Soegija's movie is a biopic film based on the historiography of the highest leaders of the people and the Catholic church in Indonesia. Soegija's film is an antithesis of Indonesian historiography so far, especially the historiography of the era of the Indonesian independence revolution. This article discusses the political affirmation and identity politics of Soegija's film from the perspective of Derrida's Deconstruction. Derrida's Deconstruction approach and historical methodology consisting of Heuristics, Hermeneutics, and internal criticism are used to understand the position of Soegija's biopic on Indonesian historiography. The results of the study show that Soegija's film is a biography moving picture of the character Mgr. Albertus Soegijapranata, who narrated historical facts about the national attitude of the Catholic leadership as the first native bishop. In deconstruction, it appears that Soegija's biopic is a representation of the political affirmation and identity politics of educational cultural resistance to the truth of the historical facts of the character Mgr. Albertus Soegijapranata who is in binary opposition to Indonesian historiography.

The Bedhaya Endhol-endhol dance was created by Paku Buwono X and performed exclusively by the king’s daughters. After his death, the dance was no longer performed and its form was no longer known. The goal of this research is to reveal the process of reconstruction of the Bedhaya Endhol-endhol dance, as carried out by Gusti Kanjeng Ratu Wandansari, and to describe the form of the dance. The research method used is a qualitative method with an ethnochoreological approach. The results of the research show the process of reconstruction, including the concept and the process of unearthing the music, or gending, and the dance movements. The arrangement process involved the interpretation of all the different components making up the Bedhaya Endhol-endhol dance, in order to create a new form of bedhaya dance that is childlike (mbocahi). The new form of Endhol-endhol resulted from its reconstruction shows that Gusti Kanjeng Ratu Wandansari has used her authority to restore the dance that had formerly disappeared. Keywords: Bedhaya Endhol-endhol dance, reconstruction, authority, Gusti Kanjeng Ratu Wandansari.ABSTRAKTari Bedhaya Endhol-endhol yang khusus ditarikan oleh putri-putri raja diciptakan oleh Raja Paku Buwono X. Sejak beliau wafat tari ini tidak pernah dipentaskan dan bentuknya pun tidak dikenali lagi. Penelitian ini bertujuan  mengungkap proses rekonstruksi tari Bedhaya Endhol-endhol dan mendiskripsikan wujudnya yang telah dilakukan oleh Gusti Kanjeng Ratu Wandansari. Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan etnokoreologi. Hasil penelitian meliputi proses rekonstruksi mencakup konsepnya, proses penggalian meliputi gending dan gerak tarinya. Pada proses penataan  dilakukan  interpertasi mengenai semua komponen yang membentuk tari Bedhaya Endhol-endhol untuk mewujudkan tari bedhaya yang mbocahi. Wujud tari Bedhaya Endhol-endhol hasil rekonstruksi menunjukkan bahwa dengan otoritasnya Gusti Kanjeng Ratu Wandansari telah mengembalikan tari yang sempat hilang.Kata kunci: Tari Bedhaya Endhol-endhol, rekonstruksi, otoritas, Gusti Kanjeng Ratu Wandansari

<p><strong>ABSTRAK</strong></p><p><strong> </strong></p><p>Tari Bedhaya Endhol-Endhol diciptakan oleh I.S.K.S Paku Buwono X khusus ditarikan oleh putri-putri raja. Setelah I.S.K.S Paku Buwono X wafat tari ini sudah tidak pernah dipentaskan lagi, sehingga bentuk dan tekniknya sudah tidak nampak. Akhirnya muncul gagasan dari para pemangku adat yang dipimpin oleh Gusti Kanjeng Ratu Wandansari untuk merekonstruksi tari Bedhaya Endhol- Endhol. Berdasarkan fenomena tersebut maka diungkap bagaimana proses dan hasil rekonstruksi tari Bedhaya Endhol-Endhol oleh Gusti Kanjeng Ratu Wandansari. Konsep revitalisasi Sri Rochana Widyastutiningrum dan konsep aspek-aspek dasar koreografi Sumandiyo Hadi pun digunakan untuk mengetahui proses dan bentuk tari Bedhaya Endhol-Endhol hasil rekonstruksi. Hasil yang diperoleh bahwa proses tersebut mencakup ide dan latar belakang, proses penggalian yang terdiri atas penggalian <em>gendhing</em>, penggalian gerak, serta <em>tempuk gendhing</em>. Kemudian di dalamnya terjadi proses interpretasi mengenai semua komponen yang membentuk tari Bedhaya Endhol-Endhol. Bentuk tari Bedhaya  Endhol-Endhol hasil rekonstruksi mencakup aspek (1) Deskripsi tari, (2) Gerak Tari, (3) Pola Lantai, (4) Musik Tari, (5) Judul Tari, (6) Tema Tari, (7) Jumlah dan Jenis Kelamin, (8) Rias dan Busana, (9) Ruang Tari, (10) tata Cahaya. Hasil rekonstruksi tari Bedhaya Endhol-Endhol oleh Gusti Kanjeng Ratu Wandansari telah mengembalikan kembali tari Bedhaya Endhol-Endhol yang sempat ditinggalkan, meskipun belum dapat mewujudkan konsep tari Bedhaya Endhol-Endhol yang menitikberatkan pada karakter <em>bocah</em>.</p><p> </p><p><strong>Kata kunci: </strong>Rekonstruksi, Bedhaya Endhol-Endhol, Gusti Kanjeng Ratu Wandansari.</p><p> </p><p><strong><em>ABSTRACT</em></strong></p><p><strong><em> </em></strong></p><p><em>Bedhaya Endhol-Endhol dance was created by I.S.K.S Paku Buwono X. It is specially run by the princesses. After I.S.K.S Paku Buwono X died, the dance has never been staged again, so its form and technique have not been seen. Finally, there came the idea of the traditional actors led by Lord Kanjeng Ratu Wandansari to reconstruct Bedhaya Endhol-Endhol dance. Based on this phenomenon, it is revealed how the process and result of Bedhaya Endhol-Endhol dance reconstruction by Gusti Kanjeng Ratu Wandansari. The concept of revitalization by Sri Rochana Widyastutiningrum and the concepts of the basic aspects of Sumandiyo Hadi’s choreography were also used to determine the process and form of Bedhaya Endhol-Endhol dance reconstruction. The results obtained include the idea and the background, the excavation process consisting of excavating gendhing, motion excavation, and </em>tempuk <em>gendhing. Then there is a process of interpretation of all the components that make up Bedhaya Endhol-Endhol dance. The form of reconstructed Bedhaya Endhol-Endhol dance is covering the aspects (1) Dance description, (2) Dance movements, (3) Floor pattern, (4) Dance music, (5) Dance title, (6) Dance theme and gender, (8) Make-up and Clothing, (9) Dance Room, (10) Lighting. The reconstruction of Bedhaya Endhol-Endhol dance by Gusti Kanjeng Ratu Wandansari has restored Bedhaya Endhol-Endhol dance that had been abandoned, although it has not been able to realize the Bedhaya Endhol- Endhol dance concept that emphasizes the character of the child.</em></p><p><em> </em></p><strong><em>Keywords: </em></strong><em>Reconstruction, Bedhaya Endhol-Endhol, Gusti Kanjeng Ratu Wandansari.</em>

Aktifitas silat, selain sebagai praktik untuk meningkatkan ketahanan fisik, juga menjadi bekal ketika menghadapi betapa kerasnya dunia terutama ketika berada di rantau. Hal ini bisa dilihat pada masyarakat Minangkabau zaman dahulu yang menganggap bahwa silat ibarat sebuah pakaian atau identitas diri yang wajib dibawa ke manapun pergi. Penciptaan karya ini mengarah pada pendekatan istilah tradisional Minangkabau, yaitu Kiek Kieh. Istilah Kiek Kieh terdiri atas dua kata yaitu kiek dan kieh. Kiek adalah ‘cara’ atau ‘metode’, atau bisa juga disebut ‘kiat’, sedangkan Kieh bisa diartikan ‘kias’ atau ‘umpama’. Pengertian bahasa kias (figure of speech) adalah pilihan kata tertentu sesuai dengan maksud penulis atau pembicara dalam rangka memperoleh aspek keindahan. Karya menjilid sitaralak ini lahir dalam rangka melihat perkembangan pembelajaran silat di Minangkabau yang pada saat ini sudah mulai ditinggalkan oleh generasi muda. Untuk itu, perlu ada karya seni yang memperlihatkan bahwa silat masih menjadi wilayah yang perlu dikembangkan dan dilestarikan.Kata kunci: Silek, tari, kiek-kieh, menjilid sitaralak

This article discusses about the conception of adaptation of biographical historiographic texts into the medium text in the Sang Kiai film which is a type of historical docudrama film. Adaptation conception shows a transposition pattern of content from historical biographical narrative texts constructed into the text medium of Sang Kiai film. By conducting a study on the Sang Kiai film through approaches of adaptation and heuristic, hermeneutic, and internal criticism methodology has produced a pattern of referential reconstruction in the production of historical genre film texts, especially in the types of biopic films. The Sang Kiai film is a moving picture biography of the K.H. Hasyim Asy'ari figure who narrated historical facts about the nationalism of the founder of the Nahdlatul Ulama (NU) against the colonialist hegemony of Japanese and Allied fascist armies. Thus, the docudrama film which is positioned as a document of visualization of the historical facts about the past that is presented today through the reproduction of historical texts in the biopic film medium. The pattern of referential reconstruction shows that the biopic film of the Sang Kiai is a representation of the truth of the biographical facts of the K.H. Hasyim Asy'ari figure, although it was produced and presented through historical fiction film text