This article discusses a contemporary dance work entitled Barangan, which was composed by Otniel Tasman, an Indonesian contemporary dance choreographer from Banyumas based in Surakarta. The aim is to reveal the meaning of the Barangan choreography in relation to the Lengger, a traditional Bayumas dance. The research was conducted by applying qualitative research methods with descriptive analysis methods based on the theoretical framework of dance semiotics. Research shows that the contemporary Barangan dance is a metaphor that represents the wider panorama of Banyumas culture. Seen in this way, the lengger in the Barangan choreography is a kind of metonymy of the minor folk arts, which is always confronted with the arts of the city or the arts of the dignitaries and aristocrats. When it was adopted as a contemporary dance piece in Barangan, the Legger dance was transformed into a kind of symbol of resistance and struggle.Keyword: Contemporary Dance; Barangan; Othniel Tasman; Lengger; Dance SemioticAbstrakArtikel ini membahas tentang karya tari kontemporer berjudul Barangan, yang disusun oleh Otniel Tasman, salah seorang koreografer tari kontemporer Indonesia asal Banyumas yang berbasis di Surakarta. Tujuannya adalah untuk mengungkapkan makna dari karya koreografi Barangan tersebut dalam kaitannya dengan lengger, sebuah tari tradisional Bayumas. Penelitian dilakukan dengan menerapkan metode penelitian kualitatif dengan metode analisis deskriptif yang berpijak pada kerangka teoretik semiotika tari. Penelitian menunjukkan bahwa tari kontemporer Barangan adalah metafora yang mewakili panorama kebudayaan Banyumas secara luas. Dilihat dengan cara ini, maka lengger dalam koreografi Barangan adalah semacam metonimi dari kesenian rakyat kecil, yang senantiasa berhadapan dengan kesenian kota atau kesenian para pembesar dan bangsawan. Ketika diangkat menjadi karya seni kontemporer Barangan, tari lengger bertransformasi menjadi semacam simbolisasi perlawanan dan perjuangan.Kata kunci: Tari Kontemporer; Barangan; Otniel Tasman; Lengger; Semiotika Tari

Tonel performance in the city of Sawahlunto is practiced by the ethnic community who speak the Tansi creole language. Sawahlunto in tropical West Sumatra, Indonesia, was built by the Dutch colonialists in the late 19th century as a coal mining center based on the labor of local people and the forced labor of convicts of various ethnicities sent from around Indonesia. The multiethnic population developed a pidgin language which later became the Tansi creole language. This article discusses a new strategy for developing Tonel dramaturgy, which emerged through performances at the Sawahlunto Cultural Festival in 2021. Paying attention to the theatrical communication that occurs in Tonel performance, this study analyses how changes in the Tansi language used during performances, can be recognized as processes of decreolization and recreolization. The recreolization process proved to be a way to break the remnants of the continuing effects of colonialism in the Tansi culture. By changing words or adding new words to the Tansi language during the performances, the Tansi community builds a new dramaturgy based in a practice of cultural decoloniality through Tonel performance. This decolonial practice is particularly significant in the currrent development of Sawahlunto as a postcolonial mining tourism city, and the detangling of its colonial legacy.

This article discusses the musical concept of an orchestral piece entitled Andung Hu, which in Batak language means my lament. Andung Hu’s work departs from the reinterpretation of the Andung tradition, a lamentation of sorrow in the context of the death committed by the Toba Batak people. Applying the method of transformation, with the concept of transit and transition, this paper is intended as a form of elaboration of the concept of Andung Hu’s work. The data collected from the work process by Della Rosa Pangabean, which was analyzed critically-reflectively, by viewing the work process as a form of artistic research. The results of the analysis show that the transformation process from the Andung tradition in the Toba Batak society to the Andung Hu Orchestra takes three key stages, namely: interpretation; orchestration; and improvisation. The materials and tools used in the stages of the creation process are: scales; atonal technique; motive; development techniques; and taganing motifs. The result of the work is a composition in the form of a program music entitled Andung Hu.Keywords: lamentation; Toba Batak; musical concept; Andung Hu; orchestraAbstrakTulisan ini membicarakan tentang konsep musikal dari sebuah karya orkestra berjudul Andung Hu, yang dalam Bahasa Batak berarti ratapanku. Karya Andung Hu berangkat dari reinterpretasi atas tradisi Andung, sebuah ratapan kesedihan dalam konteks kematian yang dilakukan oleh masyarakat Batak Toba. Menerapkan metode transformasi atau alih wahana, dengan konsep transit dan transisi, tulisan ini dimaksudkan sebagai bentuk penjabaran konsep garapan dari karya Andung Hu. Data-data dihimpun dari proses berkarya oleh Della Rosa Pangabean, yang dianalisis secara kritis-reflektif, dengan memandang proses berkarya tersebut sebagai suatu bentuk penelitian artitik. Hasil analisis menunjukkan bahwa proses transformasi dari tradisi Andung dalam masyarakat Batak Toba menjadi karya Orkestra Andung Hu, menempuh tiga tahapan kunci, yakni: interpretasi; orkestrasi; dan improvisasi. Adapun bahan dan alat yang digunakan dalam tahapan proses penciptaan itu adalah: tangga nada; teknik atonal; motif; teknik pengembangan; dan motif taganing. Adapun hasil karya adalah sebuah komposisi dengan bentuk musik programa yang diberi judul Andung Hu.Kata Kunci: ratapan kematian; Batak Toba; konsep musikal; Andung Hu; orkestrasi