Kesenian Reog Kendang di Kabupaten Tulungagung merupakan gubahan tari rakyat sejak tahun 1978 yang menggambarkan tentang arak-arakan prajurit pasukan Kedhirilaya tatkala mengiring pengantin Ratu Kilisuci ke Gunung Kelud untuk menyaksikan hasil pekerjaan Jathasura mengenai persyaratan yang diberikannya. Kesenian tersebut dikenal oleh masyarakat Tulungagung dalam bentuk sebagai tari hiburan yang sederhana yang dibawakan oleh 6 orang penari yang menari sekaligus memainkan kendhang dhodhog. Penananam bilai-nilai moral pada seorang pelajar dapat dilakukan melalui sebuah kesenian, khususnya kesenian Reog Kendang ini, yang mengajarkan anak untuk dapat melaukuakn perilaku-perilaku baik dalam kehidupan sehari-hari. Belajar dan berlatih untuk bekerjasama, bertanggungjawab, disiplin dan saling menghargai ketika berproses dalam menciptakan pertunjukan kesenian tersebut.

The visual form of a work of art is something that receives a lot of attention in the postmodern era. As a result, many works of art continuously experience development and upgrades that are adjusted to the artists' selfexpression. Nitik Batik is the oldest Batik style in Yogyakarta which has significantly developed in its visual form. This study aims to examine the existence of Nitik Batik in the postmodern era using a qualitative method and phenomenology approach. The research setting is in Bantul, Yogyakarta. Data were obtained through observations, interviews, and documentation. The analysis was done through data reduction, presentation, and drawing conclusions. The findings reveal that the existence of Nitik Batik in the postmodern era throughout the years can be summed up as follows: (1) from the function perspective, it can be used by all kinds of people; (2) from the motif perspective, the Nitik style has an overall of 60 motifs; (3) an association of Batik craftspeople was formed in 2017 by a group of women and young people as the next generation to preserve the existence of Batik Nitik; (4) the geographical indication has been registered at the Directorate of Brands and Geographical Indication as Batik with technical qualities based on the type of material, weaving technique, and recognition as the oldest Batik style in Yogyakarta.

The postmodernism perspective in art can be identified from the emergence of new ideas in the field of art, in which there are no boundaries. One example of this can be seen in the shift in form and meaning of a traditional Javanese performance art named Reog Kendang. Reog Kendang, a folk art from the Tulungagung Regency that serves as one of the region's attractions, has experienced many developments from its original form. The traditional performance art initially had very particular rules, but has developed in its meaning and form of presentation over time as they are adjusted based on the demands and context of performance art. This paper aims to depict the form of Reog Kendang in the postmodern era and its existence using qualitative method and phenomenology approach. Data were collected through observations, interviews, and documentation, followed by an analysis involving data reduction, presentation, and drawing conclusion. The findings reveal that the development and existence of Reog Kendang can be seen from the change in the form of presentation and demands of the performance that allow the artists to make creative adjustments and innovations. As a result, the audience may enjoy and feel the result of the development which helps Reog Kendang to remain relevant in the postmodern era.