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

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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 stanzarerayah|| 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.
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