Poskolonialitas Jawa dalam Campursari: Dari Era Orde Baru hingga Reformasi

Abstract

This article aims to describe and criticize the constructions of post-colonial Javanese locality in campursari from the New Order to Reformation era. Applying the textual-contextual method with postcolonial theory, some campursari songs composed by Nartosabdo, Manthous, Didi Kempot, and Cak Diqin will be analyzed to reveal out the constructions of Javanese postcoloniality in transformative modes. The textual analysis method will be conducted by analyzing some song lyrics to find out Javanese locality discourses related to some issues such as new cultural values and practices and male-female relationship in the midst of modernity, from the New Order until Reform era. The contextual method will help us in connecting critically discursive constructions in the song texts to historical condition in which modern values and practices have affected Javanese individual and society. This study shows that campursari songs represent the transformation of locality in which the song writers bring their view on the changing of cultural life by negotiating Javanese cultures with more flexible paradigm. It means that the song writers consciously represent local cultures which have had dialogue with modern cultures as an effort for negotiating and transforming Javanese locality as well as a strategy for popularizing and marketing campursari.

Reconstruction of Campursari for Children at the Harmini Parni Culture House Serag Village, Pulung District, Ponorogo Regency

“…But not only entertaining, Javanese songs can be used to teach children manners. Children's songs (dolanan) provide teachings about life, human attitudes towards their God, attitudes towards fellow human beings, attitudes towards themselves, and even attitudes towards nature [7]. These attitudes and behaviors are depictions of noble and noble character.…”

Tourist Attractions in Campursari Lyrics: Analysis of Figurative Language and of Meaning

“…The freedom and courage of women to reverse the logic and patriarchal gender relations are indeed felt in her songs. However, the discursive message conveyed re-stereotyped women actually as subjects who began to leave Javanese values (Setiawan et al, 2020). In addition, the lyrics of the songs also contain the image of personification.…”

Refining Contextually Vulgar Word Choices in the Lyrics of Campursari Song "Gubug Asmoro": A Semiotic Analysis

“…The genre of campursari music began to develop in the late 1960s. However, since the 1990s, when Manthous recorded and distributed his songs to a broad audience, it gained more recognition as a music genre that combines diatonic musical instruments found in modern tools with the pentatonic scale found in gamelan (an Indonesian traditional musical ensemble) (Saepudin & Yulaeliah, 2021;Saman, 2021;Savitri, 2021;Setiawan et al, 2020). Javanese music genres, especially campursari, have long been popular among older Javanese people (Sunarya, 2019;Sundari, 2020).…”