Critiques on the Ideologies of Contemporary Bedhayan Dances

Sawitri Sawitri, Bani Sudardi, Wakit Abdullah, Nyoman Chaya

Abstract

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of hermeneutics, ideology, aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results as inferred from the data obtained views in looking at the development on the classical dance of Bedhaya into Bedhayan left worthy of critical assessments. The reality of Bedhayan dance in the view of art as an ideology, from the outside, appears that the choreograhers/artists can freely express their creative ideas in the context of the fight agains the classical culture which is strongly enacted by the myths and power of the rulling king. However, it should be noted that Bedhayan dance artists which have managed to bring the classical bedhaya dance out of the walls of the Kraton also in essence always work in the confines of the iron curtain of a creativity called ideology. Whether consciously or not, being forced or sincere in living it, these choreographers actually fall into the life orientation which solely concerns the fulfillment of material needs.

Keywords

developments; ideologies; bedhaya dances; values; local artists

Full Text:

FULLTEXT PDF

References

Adriani. 2011. Periode Budaya Tari Indonesia. Blog post. Retrieved from http://adriarani.blogspot.co.id

Barker, C., 2002. Making Sense of Cultural Studies. Sage Publications Ltd, London.

Behrndt, S. K. 2010. Dance, dramaturgy and dramaturgical thinking. Contemporary theatre review, 20(2), pp. 185-196.

Bonica, A., 2013. Ideology and interests in the political marketplace. American Journal of Political Science, 57(2), pp. 294-311.

Boyd, J., 2012. Hey, Were from Canada but Were Diverse, Right?: Neoliberalism, Multiculturalism, and Identity on So You Think You Can Dance Canada. Critical Studies in Media Communication, 29(4), pp. 259-274.

Brooks, S., 2010. Hypersexualization and the dark body: Race and inequality among black and Latina women in the exotic dance industry. Sexuality Research and Social Policy, 7(2), pp. 70-80.

Cruz-Banks, O., 2010. Critical postcolonial dance pedagogy: The relevance of West African dance education in the United States. Anthropology & Education Quarterly, 41(1), pp. 18-34.

Derrida, J., 1994. Specters of Marx. (Peggy Kamuf, Trans). Routledge, London.

Ebenstein, W., 2006. Isme-Isme yang mengguncang Dunia. Narasi, Yogyakarta.

Eco, U., 2009. Teori Semiotika, Signifikasi Komunikasi, Teori Kode Serta Teori Produksi-Tanda. Kreasi Wacana, Yogyakarta.

Eller, J. D., 2009. Cultural Anthropology- Global forces & Local Lives. Routledge, New York.

Fairclough, N., 2006. Language and Globalization. Routledge, New York.

Gil, A. C., 2009. Cultural Identity and Globalization ~ Culture, Politics, Ethics: Interdisciplinary Perspectives. Oxford Inter-Disciplinary Press, UK.

Hardjana, S., 1995. Musik Antara Kritik dan Apresiasi [Music- between Criticism and Appreciation]. Kompas, Jakarta.

Heryanto, A., 2008. Popular Culture In Indonesia-Fluid Identities In Post-Authoritarian Politics. Routledge, New York.

Jakarta Arts Council. 1993. Jakarta Biennale catalog Arts IX. Jakarta

Lash, S., 1991. Sociology of Postmodernism. Routledge, London.

Murgiyanto, S., 1993. Gondokusumo, Bedaya La-La dan lain-lain Ketika Cahaya Merah MemudarSebuah Kritik Tari [Gondokusumo, Bedaya La-La and others When the Red Light Fading-A Critique on Dance art]. CV Deviri Ganan, Jakarta.

Piliang, Y.A., 2010. Global/Lokal: Mempertimbangkan Masa Depan dalam Global/Lokal. Jurnal Seni Pertunjukan Indonesia. 10(2).

Prabowo, W.S., 1999. Retrospeksi Kekaryaan Tari Kontemporer di STSI Surakarta. Dance Seminar Program, Indonesian School of Art, Surakarta, 28 September 1999.

Riley, S. C., Griffin, C., & Morey, Y., 2010. The case for everyday politics: Evaluating neo-tribal theory as a way to understand alternative forms of political participation, using electronic dance music culture as an example. Sociology, 44(2), pp. 345-363.

Rini, Y. S., 1997. Kajian Sistem Pembicaraan Seni Tari Gaya Istana Surakarta pada masa Susunan Paku Buwana X 1893-1939. Thesis. Universitas Negeri Yogyakarta, Yogyakarta.

Rogers, T., Winters, K. L., LaMonde, A. M., & Perry, M., 2010. From image to ideology: analysing shifting identity positions of marginalized youth across the cultural sites of video production. Pedagogies: An International Journal, 5(4), pp. 298-312.

Sastrapratedja, M., & Riberu, J. 1986. Menguak Mitos-Mitos Pembangunan: Telaah Etis dan Kritis. Gramedia, Jakarta.

Sedyawati, Edi. Ed., 1999. Performing Arts - Indonesian Heritage Vol.8. Archipelago Press, Singapore.

Sr, H., 2014. Konsep Apik dalam Koreografi Wayang Babar. Journal Kawistara UGM, 4(1).

Storey, J., 2009. Cultural Theory and Popular Culture - an Introduction. Pearson Longman, London.

Subagyo, H., 1991. Garab Bedhayan dalam Dramatari Karya Dosen-Dosen STSI Garab Bedhayan in the Theatrical Dance. Working Paper of STSI Lecturer, Surakarta.

Sudjiman, P., & Zoest, A. J. A., 1992.Serba-serbi Semiotika. Gramedia, Jakarta.

Sugiharto, I.B., 1996. Postmodernisme [Postmodernism].Kanisius, Yogyakarta.

Supanggah, R., 1994. Seni Tradisi Modern. Makalah Penataran bagi Penilik Kebudayaan di Jawa Timur. Department of Education and Culture, 25 September in East Java.

Supangkat. (2006, August 26) Ideologi (Kata) Seni. Kompas Newspaper. Retrieved from archive.ivaa-online.org

Sutiyono. 1991. Dampak Pengembangan Kepariwisataan dalam Kehidupan Seni Tradisional. Cakrawala Pendidikan, Yogyakarta.

Tomioka, M,. 2007. Revaluing Javanese Court Dances (Srimpi and Bedhaya) within the Current Social and Cultural Context - Intermingling of Continuity and Discontinuity, Asian Transformations in Action. API Fellows Newsletter. Retrieved from https://www.academia.edu

Tomioka, M., 2005. Influence of Western Dance on Javanese Traditional Dance: On the case of PKJT Project in Surakarta in the 1970s. Japanese Journal for Comparative Studies of Dance, 11(1), 46-58.

Turner, S. B., 2003. Orentialisme, Posmodernisme, dan Globalisme [Orientalism, Postmodernism and Globalism]. (Sirojuddin, Arif, et al., Trans.). Pustaka Pelajar, Jakarta.

Vaidyanathan, B., Hill, J. P., & Smith, C., 2011. Religion and charitable financial giving to religious and secular causes: Does political ideology matter?. Journal for the Scientific Study of Religion, 50(3), pp. 450-469.

Wilcox, H., 2011. Movement in spaces of liminality: Chinese dance and immigrant identities. Ethnic and Racial Studies, 34(2), pp. 314-332.

Wolff, J., 1993. The Social Production of Art, 2nd ed. New York University Press, New York.

Refbacks

  • There are currently no refbacks.