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

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 aesthetic 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. The perception stage is re- both beauty that comes from nature and lated to the absorption of the quality of a beauty arising from the work of art. work of art, while the affection stage is re- Beauty is one of the needs of human lated to the feeling of goodness or badness life which is abstract, beauty cannot be of a work of art. Furthermore Leibniz in touched with hands nor can be tasted with Suryajaya (2016) states that tastes are per- the tongue, beauty can only be felt by the ceptions of disaggregated ideas. senses. Humans sometimes are willing to Taste according to Bourdieu as quo- sacrifice both material and time, in order ted by Haryatmoko (2003) is not neutral to meet the need of beauty. All humans and natural, but is determined and orga- basically have the desire to enjoy beauty nized by the position of social class in so- wherever and whenever they are. Enjo- ciety. Taste as a cultural activity cannot ying beauty can reduce stressful thoughts, be separated from the systems of typical provide entertainment, and make a yout- representation of a social group, from a hful appearance, because that activity can position in society, and from the desire to affect emotions and the human brain as an place themselves on an authority. One way organ center that can affect the work of ot- a person distinguishes himself from social her organs (Pujiati, 2017). classes outside himself is through three People have different taste of beauty, structures of consumption, namely food, both natural beauty and beauty of art. This culture and appearance. Taste is a form of is in line with the opinion of Hadiyatmo cultural consumption structure. Further- (2017) which explains that art tastes lead to more Bourdieu in Sitowati (2010) shows Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 111 social patterns in the forms of tastes asso- METHOD ciated with basic social divisions such as social class, gender, rural and urban, and The method used in this study is a between higher education and lower edu- qualitative research method, which is a cation. Taste is used to indicate differences method that presents the results of rese- in the level of social class of the commu- arch in the form of narration or words. Re- nity. Each social class has their own tastes search data obtained through three techni- and struggles in the community (field) to ques namely observation, interviews and determine and enhance their class in social documentation. Observations were made life. on the performance of the show to deter- Bourdieu divides the class of tas- mine the audience’s response and the ent- tes into high and low tastes. Classes with husiasm of the public to watch the show. ‘high’ tastes are called legitimate tastes, Interviews were conducted with commu- or aristocratic tastes. While those who nity members as spectators of the show to have low taste are called popular tastes). find out the reason they came to present the Legitimate or aristocratic tastes are tastes show, while documentation was carried that are formed or developed through art out to complete the data obtained through subjects in schools or educational institu- observation and interviews. Furthermore, tions. It can also be said that through an data analysis refers to the analysis of in- education it has formaly understood about teractive model data with data reduction a complete art concept include the ins and paths, data presentation and conclusions outs. Therefore these legitimate or aristo- as well as data verification. cratic tastes are tastes that have been habi- tualized (Pramudya, 2012). RESULTS AND DISCUSSION This legitimate taste is actually a ‘pure’ perception which practically con- Collaborative Packaging “Barongan Art” firms objective and natural conditions. Na- The packaging of traditional art tural objects or objective situations are no “Barongan Art” of Singo Barong Ngesti longer seen and perceived naturally, but Wargo Budaya group, Penyangkringan aesthetically. A moment when a natural Village, Weleri District Kendal Regency, object becomes an object of art (aesthetic) in the form of collaboration or combining is a moment that prefers form (perspective of several different arts. Furthermore, this and form) over function (Pramudya, 2012). collaborative packaging is presented in Low taste or common taste (popu- one show that divides into some stages. lar taste), usually develops ‘naturally’ due The first is the Singo Barong attraction, to contact with daily life. It could also be in this attraction featuring three barongs said that this taste is a continuity between consisting of black barong, yellow barong art and life. Therefore, reading and under- and small barong. The second is Dawan- standing based on the tastes of ordinary gan, showing the attractions of two giant people are always associated with the con- dolls that are moved by humans. The third text of their daily lives. So the beauty of an is Buroq, showing the attraction of two art is not seen as subliming the art itself as dolls resembling a buroq animal and an intended by Kant, but as long as it is con- elephant moved by people. The fourth is nected with the life experienced. Bourdieu Jaran Kepang combined with a number of said, ordinary tastes always prioritize fun- Balinese art icons. Broadly speaking, the ction over perspective or form.“Everything order of presentation of the collaborative takes place as if the “popular aesthetic” were packaging of the Singo Barong Ngesti Bu- based on affirmation of continuity between art doyo group is as follows. and life, which imply the subordination of form Beginning with the Black Barongan to function,.(Bourdieu, 1979) comes out the stage, then do some attractions by moving its body mimicking a lion 112 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116 that occasionally open his mouth. After a who want to ride Buroq. After the attracti- while doing the attraction followed by the on, the dolls leave the stage, and the per- exit of the Yellow Barongan, then the two formance ends. This presentation is about barongan doing the attraction together 15 minutes. on the stage. Both of them walked around The last presentation is Jaran Kepang in circles in the arena of the performance. collaborated with Balinese Dance. This After a few moments of mutual attraction, presentation was marked by the entry of the Yellow Barongan does the attraction of a group of Jaran Kepang dancers to the per- eating humans by swallowing one of the formance arena, after a while doing attrac- audiences through his mouth. After the tions with group dance, entered a dancer attraction swallows humans, then the two who wore a Balinese dance costume To- barongan do attraction again in the are- peng Tua handed a whip to one of the ja- na of the show. A few moments later the ran kepang dancers then left the stage. Then yellow barongan performed the attraction entered two female dancers in the Bali of giving birth, then the child/small ba- Cendrawasih dance costume demonstra- rongan also took part in the performance ting the Balinese dance, after acting for arena. So that in the arena there are three a while the two dancers exited the stage. barongan that do attraction together. At Next came two dancers in Balinese dance the time of the three barongan attractions costumes, the type of Leyak or Rangda, to there is a kind of saweran from the audi- the performance arena, teasing the dancers ence by putting money into the mouth ba- who still pose on stage. After a while in ac- rongan. Barongan attractions give birth as tion the two dancers exited the stage. Furt- a sign that the first performance will end. hermore, the sitting Jaran Kepang dancers After a few moments the three barongan continue their attraction by dancing toget- perform attractions together, the presen- her till end. After the Jaran Kepang perfor- tation of the first round ended marked by mance was completed, two female dan- the entry of the three barongan out of the cers appeared in Balinese dance costumes arena. The presentation of the first part is resembling Condong Dance performing approximately 20 minutes. attractions imitating Balinese dance mo- The next performance is dawangan, vements followed by jaran kepang dancer this performance is signed by the coming who brought a whip, after a few moments out of two big dolls similar to ondel-ondel in action the two dancers dressed in Bali- moved by a person. The dawangan doll nese dance came out onstage. Next came one has a scary face and the other has a three Balinese dance exhibits of 2 Rangde handsome face. The attraction of these two or Leyak and 1 Barong Ket to the perfor- dolls is by moving his body, such as jum- mance arena performing attractions like a ping around, spinning around, shaking Balinese Barong dance accompanied by a his hands. Sometimes spooky dolls chase dancer of Jaran Kepang carrying a whip. Af- after children who watch this show. After ter some attractions, the Barong Bali per- a few moments of attractions in the arena, formers come out the stage and continued the two dolls came out of the arena as a with Jaran Kepang Dance till the end stage sign of the end of the show. In this second of the performance. presentation is approximately 20 minutes. This collaborative packaging is pre- After Dawangan, it is continued sented or staged in an open arena, there is with Buroq performance. This presentation no special stage as a performance arena, is marked by the coming out of an animal the arena or venue is held in a field, perfor- which is like Buroq or a pretty winged hor- mers and the audience as if without limits. se and an elephant doll. Both doll are to- Or in other words the show was held in gether to do an attraction on the stage by a crowd of spectators. The audience wat- walking aroud and moving their bodies. ched the performance forming a formati- Sometimes, in this scene, there are children on around the arena of the performance, Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 113 so that the audience with the performer ming to see this art performance on stage. merged. The audience watched this show The presence of community members in a so relaxed and informal, it was seen from group watching a performance, is an indi- their free position, they are standing, sit- cation that the show material offered is in ting, the children running and chasing line with the tastes of the community whe- the performers, people gave Saweran, etc. re the performance was held. It was said The audience really enjoyed the show, so because people voluntarily came to see it appeared from the look on their faces the show, which he also knew, so one of that looked cheerful and sometimes also the motivations that moved them to come laughed when the attraction was funny. was the matching of people’s tastes with Spectators come to watch voluntarily and the show material. are free of charge. Based on the above analysis it can The collaborative packaging pre- be said that the collaborative packaging sented by the Barong Ngesti Wargo Bu- displayed by the Singo Barong Ngesti doyo art group appears to be based on the Wargo Budoyo Art group represents the desire to capture the audience or pursue tastes of the community where the packa- purely entertainment aspects. This kind ging is displayed. This arts group has a of phenomenon also occurs in Subang, as range of performances in the north coast reported by Setiawan (2013) that the colla- region of Central Java, especially in Kendal boration of performing arts that takes pla- and Batang regencies around the north co- ce in Subang tends to place more empha- ast of Java (pantura). Therefore, it can also sis on entertainment aspects. Or in other be said that the people who support the words, the main purpose of collaborative collaborative offerings of the Singo Barong performance is solely to get audiences. The Wargo Budoyo Art group are part of the phenomenon of collaborative performance coastal communities, especially the north that is mainly focus on entertainment as- coast of Central Java. Thus the collabora- pect, according to Maquet in Soedarsono tive packaging in the Singo Barong Nges- (1999) is categorized as art of acculturation. ti Wargo Budoyo Arts group represents a performance package that meets the aest- Representation of Aesthetic Tastes of the hetic tastes of the coastal community. Communities Referring to the theory about aest- Based on the performance material hetic tastes by Bourdieu, it is stated that presented, this group took the initiative to people’s aesthetic tastes can be divided integrate several traditional arts into one into legitimate tastes, and popular tastes. performance package. This effort can be For classes that have aesthetic tastes legiti- said to be a creative and innovative in or- mate taste, appreciate an artwork prioriti- der to keep traditional art in demand by zing perspective and form and put aside in the public. It seems that the creation of the terms of function, while popular aesthetic Singo Barong Ngesti Wargo Budoyo Art tastes in appreciating an artwork prioritize group is not in vain, it can be said that be- function rather than perspective and form. cause the collaborative packaging they of- Based on this theory, the tastes of coastal fer, turns out to get appreciation and good communities supporting the collaborative reception from the community. Evident- packaging of Singo Barong Ngesti Wargo ly this group is often asked to perform in Budoyo Art can be categorized as aesthetic Weleri and surrounding areas in various tastes in the popular taste category. Cate- activities, such as a celebration, celebrating gorized as such because people who come holidays, celebrations and other activities to watch Singo Barong Ngesti Budoyo per- and always filled with spectators. forming arts, are citizens who need fresh The positive response of the public to entertainment and can immediately enjoy the packaging of this art can be seen from without having to have special provisi- the enthusiasm of people of all ages co- ons to enjoy their artistic performance. Or 114 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116 in other words, they prioritize their functions more than the form of their presentation. They can be directly involved with the show, can give saweran (some money), can take a Figure 1 together or take a selfie with the presenter during the show, their children can ride one of the Buroq dolls displayed, they merge with the show. This shows or indicates that the public came to watch not because of the consideration of the form or quality of the packaging of the Figure 3. The audience waving money to give show, but more concerned with the func- saweran tional aspects for him. The interaction of the audience during the performance can Figure 3 shows that the viewers real- be seen in the following Figure 1. ly enjoyed the show when they teased one of Dawangan doll to give a saw, their faces were very happy to interact with the performers.

Figure 1. A child rode a Buroq doll.

The Figure 1 shows that the audience can interact directly with the performers Figure 4. The audiences put saweran into during the show by raising their child on Dawangan’s clothes one of the Buroq dolls, they also took a photo via cellphones. Likewise Figure 4 shows the audience was so happy to be able to nyawer (give some money) by putting money in Dawangan’s clothes. The phenomenon that occurs in Sin- go Barong Ngesti Wargo Budoyo art performance above also reinforces the argu- ment about the aesthetic tastes of coastal communities supporting the arts into the popular taste category. As Bourdieu said that aesthetic tastes in the popular taste Figure 2. Audiences take Figure 1s together category develop naturally and intersect with Dawangan Dolls with life so that in appreciating art, it is more the function rather than the form. The Figure 2 shows that the audience Bourdieu said (1979), “Everything takes interacts with the players during the per- place as if the “popular aesthetic” were based formance by asking for a photo together on affirmation of continuity between art and with the performers. life, which imply the subordination of form to function,…’ Based on the show events il- Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 115 lustrated above, showing that the audien- bupaten Pati dalam Pergeseran Bu- ce emphasizes the function rather than the daya. NUSA, 12(2), 93-98. form of the presentation, they do not care Bourdieu, P. (1979). Distinction:Asocial Cri- about the packaging of the show, the main tique of theJudgement ofTaste. trans R. thing is that they can instantly enjoy the Nice. Cambridge: Harvard Univer- performance of the show even involved in sity Press. the show. Budy, E. (2017). The symbolical meaning of Macanan dance in Barongan Blo- CONCLUSION ra. Harmonia: Journal of Arts Research and Education, 17(2), 129-135. The show material, which was packa- Dewi, P. A. (2016). Komodifikasi Tari ged in a collaboration of several traditional Barong di Pulau Bali Seni berdasar- Barong, Dawangan, Buroq, Jaran Kepang kan Karakter Pariwisata. Panggung, and some Balinese art icons, was the choi- 26(2), 223-227. ce taken by the Singo Barong Ngesti War- Hadiyatno. (2017). Selera Seni Dan Kes- go Budoyo Art Group. This package is alahpahaman Seni. Pendidikan Dan presented in one show which is divided Kajian Seni, 2(2), 202-206. into four parts or rounds. It starts with Haryatmoko. (2003). Menyingkap kepal- Barongan attraction, then Dawangan, con- suanbudaya penguasa; landasan teo- tinued by Buroq and ends with Jaran Ke- ritis gerakan sosial menurut Pierre pang combined with several Balinese art Bourdieu. Basis, 1(1), 1-8 icons such as Barong Ket, Rangde, Pendet Jazuli, M. (2015). Aesthetics Of Prajuritan Dance, Old Mask, Cedrawasih Dance. The Dance In Semarang Regency. Harmo- packaging offered turned out to get a good nia: Journal of Arts Research and Edu- appreciation from the community, the in- cation, 15(1), 16-24. dications that this group is often asked to Kant, E. (2000). Critique of the Power of appear in the community in various activi- Judgement, trans. Paul Guyer and ties, and always crowded with people who Erik Matthews. Cambridge. University want to watch the show. (Paul Guyer). Cambridge: Univer- Willingness of the community to sity Press. voluntarily watch a performance, as an Karyono. (2013). Model Pertunjukan Bar- indication that the material displayed is ongan Anak Sebagai Transmisi Bu- in accordance with the wishes of the com- daya. Greget, 12(2), 184-189. munity, or in other words according to the Pramudya, W. (2012). Mencicipi Selera Es- tastes of the community in terms of perfor- tetik ala Pierre Bourdieu. ming arts. Based on the event, especially Pujiati. (2017). Esthetic Value Of Wahyu the audience’s response to the show, it in- Manggolo’s Kethoprak Performance dicates that the aesthetic tastes of the peop- Presenting Mahesa Jenar Series le supporting the packaging are included “Alap-Alap Jentik Manis. Harmonia in the popular taste category based on the Journal of Arts Research and Education, Bourdieu classification. This is based on 15(1), 46-55. indications that occur in the show, the au- Purhonen, S., & Heikkilä, R. (2017). dience is not so concerned with the form Food, music and politics: The in- of the packaging of the show in terms of terweaving of culinary taste quality, but more concerned with the fun- patterns,‘highbrow’musical taste ctions that can be felt directly, or direct in- and conservative attitudes in Fin- volvement in the performance. land. Social Science Information, 56(1), 74-97. REFERENCES Raditya, M. H. (2013). Dangdut Koplo: Sel- era Lokal Menjadi Selera Nasional. Andri, L. (2017). Kesenian Barongan Ka- Seni Musik, 2(2), 5-9. 116 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116

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