Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification

Irianto, Agus; Laksono, Arido; Hermintoyo, Hermintoyo

doi:10.15294/harmonia.v18i1.11363

Cited by 3 publications

(3 citation statements)

References 12 publications

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“…The repertoire of the aesthetic taste of the palace is characterized by the visualization of decorative, symbolic, orderly objects, always applying ornaments of mega-mendung and wadasan, and the balance of intra-aesthetics and extra-aesthetics. The aesthetic taste of the palace confirms the existence of traditional functional art for aesthetic satisfaction, da'wah, and solving social problems (Irianto et al, 2018) The repertoire of aesthetic tastes in Indonesian glass painting that develops outside the palace is for strengthening cultural identity. The artists are the puppeteers, shadow puppet engravers, or editors who also act as glass painting artists.…”

Section: A Repertoire Of Aesthetic Tastes In Indonesian Glass Paintingmentioning

confidence: 63%

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

et al. 2022

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This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.

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Section: A Repertoire Of Aesthetic Tastes In Indonesian Glass Paintingmentioning

confidence: 63%

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

et al. 2022

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“…Indeed, in this era of globalization, the life of shadow puppets performing arts faces challenges, because like it or not, one must dare to compete with the more popular arts (Irianto et al, 2018). Therefore, the puppeteers as performers must always try to improve the quality of shadow puppets' performances to continue to exist.…”

Section: Introductionmentioning

confidence: 99%

Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value

Suyanto¹,

Setiawan²

2022

MJSB

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This study aims to actualize philosophical values in shadow puppets performances for the puppeteer and the younger generation. The object of this research is a shadow puppets performance by young puppeteers in Surakarta and its surroundings. Recently, many young puppeteers have appeared arrogantly on stage, for example: standing up and trampling puppet with their feet, throwing puppet off the stage, cursing or saying rude things, exploiting sexual objects for jokes. Whether we realize it or not, one of the causes of this phenomenon is the gap in understanding the philosophical values of puppetry. Data collection methods in this study were the observation of performances and interviews, while to understand the meaning of symbols captured in shadow puppets performances, the method of understanding meaning was used. The notion of "understanding the meaning" in this context is how meaning can be captured from the puppeteers' expressions, either in the form of sabet (puppets movement), catur (puppeteer vocals), and music presented. The result of this research is an attempt to find the factors that influence the tendency of the young puppeteers to express freely. Finding the factors that influence the more youthful generation tends to like glamorous entertainment alone—actualizing philosophical values in shadow puppets according to the contemporary point of view. The ability of the puppeteers to present messages through shadow puppets performances should have direct implications for his personality, in addition to being a means of mass communication that can reach all levels of society (audience) in general.

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“…It defines how simple a man's life is, there are chances to express and harness the beauty of art while trying to fulfill their primary needs. Furthermore, a traditional art that is existed and developed is standardized through the traditions of a society, as well as to sustain and retain social collectivity (Irianto, Laksono, & Hermintoyo, 2018).…”

Section: Introductionmentioning

confidence: 99%

From Ritual to Entertainment: The Changing Role of Barongan Performance Arts

Jazuli

Alam

2020

HSSR

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Purpose of the study: The aim of the study is to 1) describe the Barongan Performance Arts presented in the form of parades and dance-drama on aspects of motion, accompaniment, makeup, fashion, and venue; 2) describe the role of Barongan Performance Arts in Blora society, namely the role of ritual and the role of entertainment that has lasted a long time; and 3) describe the changing role of Barongan Performance Arts from ritual to entertainment in Blora society. Methodology: This research is based on qualitative analysis—the data collected by observation, interview, and documentation. Data validity is using credibility, transferability, dependability, and confirmability. The data of the form of Barongan Performance Arts were analyzed used the ethnocoreology approach, and the data of the changing role of the Barongan Performance Arts were analyzed used the social action method. Main Findings: Barongan Performance Arts are displayed in two forms, namely the form of a procession or parade and dance-drama. Barongan Performance Arts from ritual to entertainment because, the development of social and cultural life of the Blora people, this is influenced by economic and globalization factors. The growth and development of Barongan Performance Arts as an entertainment center is inseparable from the participation of artists and managers in introducing Barongan Performance Arts. Applications of this study: The results of this study are expected to be beneficial for the development of Barongan Performance Arts so that it still exists that is loved by the community, as a reference for local governments in the effort to develop and preserve Barongan Performance Arts, to be an appreciation for and development of Barongan Performance Arts teaching materials and to be an additional aesthetic experience that sourced from Barongan Performance Arts. Novelty/Originality of this study: The conflict between ritual and entertainment interests in Barongan Performance Arts is definite. Reflection of the conflict can be seen from the existence of competing with each other, influencing each other in its presentation and strategies attracting the attention of a broad audience. While the comparison seems they can live and develop side by side.

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Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification

Cited by 3 publications

References 12 publications

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

Shadow Puppets In The Hands Of The Young Puppeteers: Loss Of Philosophy Value

From Ritual to Entertainment: The Changing Role of Barongan Performance Arts

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