Bedhaya Bedhah Madiun Dance: As a Tourism Superior Asset in Puro Mangkunagaran

Harmonia: Journal of Arts Research and Education 17 (2) (2017), 190-198 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v17i2.9199

Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro Mangkunagaran

Suharji

Institut Seni Indonesia Surakarta, Indonesia

Received: March 13, 2017. Revised: October 7, 2017. Accepted: December 1, 2017

Abstract

This research aims to describe responds and cultural practice that happened in Mangkunagaran based on the repression of tourism world. This research is an analytical research based on ethno- graphic study. Triangulation data is collected from the interviewees together with the manuscript of dance performance and direct observation of Bedhaya Bedhah Madiun dance. Classification of tourism dance is responded by Puro Mangkunagaran as the objectification of Bedaya Bedhah Madiun as a free dance. The cultural response potentially alters the semiotic sign system associ- ated with ‘bedhaya’ sign. This is a sign to Bedhaya to add the profanity of Bedaya as a tourist attraction. The objectivity of Bedhaya Bedhah Madiun by Puro Mangkunegara also has a potency to deconstruct the understanding of Bedhaya Bedhah Madiun as a tourist attraction, Bedhaya Bedhah Madiun is not an imitation from the origin and it is not full of variation. Cheap or ex- pensive the dance is, becomes relative. Furthermore, secrecy does not exist in the stage reality, but moves to hyper reality (in the fantasy and nostalgia of the audience). Respond and cultural practice of indicated Puro Mangkunagaran as a cultural institution which is active in doing the production-reproduction of meaning and the tourism enhancement.

Keywords: Bedhah Madiun; bedhaya; Mangkunagaran; cultural politics

How to Cite: Suharji. (2017). Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro Mangkunagaran. Harmonia: Journal of Arts Research And Education, 17(2), 190-198. doi:http://dx.doi.org/10.15294/harmonia.v17i2.9199

INTRODUCTION performed outside of the palace, out of the war, but it was still close to “the king”. Bedhaya dance as an attribute of gre- Bedhaya that is well-known in society atness of the king is created and showed in could be found in Demak and named Bed- the palace. It is usually showed in specific haya Tunggal Jiwo (Pebriyanti, 2013). events such as the coronation of the new Puro Mangkunagaran (here refer- king (jumenengan) and the annual comme- red to “Puro”) has opened its self towards moration of the coronation event (tingalan tourism visit since the independence era. jumenengan). The exception is happened Physical buildings and customs as well during the struggle period of Pangeran as the cultural arts seem to be a tourist Sambernyawa (K.G.P.A.A. Mangunegara attraction for the wider community both I). Bedhaya Anglir Mendhung was crea- domestic and international. Dance is be- ted while running the guerrilla war tactic coming a part of tourist attraction in Puro between 1740-1757 (Mangadeg, 1998). Be- that cannot be separated from each other. dhaya Anglir Mendhung was also being The policy of being a part of tourism world

Corresponding author: Jl. Ki Hajar Dewantara 19 Surakarta 57126 Indonesia E-mail: [email protected] 190 Suharji, Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro ... 191 feels stronger after the emergence of the one of the characteristics of life is sensitive presidential decree of Republic Indonesia to the excitatory (irritability), which means Number 23 Year 1988 which is stated that that there is a response to the pressure. In palace is a part of cultural heritage of the relation to culture, an active institution is nation that needs to be maintained as an an institution that still produces meaning. effort to preserve the national culture for This research context takes Bedhaya Bed- the tourism. Presidential decree Number hah Madiun case which in the beginning 23 year 1988 becomes a new doctrine for is a legitimate power dance of Sri Paduka Puro and other parties who saw culture Mangkunegoro VII which is then being as an important aspect for the nation life. objectified as tourist attraction. Since- cul Repression shown in the way that palace is ture is a signification practice by using the considered as a cultural heritage, and the dichotomy of signified and signifier -in se heritage of a culture needs to be maintain miotics. Bedhaya Bedhah Madiun’s rese- in order to preserve the national culture. arch makes a description on the responses At the end, everything is held, done, and and cultural practices which attempts to preserved for the sake of tourism. Palace change the meaning of the two signifiers, which was physically and dynamically namely Bedhaya and art in tourism. Be- cultural is reduced to adjust the cultural dhaya as dance is an attribute of power heritage. Cultural heritage was then being which is in one side is paradoxical com- re- reduced as an object that needs to be pare to the art in tourism which places the preserved as a medium to support the suc- material as a goal. cess of national culture. The objectification of the second reduction is culture as a part METHOD of tourism. The economical instrumental orientation placed the culture as a tool to Research data is collected by doing achieve a material goal. Therefore, other observation, interview, and documenta- three orientations are forgotten. Those are tion. Data is mainly gathered from direct cognitive aspect, expression, and normati- observation of Bedhaya Bedhah Madiun ve (Siregar, 2004). performance in World Dance Day on 29 Soedarsono (1999) stated that dan- April 2015 located in Pendapa Institut Seni ce – in Puro is becoming an important at- Indonesia (ISI) Surakarta. Data that is col- traction as a tourism asset that has some lected through documentation technique characteristics, those are: a) imitating the is document G. no. 42. “Bedhaya Bedhah origin; b) packaging briefly and densely;Madiun” . It is the collection of Rekso Pus- c) having full of variation; d) abandoning toko Mangkunegaran Surakarta. This rese- the magical and sacred values; as well as e) arch focuses on the ethnography methods being cheap for the tourists. This classifi - especially in methods 12 of ethnography’s cation is felt to be a new repression for the chronological (Spradley, 2007) which is palace other than Presidential Decree No. summarized as 4 core steps: a) selection of 23 mentioned above. Criteria a) and c) are interviewees; b) interview; c) note taking; claims towards art in tourism as artificial d) analysis and data presentation. art, criteria of points b) and e) are claims towards art in tourism as a cheap art, and RESULT AND DISCUSSION d) is a claim towards reduction of tourism sacrecy. Structure and Change of Bedhaya Bedhah It is interesting to look back to the Madiun response of the palace which in this con- Puro has the trilogy of Bedhaya nection is Puro Mangkunagaran against (Anglirmendhung, Diradameta, and Suka- the two repressions that until now have pratma) arranged by Sri Paduka Mangku- not been revealed yet. Study related to the nagoro I, Bedhaya Bedhah Madiun arran- respond is based on the assumption that ged by Sri Paduka Mangkunegoro VII, and 192 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 190-198

Bedhaya Surmasumirat which is arranged legitimate power of Sri Paduka Mangku- in Sri Paduka Mangkunegoro IX era. Eve- nagoro VII who attempts to release the dis- ry Bedhaya has its own specialty. Bedhaya course of Panembahan Senopati character Bedhah Madiun has some special features: in event of madiun conquest. When we see 1) arranged by Sri Paduka Mangkunego- through the plain eyes, it can not be seen ro VII; 2) arranged in the greatest time of through the character and make up/ cos- Puro era, therefore, used as a symbol of tume. There are other elements that give prosperity; 3) all performances including the narration. That is cakepan sindenan like dancers, instrument players, and swarawa- Gending Gendakusuma (4 lines) as these fol- ti are women; 4) the duration is relatively lowing quotations: short (44 minutes); 5) having symbolic of ||babo| nenggih kawuwus wau| war as the theme. engge| kangjeng panembahan| senapati| Characters chosen as the inspiration ing alaga nata| babo| raja ing mataram|| in dance making process are the special characters that are cherished by the Puro’s ||babo| kala andon yuda| engge| family. That is the war of Panembahan Se- nglurug mring nagara| ing brang wetan| napati that can be seen in Bedhah Madiun temah unggul ing prang| babo| kangjeng dance, illustrating the event of conquest panembahan|| of Kadipaten Madiun by Mataram. The proof that Panembahan Senapati is special ||babo| karsa nglajengena| eng- to Puro’s circle is stated explicitly in Wed- ge| ngecak nampuh praja| ing madiun| hatama by K.G.P.A.A Mangkunegoro IV sagung wadya kuswa| babo| njarah ang- in the first passage of the second rerayah||stanza of Sinom (traditional Javanese song): nu- lada laku utama | tumrape ing tanah Jawi | ||babo| mbesmi dhusun-dhusun| wong agung ing Ngèksigônda | Panêmbahan engge| janma ing madiun| kawus kawus| Senapati | kapati amarsudi | sudaning hawa nggiris kapelajar| babo| awis purun ngla- lan nêpsu | pinêsu tapa brata | tanapi ing sari wan|| ratri | amêmangun karyenak tyasing sasama (Padmasusastra, 1898). Narration about the war in Madiun Bedhaya Bedhah Madiun is perfor- is clearly seen in the lyrics of cakepan in the med by 7 dancers with their roles: batak performance, but it cannot be guaranteed (symbol of intelectual), gulu (symbol of that it can clearly heard by the audiences. road), dhaha (symbol of heart), endhel (sym- Narration and lyrics are not something bol of human desire), apit ngajeng (sym- that has important relation with narration bol of right hand), apit wingking (symbol dance. The objectivity of dance can be a of left hand), and buntil (symbol of geni- chance to Dance objectification can be the tals) (Munarsih, 2010). The main dance opportunity to launch a discourse of prio- symbolizes conflict between intelectualrities through human efforts to defeat his and human desire. Even if in the history, low wishes (symbolized by desire) using it was told that Panembahan Senapati is intellectual. married to Retno Dumilah (princess and Here is the vocabulary order arran- daughter of Rangga Bupati Madiun), the ged in the songs in which is used in the narration through dance is not about love sacred version in Bedhaya Bedah Madiun) scene like other Bedhaya in general. Rela- (Mangkunagaran Manuscript, G. 17 p. 1). tion between perfeormers needs a specific Bedhaya Bedhah Madiun as a dance research since Bedhaya Bedhah Madiun attraction is similar to the sacred version, is loaded with historical events and very except number 1 and number 6 because it complicated symbols. is a ritual scene of worship to Pengageng It becomes important to underline Puro. The real duration of Bedhaya Bed- that Bedhaya Bedhah Madiun is a tool of hah Madiun performance is 44 minutes Suharji, Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro ... 193

Song Movement Vocabulary Maju beksan: Pathetan Nem Wantah; Gati Sila sembahan dan jengkeng sembahan. Langendrangta Pelog Nem.; Pathetan Nem Wantah; Bawa Sekar Jiwa Retna, Pelog Nem. Gending Gandakusuma, Pelog Nem Sembahan; nggrodha; ngenceng nyolongi; gidrah; imbal; jangkung miling-miling; panambang; ngewer udhet; ngenceng; gedrug maju mundur. Gending Gambuh, Pelog Nem Pendhapan maju mundur; gudhawa panambang; atrap sumping; ngenceng nyolongi; trap sumping panambang; ngenceng; nggrodha. Ladrang Gending Mengkreng, Pelog Nem Kicat made udhe;, pacak jangga encot-encot; penambang ongkek minger; ukel tawing,ulap- ulap; wedhi kengser tumpang tali; lembehan sirig mundur; nggrodha jengkeng; ngayang; sembah (gamelan suwuk). Ketawang Gending Mijil, Pelog Nem Sembah; bango mati; nyathok ngiwa; nyamber rakit lajur; undhuh sekar; tawing nyolongi; undhuh sekar; penambang; nyathok ngiwa; nggrodha; ongkek unus dhuwung (endhel) batak lampah sekar majeng, nyathok tengen samberan, ulap- ulap, gedrug, batak lampah sekar majeng endhel kicat ebat, nyathok tengan samberan, ulap-ulap, gedrug ongkek (diulang-ulang); ulap-ulap, ongkek, endhel ngrangkakaken dhuwung, batak pendhapan ngajeng; lembehan sirig mubeng; man- cat tengen, ngancap rakit; kicat boyong; impang majeng; nggrodha; jenkeng nglayang sembah (gamelan suwuk). Mundur beksan: Pathetan Nem Wantan Sila sembahan dan jengkeng sembahan.

(Munarsih, 2010). Meanwhile, the dance at- side dishes like yeast, tempeh, and jerky), traction of Bedhaya Bedhah Madiun dura- sega golong (round white rice) and chicken tion is around 20 minutes. The shortening pecel, kembang setaman, and mancawarna of duration is obtained from the deletion of flower. After praying, all sesaji in the form maju beksan and mundur beksan and also the of food and flowers are taken back and reduction of the repetition of motion. then distributed to the dancers and pengra- Another part that is not included in wit (instrument players). Another require- the dance attraction of Bedhaya Bedhah ment is that during the performance, it is Madiun is sesaji (offerings) ritual ceremo- required to burn dupa and should not be ny which is conducted one day before the extinguished till the end of the dance per- dance performance. Ritual ceremony of se- formance. saji is called as uluk-uluk led by the most It can be seen from the lists of mo- senior abdi dalem gandarsan (sesaji arranger) vement vocabulary that Puro is not doing and sesaji is brought by lurah bedhaya. All a reduction to the performance material. abdi dhalem in charge of performing the The deletion of sembahan and ritual parts ritual must wear dodot jangkep with ukel are form of objectification respond of -Be ageng and wear samir (Javanese traditional dhaya Bedhah Madiun performance in costume). There are 6 elements of sesaji: the form of act that decontextualizing the dark blue sticky rice, traditional snack, sega dance. In Puro, Bedhaya Bedhah Madiun megana (tumpeng liwet rice with eggs and is a symbolical construction along with ot- fish), tumpeng asahan (tumpeng with dry her elements such as Sri Paduka Mangku- 194 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 190-198 negoro VII as pengageng Puro, pendopo as (IPAM) in Jakarta (2013); Indonesian Dan- a symbol of position of the ruler, as well ce Festival in Surakarta (2013); Classic Cul- as other symbols (Suyati Sutarwo Sumosu- tural Arts in Yogyakarta (2014); and World targyo, interview, 2017). By having those Dance Day in Surakarta (2015); as well symbols, it is expected that people do not as Festival Keraton X in Pangkalan Bun, feel that their rights are reduced in getting Central Kalimantan (2016) (Document of Bedhaya Bedhah Madiun as an object of Rekso Pustaka Mangkunagaran). appreciation. Cultural events in the form of Bed- Cultural Respond Related to Tourism Doc- haya Bedhah Madiun objectification - af trine fect the sign system in Bedhaya marker. This is a special part which is analy- The theoretical implications affected by zing the cultural responds which are given this dance performance include: 1) Bedha- by the interviewees after the questions are ya dance is not always an attribute of the raised especially about their respond in the King’s power but can be staged anywhere; repression of culture through the tourism 2) There is a practice of de-essentialization doctrine. The list of questions and impor- of culture because symbolical relation as tant answers in the interview can be seen in Bedhaya Bedhaya Madiun which is re- in the lists as followed: lated to historical consciousness becomes no longer important; 3) There is an empha- Questions which is given to the interviewee 1 sis on visualization for dance movement 1) Do Mangkunagaran party feel and music accompaniment along with the depressed with the Presidential Decree make up and clothing. One example is the no. 23 of 1988 (regarding to the status of use of Batik cloth with Parangkusuma mo- Mangkunagaran as a cultural heritage of tif which is part of Panembahan Senapati the nation that needs to be maintained in symbol, that can be replaced with other order to preserve national culture for tou- motifs such as Parang Klithik. It can be rism)? seen when Bedhaya Bedhah Madiun sta- 2) What is Mangkunagaran’s respon- ged in a series of World Dance Day on 29 se related to that Puro’s Profanation? April 2015; 4) The classification of tourism 3) Do you agree that Bedhaya which dance as Soedarsono (1999) does not apply is identic with sacrecy is used as tourism to items 1), 3), and 4). assets? Bedhaya Bedhah Madiun as a tourist attraction is not a replica of the original. It Answers of interviewees 1 is not full of variation (variations only on 1) At the beginning, when we are a few visual elements), and cheap or ex- listening to the story of our predecessor, pensive becomes very relative. Special for some people feel depressed with this pre- point 4, the sacred element is not present sident decree, but there are also people in the reality of staging but moves to hyper that do not care. However, that is what reality that is in the fantasy and nostalgia happened at that moment. It is hard for of the audience (Kurniati, interview, 2016). Mangkunagaran to be in an area which Performances of Bedhaya Puro, es- is in the past was really shunned by our pecially Bedhaya Bedhah Madiun also had predecessors, anything that leads to the ever been performed nationally and inter- worldly pleasures. The world of tourism is nationally, among others are in: Mangku- certainly very important in the form of mo- nagaran art mission in Paris, France (1989); ney and we are in a position that need it as Palace festival number III in Tenggarong, a requirement to run our organization in- East Kalimantan (2002); Ukraine and Aust- cluding traditional ceremonies that require ria (2013); Cultural Show of Mangkuna- big cost. However, in fact, our expectations garan Performing Art (MPA) in Surakarta are clashing with the simple and realistic (2013); Indonesia Performing Arts Market wish of thinking that we are supposed to Suharji, Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro ... 195 be struggling for it (financial sufficiency). b) During the time when they were 2) Experts say that to make an at- following economic tourism activity, Puro traction is worth selling, it must be rare, realized that there is an indication of com- valuable, and desirable. It seems that we, modification, but they were keep trying to Mangkunagaran, have it all (3 criteria). Sri place Bedhaya Bedhah Madiun as a com- Paduka (K.G.P.A.A. Mangkunegoro IX) modity by using the cultural place as a has allowed Puro’s wisdoms such as Be- public place, which makes the economic dhaya to be witnessed by the community, – politic practice in relation to the develop- certainly with certain conditions such as ment of Bedhaya Bedhah Madiun to have not being presented intact (the dance) and a valuable meaning in the event of appre- the parts of the inheritance related ceremo- ciated by the tourism community. Dra- ny should not be run. The packaging for matization - as commonly happens in the the community’s offerings is entirely han- packs of tourist attractions - will happen ded over to Kemantren Langenpraja, sin- by itself after linking Bedhaya Bedhah Ma- ce the valuable and desirable presentation diun with issues of feminism and reflective should see the development of society as awareness. well. Actually, we still have a chance, as a c) Puro now stands in two different cultural preservation institution like our territories. One remains in the realm of predecessors’ trust, and we can take ad- cultural preservation and another one is in vantage of this tourism as an interaction the economic realm, but with the hope that with the community. at the right moment Puro will strengthen 3) Assets or not real assets are not his position in maintaining a stable cultu- our territory, but the atmosphere seems to ral significance while still remaining in the be impartial to us. Bedhaya is a part of us contemporary context. and has a certain meaning for us, then it seems we are being urged to give up that Question that being asked to the interviewee change. 2 a. Is it true that Langenpraja is getting Implicative questions from the interviewees instruction to “allow” Bedhaya Bedhah questions are: Madiun to be used as something that is a) Implicitly, there is a pressure felt reliable for the advancement of world tou- by Puro, but there is no other choice than rism? taking the advantage of the chance. Trans- b. If it is true, what is the respond formation of cultural context from idea- that appear in Kemantren Langenpraja circle lism to materialism actually is unwanted, including yourself? but it seems that the whole world is lea- c. Is there any space that allow pro- ning towards it. Tourism was a tempora- fanation of Bedhaya to happen even if it is ry economic activity in the past era before actually not for the public? independence proclmataion of Indonesia Answers of interviewee 2 because it could suffice in financing itself 1) Actually, I cannot say let go or not with various business activities rather than let go. We (Kemantren Langenpraja) only get in the field of tourism, and never make the instructions to compose Bedhaya Bedhah art of his property as a tourist attraction. Madiun as a dance that can later be pre- Puro (like its predecessor’s message) still sented to the community both inside and thinks that matter is a means not a desti- outside the Puro. This is not an easy thing nation. Puro really needs money, but there for us, because we have to change (in the may be a more appropriate way to keep new composition) Bedhaya that has been the importance of virtue values. Despite part of the wingit (sacred) things in us into being in material territory, Puro strives to a performance “ordinary dance”. But lucki- be as much as possible in the different si- ly, we saw the other side. There are some des of hedonism. Puro activities that (long ago) became our 196 Harmonia: Journal of Arts Research and Education 17 (2) (2017): 190-198 meeting place (Puro) with the general pub- ling the hegemony. lic. This “regular dance” may hopefully add to our “flavor” with the community. Questions that being asked to inter- Not necessarily the people who come to viewee 3 Puro to see Bedhaya dance. We can go to a. Where did you learn to dance and the community to bring our dances to be how far has the art of dance inspired your watched by the public. We think this is a life? positive thing for us. Hopefully, our hope b. As a dancer who has long served in to make the community come to preserve Puro Mangkunagaran, is there a difference the art of tradition can be more easily to be between sacred and non-sacred dance? realized. c. Is there any special preparation 2) We actually have thought about when dancing these 2 dance classes? changes long time ago, one of the change d. Do you understand and appreciate is durations of dance that may be reduced. the theme of this dance (Bedhaya Bedhah We also get input from outside dancers Madiun)? (Puro) about the dance that people want. In essence, Bedhaya dance which is its The answer of interviewee 3 wingit attached can be seen clearly through For most of my life I have been in the the repetition, although in our opinion we Javanese dance world and that is my world. cannot see the repetition. Certain move- Up and down, happy and hard, everything ments when repeated on other parts seem I have lived. I have danced in Puro since to remain different. We also recognize that 1985. All Mangkunagaran dance especial- people do not necessarily agree with this ly princess dance I’ve ever brought, inclu- practice of this kewingitan, so we choose to ding sacred dance like Bedhaya. Bedhaya shorten the length of the performance by which is danced in Puro requires inner reducing the repetitions. and outer preparation, unlike “ordinary” Implicative questions from the inter- dance. I live the sacred and the unsacred viewees’ answers are: because dancing is my profession. The a) That desacralization of Bedhaya feeling that being used when performing Bedhah Madiun does not delete the origi- Bedhaya dance is more difficult because nal version. Bedhaya Bedhah Madiun in there is no explicit characterization. I per- short version then being an interaction me- sonally do the appreciation and imagine dia with the society and Puro. It is certain- what is being experienced by the two- fi ly together with the hope that society still gures in Bedhaya Bedhah Madiun. Those can memorize the original version. Seeing are Sinuwun Panembahan (Senapati) and Bedhaya Bedhah Madiun’s short version Retna Dumilah. Fantasy like this helps the accompanied by memories of the original appreciation of the taste while dancing a version becomes a “jumbuh” or unifying dance. The point is that traditional dance sense of appreciation towards Bedhaya Be- is my life choice and will continue to run dhah Madiun guided by reflective aware - with pleasure and responsibility. ness. This is an indication of the practice of reproduction of meaning. Implicative questions from the ans- b) Puro also actively build the ref- wers of the interviewees are: lective awareness by performing Bedhaya a) Repression is not perceived by the Bedhah Madiun in short version outside of dancer, otherwise become a provision in the palace even to the outside of the nation. carrying out his profession. Dancing is a c) Profanation of Bedhaya Bedhah lifestyle, including the control of behavior Madiun is being used as a gap space for based on the dramatized figure in the Bed- political rooms, a launch discursive dis- haya Bedhah Madiun dance. course that emancipated because people b) Desacralization of Bedhaya Bed- can still appreciate the dance without fee- hah Madiun is part of the role undertaken Suharji, Bedhaya Bedhah Madiun dance: As a tourism superior asset in puro ... 197 with spesial appreciation. Fantasy of the tion of certain values contained in dance. original of Bedhaya Bedhah Madiun helps b) Reflective awareness also under- the dance in the version of tourist attracti- lines lifestyle. The consumption of the on. meaning of hyper reality becomes the c) Being a special note that this inter- phenomenological behavior of the indivi- viewee usually play a role as a batak, which dual, like the current tendency while ima- is a symbol of intelligent. gining themselves in a social environment. c) Knowledge and consciousness be- Questions that being asked to the interviewee come the basic of symbolic communicati- 4 on and is not merely seen as an event of a. Since when do you like Bedha- exchange of commodities especially the ya-Srimpi dance, and what do you think commodities that based on the role of mo- about bedhaya that can now be enjoyed by ney as an intermediary of communication. the wider community? b. What values of local wisdom do CONCLUSION you think stand out in bedhaya-srimpi dance, and are these values worth defen- Based on the problem and aim of this ding? research, findings in this research are: (1) c. How much do you spend to get There is a desacralization practice in the here (Solo) from Jakarta until you find theperformance of Bedhaya Bedhah Madi- tourist attraction that you want to see? un in its objectivity as a tourism attraction from the deletion of ritual elements of Answer of interviewee 4: Bedhaya Bedhah Madiun as an attribute Actually I am not a new person in the of legitimate power of Mangkunegoro VII; art enthusiast in palace circle. Even if I am (2) Respond and cultural practice in the not a descendant of the palace, I like the pa- performance objectification of Bedhaya lace dances. There is a magical thing that I Bedhah Madiun has a potency in changing can feel when I see the sacred dance live in the sign system in its relation to Bedhaya the palace (Including in the Mangkunaga- dance’s meaning and dance classification ran). Sacred dance that has been changed as a dance tourism by Soedarsono; (3) Tou- like what I am seeing now also not become rism potentially repressive for the deonto- a problem. I can still enjoy the performan- logization of reflective awareness is actu- ces while memorizing the old time when ally seen by Puro as a political amplifier of I see the original version lived in Mang- space for interaction with the wider com- kunagaran. Even if without the absent of munity; (4) Puro as an active institution Sri Paduka (Mangkunagoro) VII, I still can in relation to culture is still doing the pro- imagine his absence. I can enjoy the dance duction-reproduction of meaning through performance that has long duration becau- respond and cultural practice, and tourism se it is part of my heart journey in traver- becomes its stimulant. sing the short time. I am really happy to be here (World Dance Day event), and feels REFERENCES like all people can dance. I have lot of fri- ends that has a same opinion like me. Eco, U. (2009). Teori Semiotika Signifikasi Komunikasi, Teori Kode, Serta Teori Implicative questions from the ans- Produksi Tanda. Translated. Yogya- wer of the interviewees: karta: Kreasi Wacana. a) From the perspective of audien- Hadi, Y. S. (2007). Kajian Teks dan Konteks. ce, especially the audiences having spe- Yogyakarta: Pustaka Book Publisher. cial interest to sacred dance, they usually Indah, P. S. (2013). Makna Simbolik Tari concern with the originality of dance since Bedhaya Tunggal Jiwa. 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