, Central knowledge (which can determine the un- Java. derstanding of the flow of art), but by life Even though there have been several experience and innate talent. Then Raditya previous studies with the same topic, this (2013) argues that aesthetically based on research is still feasible, because this rese- people’s tastes, while people’s tastes are arch problem has never been investigated based on cultural patterns that are built. before. Of course this study is complemen- Kant (2000) argues that more per- tary to existing research specifically about sonal tastes are the basis of a person to people’s aesthetic tastes. It is hoped that the make decisions about beauty, therefore his results of this research will contribute to judgment is more subjective. So that the the study of special arts from the perspecti- assessment of beauty based on subjective ve of the aesthetic tastes of the community. tastes is more universal, Kant as quoted Related to this, the focus of this research is by Suryajaya (2016) divides the decision of how the form of collaborative performan- beauty into four aspects, namely aspects of ce packaging and how the aesthetic tastes quantity, quality, relations and modality. of coastal communities represented in the The four aspects of the beauty decision can packaging of the show. be summarized as follows. Literally the word taste is one of the Decision of taste is the ability to give meanings of passion. While the word aest- decisions without influence and non-con- hetic has the meaning of something related ceptual about an object that inevitably pro- to the beauty of art and nature. Based on duces decisions universally and inherently the literal meaning of aesthetic taste can contains a goal, but is evaluated without be interpreted as a favorite about beauty, regard to these goals (Suryajaya, 2016). both beauty that comes from nature and According to Home, quoted by beauty arising from the work of art. Based Suryajaya (2016) tastes are composed of on the literal meaning of aesthetic taste can two stages, namely the perception and af- be interpreted as a favorite about beauty, fection stages.
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