proceedingrepository.isi-ska.ac.id/3333/1/5 matheus wa.pdf · 2019. 7. 30. · sunarno, wahyu...

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PROCEEDING

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PROCEEDING

“We Feeling” in Dance:A Manifest of Intercultural Values

Wahyu Santoso PrabowoShahanum Mohd. Shah

Jeannie ParkNarumol Thammapruksa

Matheus Wasi BantoloSuroto

Soekma Yeni AstutiSlamet MD

E D I TO R SFumiko Tamura

Alan H. FeinsteinSri Rochana Widiastutieningrum

PRODUCTION TEAMNerfi ta Primadewi

JamalAnhar WidodoTaufik Murtono

M. Edy P.

ISSN 2548-9755

Pusat Studi Tari DuniaCenter for World Dance Studies

ISI SurakartaJl. Ki Hajar Dewantara 19, Kentingan, Jebres, Surakarta 57126

Telp (0271) 647658, Fax. (0271) 646175

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PERSPECTIVE REVIEWSOF SOME PAPERS

Prof. Tamura FumikoChikushijogakuen Unv. Dazaifu, Kyushu, Japan

The island of Kudaka in Okinawa of Japan had beenfamous for its unique and mysterious ceremony called“Izaihô”, conferral initiation of women-as-goddesses, heldevery 12 years. It consists of a complicated series of ritualsand several-days-isolation of the qualified women (born inthe island and married to the men also born there and in acertain age) accompanied by music, dance and chanting.Unfortunately, we may not have the opportunities to see thisamazing ceremony because the inhabitants decided not tocontinue the ceremony in 1978, owing to the lack of thewomen fully qualified, even though outsiders (scholars,journalists etc.) strongly opposed. This decision had beenpreceded by conflict of thinking among the female ritualleaders, between the ones who insistedon the perfection ofthe ritual and the others preferred continuity of it.

This case is very symbolic and thought-provoking whenwe think about the originality or authenticity of some culture,or if people have difficulties to decide betweenconservativecontinuity andany kind ofchanging of theirculture. Moreover, this case is very suggestive for us to thinkabout “Intercultural”matters. At least we could say that theinsiders have more right to determine the destiny of theirculture rather than the outsiders of it, though often reverscases take place.

From the point of view mentioned above, the followingpapers are meaningfully interesting. SOURCING ANDRESOURCING FROM JAVANESE DANCE: A PERSONALPERSPECTIVE presented by Jeannie Park shows verycharming and also suggestive thoughts about “rasa”,

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“interpretation of culture” and others based on her own rareexperiences of, and a deep insight in, the Javaneseculturegained through learning traditional Yogyakartadance. She also shows a genuine point of view on“Intercultural” matters, whichmay be caused by herintercultural background(Korean decent, born and raised inthe United States and now lives in Java.)

Her paper goes to “resourcing”Javanese dance andculture. She says,”Our engagement with culture providesus the tools to understand ‘culture’ so that we have the abilityto create ‘new culture’ without disconnecting ourselves fromthe core values———-.” This reminds us THE SPIRIT OFBEDHAYA IN CONTENPORARY DANCE presented byMatheus Wasi Bantolo. He emphasizes the importance andinfluence of traditional Javanese Court Dance, Bedhaya,toward “contemporary”dance creation in Indonesia. Heexplains the difference between three categories of “newbedhaya”, so to say, “form”, “term” and “idea”.The oneswhich imitate the dance”form” in various meanings, the oneswhich use the “name,” and which are influencedby the“idea” or inner meaning of Bedhaya.Then he goes to“Bedhaya as Inspiration in the Cultivation of ContemporaryDance.”The present writer mentions “Bedhaya”is originallyvery mysterious ceremonial court dance and which couldnot be seen by everyone, like in the case of “Izaihô”mentioned above. The writer thinks that “Bedhaya”stimulates strongly the imagination of dancers probablybecause it has been hidden.

ARTISTS AND THEIR ROLE IN CREATION A LIVINGCITY presented by Narumol Thammaprulsa shows oneclarification of the idea of “ We feeling.”Based on the carefulfieldwork in Japan (Tokyo, Kyoto) and Indonesia(Jakarta,Yogyakarta), it shows how artists in modernizedhistorical cities shape their roles in initiating public activities.

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It says,”To be ‘a city’, it needs all these infrastructure as‘hardware’but italso needs understanding how people feelas ‘software’. It encompasses environmental psychology,cultural literacy, sensory appreciation, and a visceral senseof the city.It refers to the city’s artistic thinking andunderstanding of social dynamics.”After introducingindividual, group, and networking activities of artists in thiscontext, it concludes,”The city and its residents must raisequestions about their roles and positions regionally,nationally, and globally.”

The writer highly evaluates the challenge of thecommittee of this international seminar introducing adifficult but very interesting theme.Also apologizes for thisreview beinguncomplete.Finally the writer want to indicatethe dangerousness included in the idea of”interculturalvalues” of each level, from a small community till the nationand the world. Hopefully the relationship between ‘culture’sis impartial and based on mutual understanding and mutualrespect.

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PERSPECTIVE REVIEWS OF SOME PAPERS - iii

Wahyu Santoso Prabowo - 1NURTURING THE SENSE, THE SENSE OFUNIVERSAL BODY THE REFLECTION OF SPIRITUALJOURNEY

Jeannie Park - 17SOURCING AND RESOURCING FROM JAVANESEDANCE: A PERSONAL PERSPECTIVE

Shahanum MD. Shah - 30INTERCULTURALISM IN THE MUSIC OF DANCEAND MUSIC IN MALAYSIA

Narumol Thammaprulsa - 42ARTISTS AND THEIR ROLES IN CREATINGA LIVING CITY

Matheus Wasi Bantolo - 73THE SPIRIT OF BEDHAYA IN CONTEMPORARYDANCE

Suroto - 93HUTAN PASIR SUNYI: DEDY LUTAN’S PERSPECTIVEON DAYAK

Soekma Yeni Astuti - 107OPERA JAWA: A STORY ABOUT JAVANESE WOMAN’RESISTANCE

Slamet MD - 123SOLAH-EBRAH CONCEPT ANALYSIS OF LOCALMOTION DANCE OF JAVA

DISCUSSION - 137

TABLE of CONTENTS

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Matheus Wasi Bantolo

THE SPIRIT OF BEDHAYA INCONTEMPORARY DANCE

Matheus Wasi BantoloISI Surakarta

[email protected]

Sareng ing tahun 544 tahun Surya, utawi 560 tahunCandrasangkala, Prabu Basukesthi ing nagari Wiratha,kagungan karsa amundhut parara. Sakathahing kenya ingkangendah ing warni kinarya dhara – dhara, winastan padhayautawi badhaya. Anulad widadari kasapta ing Suralaya, sarwitinabuhan ing gendhing kemanak utawi kethuk kenong.Binarung ing kidung sekar kawi utawi sekar ageng. Inggihpunika purwaning panjenengan dalem nata Tanah Jawingagem lelangen badhaya.

Simultaneously in 544 the years of Surya or 560 the yearsof Candrasangkala, King Basukesthi king of the Wirathakingdom, desirous of taking Parara. Some very pretty girlas young women, called padhaya or badhaya. Inspired byseven fairies in Suralaya (Heaven of the Gods), while playingkemanak music or kethuk kenong. Simultaneously in singinga song or Sekar Ageng (the great Song). This was thebeginning of Javanese King using Bedhaya dance.

An excerpt from serat Wedhapradangga; Serat SujarahUtawi Riwayating Gamelan (Wedhapradangga; WritingHistory or History of Gamelan, written by RadenTumenggung Warsadiningrat, in Java in 1874, a Karawitanmaestro of Keraton Surakarta, p.8). A very long jorney of adance that until now still exist, even as an inspiration inworking on a new dance. New dances were created from“only” the shape of bedhaya or developed from the spirit ofbedhaya.

“We Feeling” in Dance: A Manifest of Intercultural Values

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IntroductionIndonesian dance artists used traditional dance in

Indonesia in preparing the work of the dance, so that thework has a contemporary color and in line with its time.Present in a work that makes the artist prefers to call it a“tari kontemporer” (contemporary dance). As thekontemporer term itself derived from the English word basedon the contemporary digital dictionary The AmericanHeritage Desk Dictionary, which means present orcontemporaneous (2003).

Currently contemporary dance choreographers based onJavanese dance utilize the rich heritage of dance that laybefore them as the traditional knowledge in the creation ofdance sources ideas or anxiety personally choreographed. Agenre of Javanese dance tradition that has become a sourceof the ideas in the choreographers works is bedhaya. Bedhayais a genre of dance from Surakarta in central Java (KeratonKasunanan Surakarta Hadiningrat), danced by nine dancersin the same dressed. Bedhaya as a sacred dance, has mysticallyvalues for the Javanese people, and considered as a heritage.This dance is only performed at certain times and with variousdevices rituals. Bedhaya that had sacred values is BedhayaKetawang only danced during the coronation ceremony ofKing and its anniversary. The names of bedhaya are usuallythe same as the name of the music ( gendhing )thataccompanies such as Bedhaya Doradasih, dan BedhayaPangkur.

The currently phenomenon, new choreographies relatedto bedhaya are; used of the term bedhaya as the title with theform of works as a genre, and the work that takes ideas orthings essence in bedhaya in a different form with bedhaya asa genre. The first category saw bedhaya as a ‘form’ or in asense is a genre, according to the name of the dance, thenumber of dancers, and performance structure. There werea few adaptations in the work on the motion or visual system,

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but rather on a desire to emulate the spirit of making thework of the same name and the structure as bedhaya.Although, for the record, Keraton as the original owner ofbedhaya culture stated the dances that were similar to bedhayacreated outside the palace called bedhayan. Dance pieces thatuse bedhaya names are: Bedhaya Hagoromo, Bedhaya MinangKalbu, Bedhaya Welasih, BedhayaTimasan, Bedhaya sedhahMirah, Bedhaya Siguse, Bedhaya Temanten ect.

The new bedhaya in this category, there were also usingthe name bedhaya but in a completely different structure frombedhaya performances. Even though there were forms ofinsinuations about the bedhaya dance form or in other termswas mocked. In the extreme, these works deliberately makefunny shapes on bedhaya. The basic idea was actually socialcriticism but used a genre of bedhaya as the form ideasaesthetic camouflage against the bedhaya. This exampleworks bedhaya Bedhaya Prek, Bedhaya Dudu. Other forms withnames bedhaya was Bedhaya silicon. The choreography formswere absolutely no use Javanese traditional dance elements.Movement, costumes, and arrangement of space, extremeused of new elements to the exploration of plastics. Just asthe number of dancers and sex together with bedhaya.

The second category is as bedhayan term used to describethe dance bedhaya created outside the palace, a group offemale dancers in a certain amount for dance teather workscalled bedhayan. Bedhayan term in this category actually haslong appeared when a group of women dancers calledbedhayan in the 18th centuryies. This term became popularbegan at the start of the rise of Ramayana Ballet at Prambanantemple around the 1960s. It is growing up now with the workof a dance drama in which there are groups of female dancerslike bedhaya called bedhayan.

The third category also become the focus of this paper ison contemporary choreography that process, exploring, andknit works by using a basic idea of cultivating as contained


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in bedhaya. The ideas, thoughts and approach to creatingworks which then continues in the process and manifestswealth of variety, shape, type, quality, style, meaning, andrevealed details. It’s influenced by culture as the mother ofJavanese dance culture associated with the way of life, values,and Javanese people aesthetic.

Bedhaya as the object of this paper because bedhaya notjust one genre of dance but the basic existing Javanese dance.Its creation process through a transcendent time. Historicalbeginning, the creation of the Javanese dance as in thebedhaya, referred to Wahyu Santosa Prabowo in the book“Sejarah Tari: Jejak langkah Tari di Pura Mangkunegaran”, inKakawin Arjuna Wiwaha mention the word dance withwords abadhya, through the Islamic Mataram era becamebedhaya (2007: 37).

Data in this paper is the observation of the author since1998, when engaged earlier with the choreographers untilnow, so widely supported when the author learned fromthem. The author had been a dancer in contemporary worksfrom the choreographers as well as the processes involved towork together with Sardono W. Kusumo, Elly Luthan,Sunarno, Wahyu Santosa Prabowo, Nuryanto, SulistyoTirtokusumo, and Retno Maruti. The author is also achoreographer who always uses elements of classical Javanesedance as a basis for the choreography creation. Theinvolvement as a participant observer -supported in order tolisten, and feel directly the techniques of motion are given,as well as understand the ideas of the choreographers ontheir work, so that data could be accurately obtained.

Modern and ContemporaryStudied of contemporary dance in Indonesia will not be

separated from the discussion of the development of moderndance in the world. Nonetheless artists, observers, and peoplein the Indonesian dance will always strive to give the

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boundary between them. This restriction is to see thedevelopment of a dance piece in the present so-calledcontemporary dance, to distinguish the dances of both theclassical tradition and the folk dance. Modern dance is seenmore to see the development of dance in the western world,even though western dance world have their own limits onmodern dance, which in turn make it as inspiration for thedevelopment of Indonesian contemporary dance now.

As the opinion of Gerald Jonas, modern dance is abouthow a work was created, by whom, and not the style of amovement. The phenomenon of modern dance in the Westbegan to receive serious attention in line with thedevelopment of ballet in the late 20th century. Thepredecessors of modern dance were American women whofeel free enough to use a purely personal inspiration combinedwith gestures to create dance work. This freedom was thearcing work of these women as a personal expression. Thefreedom that they pass on this as has happened in the worldof poetry and art, which was the cultural phenomenonknown as the romantic era (Jonas, 1992:191). These womenlike Isadora Duncan, Ruth St. Denis, and Louie Fullerinspired freedom for Modern dance figures such as MarthaGraham, Dhoris Humphrey and Charles Weidman (Clarkeand Vaughan,1977:236).

The next generations, modern dance accommodated awide variety of traditional dances. This proved modern dancewas flexible enough to explore and work with not only thetheme of history and local legends, but also disciplinedmovement traditions such as T’ai Chi Ch’uan, Yoga, Salsa,and Bedhaya. Groups and modern dance choreographers hascollaborated with worldwide traditional artists to developtheir works. They show a dialog between individualcreativity with traditional dance.

Katherine Dunham’s work entitled Fanga, exploredAfrican and Caribbean dance. Her other works based on


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dance Liberia titled A Great Chief and Tropical Revue, aswell as the work entitled Bal Negre and Caribbean Rhapsodywas based on a ritual dance Trinidad. The Alvin AileyAmerican Dance Company with the choreographer, AlvinAiley, produced repertoires-based on the African Americandance with the titles; Revelations and Shango. This was inline with the development of contemporary dance work inIndonesia using dialogue or the development of traditionsthat exist in Indonesia.

As the term, contemporary derived from the Englishword based on the contemporary digital dictionary TheAmerican Heritage Desk Dictionary (2003), which meanspresent or contemporaneous. One choreographer whobecame a pioneer of Indonesian contemporary choreography,Sardono W. Kusumo develop a style of dance as a mergerbetween the Javanese classical dance with an expression ofSardono’s personal freedom. The specificity of his work wasto be a role model for the next generation in the work byfollowing the techniques of the choreography.

Choreographer of the present generation workedconsistently and intense dialogue with provision abilities andconceptual art tradition. Artists are often referred to ascontemporary choreographers have found the personalspecial characteristic creative process. Some of themdeveloped the movement to discover they cultural own body,though still with a strong enough base their traditions, aswell as several others established the tradition were still inthe form of their tradition. For example; the choreographer,Hartati, presents diverse dances and ideas fromMinangkabau tradition. Mugiyono developed explorationgestures from the Javanese tradition. Retno Maruti developeddance based on the provision of dance and classical Javanesedance vocabulary. Choreography of Elly Luthan based onthe mix of Javanese dance and other dance cultures like theMinangkabau, Aceh, Banyuwangi, and Kalimantan.

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Bedhaya as IdeasAs in the creation of Bedhaya, the process of formation of

Javanese dance, was inspired by the environment of humanlife as seen in the creation of Bedhaya Ketawang dance(Prabowo, 2007: 42). Materialized into a dance work calledBedhaya through a gradual process involved multiple partiessuch as the King, The poet or writer, creator of Gendhing(music), and movement creator. A myth that sequence onceSultan Agung (a great king Mataram’s kingdom) capturenatural phenomena, the universe is very quiet sound of thebreeze like the sound of gamelan kemanak Lokananta. Alongwith that drifted beautiful song then was presented to eightcourt officials together to make music with the instructionsKanjeng Sunan Kalijaga, one of Wali Sanga who famous indeveloped Islam in Javanese culture (Javanese Islamicguardia). The next stages of the courtiers appointed to processthe dance create. By the time practice with mystically, KanjengRatu Pantai Selatan (supernatural ruler southern ocean whohad a mystical relationship with the kings of Java) train thedancers for three months. It’s as stated in Wedhapradangga(1990: P. 54). Similarly, the creation of the next bedhaya dancesbegins with The Sultan Agung listened the sounds of naturesuch as the sound of birds, gurgling water, wind during themeditation.

Kamus Istilah Tari dan Karawitan Jawa, Terms Dictionaryof Dance and Javanese Karawitan (1977: 90), defined thatBedhaya dance was a classic dance composition in theSurakarta and Yogyakarta style brought nine female dancers,and themed legend, chronicle and history. Bedhaya dancewas performed by nine dancers, contained a number ofsymbolic significance that was always associated with theviews and philosophy of the Javanese people, such as; Numbernine is the number of the largest in the Javanese view; relatedto the macrocosm and microcosm that were the universe andin human beings; nine holes in the human body.


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Bedhaya dance was danced with smooth, soft, gentle,banyu mili (flowing water), and accompanied by the pieceof kemanak that blends with the song bring the atmosphereof regu, wingit. This nuance brought us to the magicalatmosphere and contemplative, as if we were in anotherworld, so as a means of pointing towards olah semedi orpatraping manembah (Meditation and praise the Almighty /God). We would live up to the atmosphere heneng (in silence)hening (in stillness) hawas ing purwa sedya sangkan paraningdumadi (remember the beginning and the purpose of life inthe universe). Costumes and makeup are generally the same(in general use dodot ageng) as well as the absence of thecharacterizations of the stories in the show, the more difficultthe visual comprehension. It actually makes Bedhaya canbe said to have multiple interpretations, as well as a work ofLiterature was in the form of poetry. A vision of dance asexpressed by a figure of movie theater and actor, SlametRaharjo Jarot, in a conversation argued that “dance is poetryor prose in motion”(13 February 2015). This suggests thatthe discussion about watching a dance performance is likereading a poem or prose beautifully assembled in bodylanguage.

Javanese people recognize the adi luhung concept (thevaluable concept), in the tradition of art. The meaning ofAdi: linuwih was more than anything or has more value,luhung was sublime, high above another and alsomeaningful. Adiluhung concept is not just a matter ofaesthetics, but more than that, it contains the values of thephilosophical, religious, educational, ritual, and others, whichincludes all aspects of human life. Adiluhung concept andits manifestations show the vision of contemporary societyincludes artists of the dance as a whole to the problems ofhuman life, such as sangkan paraning dumadi as well as theessence or meaning of life (gayuhaning urip), which isembodied in the symbols that used in the expression. As with

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any other terms of dance, beksa, that is also interpreted asambekipun Kang Esa, which shows the attributes of GodAlmighty. Beksa derived from the word ambekipun raos sawiji,having a sense already in a state of silence or in a state of fullconcentration, understand the position in life, also with theAlmighty (in Fiber Wedhataya).

Manifestations of the concept of beauty as in Yogyakartadance style according to experts of the Yogyakarta palace,dance abstraction of inspiration of dance traditions, calledJoged Mataram consisting of sawiji, greged, sengguh, and oramingkuh. Kawruh Joged Mataram although an abstractionbeauty of dance style of Yogyakarta, but in fact can also beapplied to the Javanese dance in general as a dance style ofSurakarta, dance style of Pakualam, and dance style ofMangkunegaran, in view of the quality of a dancer.

First, the dancer must always keep the awareness andthe concentration must be maintained so as to keep self-control. Meaning of total concentration but without causingstress is that the dancer in question should not be oblivious(trance), but he is in a situation where all his attention on therole that he is playing, so it’s not going to ignore everythingaround. Target concentrations of dancers are role, and howcan turn these figures converge in him or her.

Second, the dancer should curb the emotions so as notto lead to something rude. This spirit should not be releasedfor granted, but must be restrained to be channeled towardsreasonable. The point is that the emotions to the outside mustbe controlled so it does not appear in the form of rough.

Third, a dancer must be full of confidence on stage, butshould always control him or her self so as not to lead to avanity. This belief fosters an attitude that convincing,certainly, and no hesitation.

Fourth, dancers dare to face anything when they wereon stage, so do not be afraid to face difficulties. Dancers mustkeep what is already ability with full responsibility, full of


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courage in playing its role. This constancy also means fidelityand courage to face the situation however with self-sacrifice.This attitude deposition is universal, the same for any art,especially the art of theater.

Mastery of these four will also make a Javanese danceris able to achieve a high quality can express “a sense of”dance in total. Totality and concentration on which thethought of Joged Mataram is the foundation thought tomeasure the ability of dancers in general. Both supported itwith the maximum restraint to make a dancer is said toachieve a sense of quality.

Achievement of rasa would be perfect if after masteringthe four parts Joged Mataram above and then mold theminto something more sublime called manunggaling kawulaGusti (the union of man and God) or divinity. The rasa willappear when there is an expression of unity with theAlmighty. The unification of divinity can be achieved withthe stage when a person in a state of peace or in India theconcept of so-called union with deity, in yoga and total self-giving, or bhakti Peace is a form of concentration of a dancer,like the opinion of S. Maridi, embodies the concentration ofJavanese dance with meditative stages. Tenderness motion,and arrest him make it into a meditation in motion. Restraintmust always be maintained so that the dancers are notswayed in the rhythm of the motion. The space formed bythe rules should be maintained, so that the body remainsbalanced. The concept of self -control such as the concept ofKundhalini Yoga, where one is always aware of its existence.

The concept of silence in Javanese dance can be seen alsoin the opinion of an expert in Javanese dance, LaksmintaRukmi, in Jakarta as stated by one of her students, SulistyoTirtokusumo, about the concept of suwung nanging isi. Thisview shows that the beauty of it will appear in a silence. Thesilence contains many things about human life on earth.Appreciation will be profound when a person reaches a stage

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of silence (interview, February 2000).Yogyakarta style dance teachers in providing guidance

usually disclose a description of the idiom was hard tounderstand. For instance, teachers cited the views of SriSultan HB VIII himself who once said: “if you still bring yourhumanity on your part, it’s impossible you can be a goodwayang”. This advice was then translated by dance teachersin Yogyakarta with the words: “To be able to take the rolewith precise and meticulous soul should kothong (empty)ananging kebak (but full)” (Wibowo, 1981). A dancer orstudent is expected to digest themselves what purpose storedin these words. The meaning of these words, were actuallyvery subtle and deep on a concept of beauty of dance. Thebrief sentence means: if a dancer has not been able to emptythe soul of all personal properties such as complacency, lessresponsible because they feel could, like extolled and so forth;definitely will not be able to fill his soul with the characterdemanded by the role. Totality, concentration, and self-controlare the key of this expression.

Bedhaya for the Javanese people had an essence that isalways grounded in balance and harmony, as well as theabsence of pressure on the dancer so that all forms bebalanced and without pressure. The essence of Javanese lifewas always resigned to the circumstances and all divinity.The essence is revealed in bedhaya dance that seemed to yieldto the form without coercion. Bedhaya will look beautifulwhen in motion Sumarah (resigned) to the Almighty in termsof Java called tansah eling marang kang kawasa (Rememberthe Almighty) or sangkan paraning dumadi (Origin andpurpose of life). The understanding of Sangkan ParaningDumadi in the beginning there was the influence of theultimate truth according to Hindu teachings, namelyBrahman or soul of the universe.

In line with the above understanding, bedhaya would beideal or perfect if the dancers is always eling marang sangkan


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paraning dumadi, and try to get manunggaling kawula langusti. Bedhaya will be internalized for the audience when theconcept has been integrated within the dancers. Everybreath, every plot, every step in the movement should alwaysunite ourselves in the concepts, concept called meneb. As aconcept in dance, meneb means a dancer no longer think ortoo much attention to technique. Technical matters ratherthan ignored, but the achievement of the quality of thetechnique, considered to have been mastered in depth if youwant to reach the level meneb.

Javanese contemporary Choreographers in their workrequired dancers with standard capabilities approaching thestandard expected by the mastery of the concepts above.Some choreographers in their creative process also prioritizeunderstanding of the values of Java. The process of the bodydancers as a medium of expression was the basis of footholdof Javanese contemporary choreographers in creating theirwork. Not just moving formed that exist in Javanese danceto be made into a new one but each part contained aphilosophy in motion knitted. Motions presented sometimesdid not show the style of Javanese dance but people still seeall ke-Jawa-an (Javanese nature) in it.

Bedhaya as Inspiration in the Cultivation ofContemporary Dance

The existence of Javanese dance has been through a longprocess from time to time, in line with the change of danceartists and in accordance with prevailing values in his time.The presence of Javanese dance for artists at that time andfor the broader people, perceived carries deep meaning forhuman life. The journey has great significance in the humanaspiration to give color to the environment are loaded withvarious happenings problems.

Javanese dance masters who leave a legacy, dance, tofuture generations consciously sided with the concepts of art

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that is always associated with the socio-cultural era. Theconcepts of Javanese dance are not just an aesthetic problemalone, but more than that, which covers various aspects ofhuman life. That is to say, the masters looked Javanese danceaesthetic issues covering the area of human life more broadly.

The views expressed above, became the foundation tostudy the creators of contemporary dance about their workto make a wealth of knowledge about the development ofthe world of dance ranging from classic to contemporary.Choreographers put forward their view of life through dance.From dance works, it can be seen the way they look, showingthe foundation of creation and the creative process to makethem as a contemporary dance choreographer.

The creative process in Javanese contemporarychoreography performed through the interpretation ofJavanese dance genres that exist in classical dance as bedhaya,langendriyan, and wayang wong. Explorative was done alsoby combining the styles of other Javanese dance at thecultural centers of Java found in the palaces of Java such asKasunanan Surakarta style, Pura Mangkunegaran style, thestyle of Kasultanan Yogyakarta and Pura Pakualaman style.The process approach is fused to the processing of the genresof dance and character of classical Javanese dance.

Contemporary choreography in this discussion presentsa poetic form as in bedhaya, a Javanese dance genre is dancedby nine dancers in the same dressed, as a sacred dance thathas a magical value for the Javanese people since staged onlyat certain times and with various rituals devices. This newchoreography based on bedhaya, the pattern creation of haddiscretion in interpreting the story and characterizations.Dancers portray certain characters, at the same time it ispossible to melt and the switching function to strengthenthe atmosphere and character dance symbolizing the story.

Disclosure of story ideas and expression of workingcontents used expressions through dialogue between


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characters too (Antawacana, in the terms of the traditionaldance drama called wayang wong), songs of Java (Javanesesong singing opera as in the form of Java - Langendriyan), aswell as expressions of Javanese poetry (geguritan). dialogueby using the song to be the color of the works of this kind ofchoreography, every dancer is required to have the ability toexercise sound apart of course as a dance performance has agood body work. They were an ability to share every breathin motion and vocal strains become prominent in itspresentation skills.

As a performance that also accommodate theatricaldance, dramaturgy elements in the atmosphere disclosurerequired acting skills of the dancers. Acting is to lay emphasison the atmosphere built characters that appear in theperformance. A dancer sometimes become differentcharacters in one show, then at a certain moment they arefused to blend into one character as disclosed above inbedhayapoetic ideas.

The poetic idea is seen in the implementation of the dancewhich combines good mastery of technique and depth ofcontent that have been fused. Motion carried as in bedhayawas a heave motion, flowing gently that allows the humanin the realm of meditation. This culture level makes thebedhaya as a means of the embodiment concept of theunification of human and God in a gentle motion. Bedhayamoving force flows as like a spinning wheel very fast untilno visible movement. Subtleties can be achieved when thedancers can control the physical, and has set their mind soas to achieve the correct “rasa”. Conversely, the absence ofphysical controls and setting the mind, the motion will bewobbly, like a living human being looked uneasy.

Contemporary dance choreographers based on Javanesetradition dance used the choreography model describedabove, which are; Sulistyo Tirtokusumo, Wahyu SantosoPrabowo, Wasi Bantolo, Retno Maruti, Elly Luthan. For

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example, Sulistyo in his work entitled Panji Sepuh; WahyuSantoso in his work entitled Keblat papat Lima Pancer; WasiBantolo in Tandhing Gendhing; Retno Maruti in AbimanyuGugur; Elly Luthan in Drupadi Mulad. This paper takes anexample of a case in which the work of Retno MarutiAbimanyu Gugur and Elly Luthan in Drupadi Mulad.

Performances of contemporary choreography based onthe Javanese tradition has been through several performancesboth inIndonesia and abroad. Performances inside Indonesiawere usually in Jakarta, although it was also carried out inmajor cities as well as cities that have strong cultural baseperformances such as the city of Solo. Enthusiasm and theappreciation of the audience and the media of the works wereimmense, evidenced by the many spectators who came andcoverage in the mass media.

Here, this article will outline the elements parliaments’choreography of the performances of the contemporaryoutline. The elements of the choreography are; dancer,movement, aural, and visual layout. Dancers gender, todiscuss number of dancers, and characters; movement todiscuss the use of forms of motion, tempo, rhythm, bodyspace; aural discuss music, vocals; discusses visual layoutstage, fashion, property, make up.

These works presented un-verbal form as in bedhaya sothat dancers also wore the same clothes. Whole grain didnot appoint a dancer with a particular character butsometimes pointing character in verbal dialogue or singingor song. As a performances genre of Dance Theater, dancersare required to master theatrical dance, dramaturgy elementin the disclosure of the atmosphere. This was to put pressureon the atmosphere built characters that appear in the show.A dancer’s sometimes fused together in one unity as inbedhaya.

These choreographies used movements as a language ofcommunication with the audience. The movements that


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became the basis of the creative process used vocabulary ofSurakarta Javanese dance style as a base. Exploration wasalso done in assembling movements to follow the rhythm ofthe music (gendhing) as well as every breath done. Thesevocabulary selected an existing bedhaya movements in thegenre, as well vocabulary for male dancers more space toexpand the movements.

This work’s model was supported by more than 10dancers with various functions in character. Cultivation ofthe atmosphere was emphasized in the appearance of thestory with verbal dialogue and dialogue as the song or songsin the show of Langendriyan. This was in addition toproviding communication between the players, the audiencealso to give the dynamics of the atmosphere.

Aural elements also dominated the piece of dance musicusing elements of Javanese gamelan or karawitan. Thedevelopment in dance music was to play gamelan in a varietyof work on the musical composition prepared fromtraditional Javanese classical repertoire. The composition wasfused with dance works in giving the dynamics of theatmosphere, giving illustrations, and escorted the strains ofthe song the dancers. The unification became thick with thekind of opera plots in which dancers also sang a song.

Visual elements in terms of costumes used traditionalJavanese clothes called kemben (traditional strapless), jariksamparan (long cloth), with a headdress like gelung for theJavanese girl’s character. As for the men used the techniqueof Javanese tradition everyday clothing without clothes orcalled jlog. Makeup was not in character but more emphasison showing the face of a natural dancer (everyday life makeup). Visual stage in the arrangement was a proscenium stageas the venue of this work. Performances of contemporarychoreography based on this tradition has been throughseveral stages performances by using the form of a stageand the position of diverse audiences, such as the use of the

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stage proscenium at Graha Bakti Budaya, Taman IsmailMarzuki, Taman Budaya Surabaya and the Little TheatreISI Surakarta, as well as some stage arena like Ball Room athotels, and other places with the diversity of the stage. Withthe diversity that makes the stage design for the floorchoreography customize the design stage. Costume is notjust costumes but wrapping cloth turned and gave thecharacters on the show. As in the story idea departed fromclassic stories such as the Mahabharata and Ramayana epics.

EpilogueThe development of contemporary dance is characterized

by dialogue between individual creativity and tradition.Contemporary choreographers tried to bring their newworks in the personal expression with their traditions of thepast. Dialogue between traditional dance and choreographer,as well as cultural contact with other traditions into thecreative process of the choreographers today, so it shows howa person makes a dance based on creativity. Even if theywere in touch with a lot of new cultivation but did not releasetheir attention to the existence of the background art.

Bedhaya, dance which is considered to have a highaesthetic achievement, is associated with values, perspectives,and Javanese life. On the other hand, work in dance is abody of expression which is a reflection of life, so that thedance means to invite people to reflect on the variousproblems of life. redefining traveling in the work: the workis worship, friendship and sharing with others.Contemporary choreographers based on Javanese dancehave the soul of bedhaya in the cultural life of the dance, so inshades work the spirit of bedhaya became the soul in the workof the dance.


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DISCUSSION


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Disscusion | First SessionINTERNATIONAL SEMINAR

“We Feeling in Dance : A Manifest ofIntercultural Values”

Indonesia Institute of the ArtsSurakarta

Friday, April 29th 2016Speakers : Jeanni Park &Wahyu Santoso Prabowo

(Q) Romo MujiRasa sebagai core dari desk, dengan implikasi

memudarnya rasa kemudian semesta makin materialized,phsycalized, digitalized dengan permukaan aja. Karenaproblemnya adalah soal proses yang diperoleh oleh ‘generasiyang dianggap instan’ lalu bagaimana ‘rasa’, yang dalambahasa kebatinan yang saya pelajari ternyata kalau rasayang tidak dipandu oleh budi itu hanyaakan menjadi emosibelaka. Bagaimana decide of sheetpenguripan dari standar-standar yang ada ditanamkan? Sementara di luar rasa itumemudar.

(A) WahyuPenguripan menjadi kunci ketika kita mencoba

mencermati bahwa telah mulai layu dan memudar. Dantampaknya dalam proses pembelajaran tari memangterjebak pada hal-hal yang lebih teknik dan olah fisik. Jadi,tidak seimbang antara bagaimana mencoba menghayatisebuah tarian atau juga memberikan pembelajaran kepadaanak. Itu juga sedikit-demi sedikit diarahkan dandihidupkan melalui budi. Sebenarnya ada banyak contoh,apakah pernah atau seringkah bapak guru atau pengajartari mengajak mereka keluar untuk mencoba membangun

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rasa takjub kepada satu apa yang ada di alam semesta ini.Membangkitkan kesadaran mereka bahwa ada sesuatu yangluar biasa kepada alam. Mereka akan bangkitketakjubannya, kekaguman luar biasa, begitu indahnyaalam, dst. Hal-hal ini yang saya tahu sangat jarang, diahanya olah tubuh terus dan tenik-tenik terus. Padahal ketikaanak-anak di bawa keluar agar tercipta rasa takjub, bahwaitu adalah keilahian yang luar biasa. Maka sekaligus padahal ini guru tari demi sedikit mulai memberikanpengetahuan bahwa diperlukan laku spiritual. Ketika menaripun juga diperlukan laku spiritual dengan berbagai car.Seperti puasa dulu. Dalam situasi sekarang, laku spiritualtidak hanya berhenti pada masa nenek saya dulu atau masasaya, melainkan konsentrasi dan proses intens merupakanlaku spiiritual. Intensitas dan aktivitas berproses ini kadanginstan. Salah satu upaya yakni salah satunya ketika kitatidak perlu laku spiritual seperti meditasi, dsb, kontsentrasidan intensitas itu terjaga terus dalam proses. Tentu ini akanmampu memunculkan dan menumbuhkan kembali rasayang memudar itu. Dan ini untuk mengimbangi latihan-latihan yang sangat fisikal dan hanya teknik.

(A) JannieHow the core subject of this conversation about ‘rasa’. I

think is like the maturity the state of being that happen inthe process. And in the environment where young peopletoday are trying to. I guess it’s the instinct culture everybodywant to be instead. In the Asia it just still a process. It’s wholeof process. So, its challenge about both of aesthetic andspiritual equip. Because people now have sort cut in theprocess to be an artist. How to go back and face this challenge?I feel same with Pak Wahyu. It was true that a lot of dancerapproaching the technical and physical. I so want to addthat, a lot of this cultural practises were created as inimportant learning tool in some sense is suppose to make it


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easier to learn.Banyak yang pratek-prakteknya dalam kesenian baik

tradisi, jawa, karawitan, tari, mocopat.sebenarnya itu untukmemudahkan menjadi alat atau media belajar. Memicuseseorang untuk mengalami proses tersebut secara empiris.Hanya yang terjadi adalah banyak ke teknis, karena jamansudah berubah, bagaimana strategi berikutnya. kita jugaharus sadar, what’s happening ya?apa yang menjadipengaruh-pengaruh dalam memandang sesuatu.

Jika sudah tidak memudahkan lagi, dan malah geserfokusnya, jadi nantinya fisiknya, estetisnya, dll menjadisebuah standar tetapi rohnya tidak dipertimbangkan. It’sabout maturity atau kedewasaan terhadap unsur-unsur yangjadi penting. Itu tidak bisa instan. Seperti kita bertumbu,itu adalah proses. Mau ngga mau kita harus menerimabahwa pemahaman tersebut tidak bisa instan. Kita akanmengalami. Waktu kita seusia 20’an ya fisiknya saja yangdikenal oleh gurunya yang sangat arahkan. karenakedewasaan batinnya belum siap untuk menerima.Sayangnya ketika sudah lansia, sudah bisa memahami tapifisiknya, tubuhnya tidak sebagus ketika muda.Pengaruhnya atas apa yang kita tahu harus cari cara yanglain dan metode yang lain untuk memudahkan orang lain.Bagaimana memperngarui orang lain, bukan menuntut. Iniyang menjadi tantangan saat ini. Sistem pendidikansekarang semakin berubah dengan yang dulu. Kalau duluya, guru tidak dipertanyakan apa saja guru bilang adalahbenar. Untuk jadi kritis pun tidak bisa. Tapi itu juga menjadisemacam : saya melihat banyak guru mengikuti apa yangdiberikan, karena itu yang menjadi akses atau referensi. Jadiitu hanya diulangi tanpa adanya kesadaran atas situasi dankondisi yang ada saat ini. Untuk memudahkan sepertimencari bahasa yang lebih mudah dan lebih klik denganbrbagai teknik, kemungkinan bisa sedikit-demi sedikituntuk memahami. Itu adalah tanggung jawab guru juga

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untuk memudahkan dan bisa mempengaruhi. Kita harusterus mencari. Dalam hal ini, seseorang yang akanmewariskan harus jauh lebih kreatif. Agar bagaimanapemaknaan itu bisa sampai. Secara otomatis kita lahirsebagai pewaris, maka mewariskan itu sudah tanggungjawabnya lain. tapi kita usahakan karena adaitu dapatbahasa yang lebih mudah dengan disesuaikan denganteknik agar rasa tanggung jawab tadi, pengasahan ataspendekatan itu.

So, it’s just explaining that for somebody to kind of baseon all of these values, because a lot of cultural practices wereactually a wonderful tools to understand a fame people tounderstand. You just can do it by doing it over and over youdevelop the sensibility. But now that things of change, kindof change, time of change, time frame of change. It’s hardkind of achieve of a lot of those result as it was in the past.And means that a lot of teachers and mentors today have tobe new creative in to developing new ways, new methods,new ways to influence, new ways to creative understandingwhat this art form; Rasa is about. Sometimes i felt whenwatching the master dancer; the body perhaps, most peoplethink technically the body cannot speak, but it actually hasanentire story that is being told to that body. And how to seebeyond, just the aesthetic beauty as a body. So, it’s moreopportunities for platform to bring in this beautiful, beautifulmasters. Not trying limited but to breach a way to haveaccess to that.

(Q) Ibu Bulan JelantikTo jeanni,Rasa. How to give rasa? Not only the dancer but also the

viewers, how to make them understand about the aesthetic?How do we educate the people (viewers) about rasa?

To wahyu,Penari egois dan egosentris, apakah karena mungkin


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panggung itu jauh, di atas sana dan dia semacam menjadiraja, dan penonton adalah rakyat yang melihat dari jauhdan menjadi terpisah. Apakah memang kita harusmenegaskan bahwa tarian itu meskipun adi luhung, ataukraton, atau tinggi sekali, perlu mendekat denganpenontonnya. Untuk lebih bisa mencapai rasanya. Mungkindengan lebih banyak ada panggung kecil yang lebih dekatdan panggung-panggung di jalan atau tempat umum. Mauturun di masyarakat dan mau sharing dengan penonton.It’s a homework for EO and architect of dance centre.

(A) Jeanni:There is no right methods, isn’t it?. Rasa is about instinct

to the hearts. So, you know that you have to use the instinctto heart. It’s like my children or it’s kind of a natural, care. Ifyou want to somebody else to care, you have to find the wayto hold her hand, come with me, andlet’s look it together.How do we identified it together? Why we have relationshipwith this. In sometimes when we have to bring downlanguage to the child, the simplified. It’s really simplified.Find something that is easy to identify. And so, it’s same thingfor audiences. Quite often the audience aren’t the dancers.So, that if we use the body language they don’t understand.But if we use human to human language, it will be mucheasier. And quite often again it’s about a personal outlook, apersonal story, them it’s easier to make that connections. Withthe special like we say, if we want to present a master dancerand we don’t want to make assumption. Sometimes if westay quite as the presenter, too many assumption will re-raise with audience. So, to create preventive assumption, wehope to invite the artist or master artist to come to theinterview process. We can start talking about the dance, whatthe personal relationship of themselves with an element ofwhat they want to share. Sometimes we have some kind ofunderstand how they want to share, this is about

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communication strategy as well. We have kind of know whatthe language that just common. I remember asking masterteacher, so you know we thinking we are going to get somekind profound answer, so why the movement like this? Shejust said “Ya, Cause Iwas stop that ways”. So, there isnothing profound behind that way. This is that we do littlebit for our research. How to identify the right word to openup the wonderful secret without being that secret. Just makeit very simple. Sometimes i don’t with the master dancers, itdon’t need to take served, to see how they visual expressionentering the memory. It’s a lot. Again, its constantly, not astruggle, but a constant challenge to see what is the take toget this person from young to be older kind of make thoseconnections and we have to convey that. And I’m sure this iswriters, educators, critics, whose can say a lot but this alwayshave a lot of different strategies that we have to utilize. Itwas communicable, accessible. I tried that with my children,it’sstart from very simple, personal, and see what kind ofconversation happens. When we tried with the audience andmake short conversation cause it could be very long. I guessmore experiences, more experiments. You know we can havea more conversation and we can tried the extra become amethod to create the communication medium. So they willunderstand that.

(A) WahyuPersoalan egois terkait dengan ketubuhan penari atau

kepenarian bisa jadi salah satunya karena terjadi perubahanpanggung yang jauh, dsb. Tapi saya melihatnya tidaksekedar itu. Artinya egois ketika penari itu asik dengandirinya sendiri, asik dengan tubuhnya sendiri. Artinya kalauasik dengan tubuhnya sendiri, puas dengan dirinya sendiri,ini kan lebih ke ragawi, lebih ke fisikal. Tapi ketika tubuhnyaurip mowo urup tadi, hidup ada energi ada aura dan istilahyang lain. danurip hang nguripi artinya mampu berbagi


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persoalan. Karena tari sebenarnya merupakan refleksi daripersoalan-persoalan kemanusiaan dan kebudayaan.Bagaimana persoalan-persoalan ini dan kesulitan-kesulitanini mampu disharingkan, mampu berbagi dengan yang lain,secara ketubuhan juga mampu merespon dan mampudirespon, mampu berinteraksi dengan kekuatanya itu.Sehingga urip mowo urup urip hang nguripi itu ngga egois,meski jaraknya area pertunjukan dengan area penontonagak jauh. Tapi yang lebih pokok adalah yang sayasampaikan itu tadi. Tapi bisa jadi juga itu menjadi pengaruh.Sehingga perlu ini diteliti. Apakah jarak antara hadirin danpertunjukan itu berpengaruh.

(Q) Prof SanBerhadapan dengan generasi yang berbeda orientasi

kultural dan sosialnya. Generasi baru tidak bisa mengikutilangkah yang sudah ditempuh generasi sebelumnya.Apakah ada semacam resep, apakah ada semacam jalankeluar untuk mengatasinya masalah ini. MengenaiIntensitas, kalau kita mau melatih intensitas denganmenarik, akan berbeda dengan generasi sebelumnya yangmemiliki frame yang jelas. Rasa itu menyambung denganraga. Generasi yang tidak punya orientasi yang sama, laluframe nya apa? Frame baru apa yang harus digunakan?Pegangan yang akan digantung .

To jeanni :I know that you have very very complicated situation

which to be equal, to getinto the most people ofJavanesepeople. Javanese more difficult. But you are verycommunicate. How far do you can follow the arus by doingall that, by join the society, by dance, to get rasa?

(A) WahyuSeperti yang saya sampaikan tadi bisa dibilang resep

ataupun gambaran. Namun sebenarnya, memang setiap

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generasi tertentu ada hal-hal yang berbeda, pemikiran danpengaruh yang datang dari luar. Tapi kalau yang sayasampaikan proses yang intens kemudian konsentrasimerupakan bentuk laku spiritual yang sekarang. Saya kiraini ngga masalah. Kalau dulu framenya ada laku spiritualyang, kungkum, puasa, dll lebih kepada keilahiannya.Namun sebenarnya konsentrasi dan proses dengan intensketika konsentrasi dan proses dengan intens kemudianmemunculkan keikhlasan dalam bergerak, memunculkanketulusan di dalam bergerak, dan tidak egois. Sebenarnyaini sudah mengarah kesitu. Tentu ketika Frame sekarangyang agak berbeda. Mungkin karena karena pengaruhteknologi, ketika berproses intens itu mungkin terganggudengan adanya sms, facebook, dan macam-macam dan itumemang menggejala. Ini adlah suatu tantangan sebagaiguru ari, bagaimana saya mampu mengendalikan itu.Mereka harus disiplin, konsentrasi, proses intens, jangansampai itu dilepas. Dan saya yakin jika kita punya kekuatanuntuk mengendalikan itu. Saya yakin sedikit-demi sedikitakan berhasil. Di ISI Solo sudah membuktikan itu termasukbagaimana mahasiswa dibawa keluar untuk mencobamenghayati situasi alam seperti apa. Dan bagaimana merekamampu menyerap kekuatan-kekuatan,energi-energi yangjuga diamati di dalam semesta itu. Ini tantangan yang harusdi jawab. Kalau tidak yang kita tidak akan berkutik. Sayapercaya sekali bahwa konsentrasi dan proses intens ituakanmampu menciptakan itu. Tentunya dengan kekuatan kitamengendalikan proses itu.

(A) JeanniIntensity is the recipes of existing learners to

developediscipline, so it can developed ‘rasa’. So, what next?How do you developed the intensitywith the young whosetime has changed? Pak Wahyu said that it is a challenge forthe teachers. It’s also the responsibility for teachers to


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developed that new method and new practice.But the hang on in key principle, concentration, intercity

and discipline. So, when I listening to this, everybody hasdifferent the way to interpretedthose. So we have talkingabout nowdays, now that the academic discipline aboutlearning, about teaching is now highly develope in Indonesia.This is now a wonderful opportunity for proffesionaleducators to do the research to develop next. And I think wemight need to look into that other fields to develope andunderstand even say the psycology process interactingsomething. The spiritual process continued. What anotherelements or strategies can be developed to get interest causeits about get interest the young learners, to invest the time,invest the energy, and it is all about invested. So, I also believein , yes, we have to do moreresearch which will be ideal. Butits about every individual sharing the values of behind theforms.We have to be have capacity to make that connections.So, that is communicable, and that’s perhaps next level of acapabilities that need to develope how can we insteadly makethose connections develope the language , so there is easierto understand. And now that I m thinking about that I feelthat’s important research. Because not the practices fromsome generations ago. Perhaps the good practice, but perhapsnot as relevate today. So,constantlylooking for relevancy. Thatalso means, the value never change but the way that we haveto transfer the relevancy will continue as will be a challenge.Thats why we have to do a lot more research. But i think inthe general, the value will never change. Something that wewant to sit in, but we’re hope they will make new contributionto the value and to communicate that. So i think that is theinteresting challenge in the future. Regarning like personalprocess. That I practice with my teachers as well we do yes.And I very dicipline that it. Yes or no... it’s again aboutpersonal development. I don’t have very good soft dicipline,you know. It’s gonna like when I dance, can I dance by my

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self? No, Because I think Javanese dance is communalactivity,it’s more interestingwhen people comes together. Or there isa teacher come regarding you. It’s still reflect some techniques,but at the sometimes this soft maturity helps. It’s more aboutpersonal connectivities. So, I dont know what can I say. Nofasting. But because now we have to converse more about it.So, we have to develop new methods torealize that nowI amnot on the next fraid. No matter how much you knowsomething. I remember this because I hear a lot in by teachershere. We have to look at it in the different angle. No matterhow much you know it. So again, it’s more reason for anotherresearch. And make it more exciting. And we just discoverysomething new, for another new research, that’s fantastic.

Back to javanese phylosophy. Sudah, hidup kita sudahselesai. It’s growing search. I think almost everybody wassay. Probably not.For me everyday we trying to developethat.

Next level, I didn’t now that there is many levels.Sometimes I keep thinking. There are methodsthat perhapsare now useful to us, that we discover or those that what Imean for the next level “rasa”. For example studying dance.I didn’t realize that nobody use hitungan, you know likecounting, it was something that happen when we turn thecentury. What they did use in the past? Sounds like thegamelan; getuk, kenong, gong. You know, wow... differenteffect that lerned i guess. Do teachers know that now? yesknow... yes. But in practice, no. Bali, they still use it. Theysing the song, they don’t count. Because It has to be, it has tohear and inclose to their body, and the body respond. That’san example of method. We have the bodies interestingexperience to realize. I don’t know maybe ten years tounderstand that. But its gonna be a constic question for meto research that. That’s the kind of stimulation,maybe,needto beditanamfor all of us, for young people. And if they forget,they will remind them again.


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(Q) YusoffSaran: Memberikan dua screen dwibahasa agar

penonton lebih mudah memahami.To Jeanni:You are not local, right? Akan sukar bagi seseorang itu

untuk menyemai rasa atau jiwa, menjiwai atau merasaisesuatu budaya. You talked, you’re not belonging thiscommitee.Rasa itu datang daripada darah yang mengalir didalam. Itu menolong otak untuk merespon apa yang adadalam komuniti. Refleksi dari 20 tahun di Indonesia,bagaimanacaramenjiwainya yang bukan asli dari darahmu?

To wahyu:Posisi penari dengan jarak penonton. Mungkin

persoalannya bagi saya, budaya dikawal sebagai suatukonvensyen yang dimiliki oleh seseorang, dimiliki oleh satukomuniti yang tidak boleh disentuh, tidak boleh dirubahatau dikongsikan karena dia milik individu/keturunantersebut.Jadi itulah yang membuat orang menari memilikiego, dengan merasa karena akulah seseorang yang memilikibudaya itu. So, orang lain tak begitu cakap.

(A) JeanniIni mengenai gaya heritage. The native heritage versus

culture heritage. Warisan budaya secara secara genetik versuswarisan budaya secara budaya. Seperti di dalam paper dansempat sentuh tadi. Ternyata genetiknya apakah adabuktinya. Saya melihat disini sangat percaya bahwa secaragenetiknya ada. Karena hanya dengan pakai bahasaIndonesia. Oh orang ini asal, seandainya saya tetapdikenalkan berasal dari korea, tapi saya sama sekali tidakkenal dengan koreanya, tanah korea. Saya pernah kunjungiKorea, tetapi saya diundang sebagai dari Indonesia. Itupertama kali saya kenal dan sentuh dengan tanah nenek

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moyang saya. Tetapi secara genetik tetap harus ada denganharapan bahwa ada sesuatu yang tetap dikoneksikan viadarahnya itu. Saya kira itu tergantung pada individu yangmau dan terbuka untuk mau sentuh denganaspek tersebut.Seperti tadi, saya sebagai orang yang lahir di Amerika,identitas Amerikanya malah di depankan.Saya malah sedikitmenolak, baik itu dengan sengaja maupun tidak sengaja.Aku sedikit menolak budaya genetikku meskipun ituakesable. Tetapi saya menolak karena sekarang saya sebagaiwarga negara Amerika, saya harus menjadi bagian hidupdisana, semua ekspresi saya, bahasa saya, cara pikir saya,tubuh saya, harus seperti orang Amerika. Dan merasanyaman, dan belum ada referensi untuk bisa membedakansatu dengan yang lain. Itu referensi pertama. Tapi ketikasayang datang ke Indonesia, Oh... ini sudah berbeda dansyukur kalau kesenian itu menjadi daya tarik utama untuksaya kesini. Baru saya down, baru saya akan membuka diribahwa ternyata saya juga orang Asia. Kenapa sekian tahunini, saya sedikit menolak? Oh... ternyata sebagai anak muda,identitasnya, komunitas yang dibangun disitu juga menjadisuatu hal yang penting. Tetapi ini mengenai pengembanganjati diri, ini membutuhkan proses ya... jadi saya kesini, sayatahu. Karena maaf kalau orang Jawa akan kasih tahu andasebagai orang luar, mereka tidak malu tentang hal itu. Tetapitidak harus menyatakan. Itu saya sudah merasa syukursekali bahwa saya diterima. Itu melalui aksi. Diundang, ikutaktif dalam kegiatan, dianggap. Itu saja. Rasa itu. Tapi sayagalau. Secara nyata, saya memang orang luar. Who is beorang luar? Tetapi di dalam hati saya bisa merasakanmenjadi bagian dari komunitas. Apa saja yang maudiberikan? Saya terima. Dan itu sama-sama menghormatibahwa jikalau saya dihargai karena saya juga sangatmenghargai kesenian, atau nilai budaya disini. Itu sudahmenjadi plus. Tapi saya juga tidak akan memaksa bahwaini juga milik saya. Saya memelihara sebagaimana kita


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menganggap aset yang kita miliki dipelihara dengan baik.Yang lucu mengenai ini ya, kalau ‘aku’ ya tadi? Kalau diAmerika di ‘aku’, why it’s very-very dominate? Disini jugaada ‘aku’, but it’s different. Itu ‘saya’ di dalam konteks yangjauh lebih besar. Atau konteks mikro, makronya. Dan itualasannya apakah ini merupakan pengaruh secara genetikatau keasiaan atau identitas dirinya ? tetapi yang pentingsaya tahu saya siapa, tapi saya bisa integrasikan nilai-nilaiini yang membangun siapa diri saya. Dan saya menganggapIndonesia, kalau seperti Jogja, it’s a home. Omah kalaubahasa Jawanya. It’s like a the place which you feelcomfortable. Saya akan tetap menjadi foreigner. But again,choises of, memilih hidup di atas pilihan bahasa ke dua, salahsatu konsekuensinya itu. Tapi it always be mu home. Tidakmungkin saya akan tahu persisnya seratus persen. Dan itumenjadi tantangan untuk saya. Tetapi untuk harmoniskehidupannya, partisipasi menjadi bagian tapi bukanartinya saya juga pakai topeng. Tetap bagaimana harusmemilih bagaimana yang paling cocok untuk saya, melaluipraktik-praktik yang hadir disitu.

(A) WahyuEgoistik itu sebenarnya oh ini sebuah karya tari yang

dimiliki oleh keturunan, atau di dalam satu generasi keraton,misalnya. Bukan itu. Tapi yang tadi sebenarnya banyak sayabicarakan, bahwa tari dengan tubuh-tubuh penarinya ini,bagaimana mampu berbagi, tidak hanya untukkepentingan keasikannya sendiri, tapi bagaimana iniberbagai. Tentu dalam komunitas tertentu, di dalam keratonitu juga terjadi. Meskipun lingkupnya tidak seluas ini ya.Ketika tari itu hadir di dalam komunitas tertentu, tentu disituterjadi interaksi antara karyanya dengan masyarakatnya.Akan lebih baik lagi kalau ini mampu berinteraksi dengankomunitas yang lain. Semakin meluas. Dan memang adahal-hal yang itu dalam ‘upaya menjaga’ nilai-nilai yang ada

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di dalam karya itu. Tapi bukan dalam pengertian egoistikyang saya maksudkan tadi. ‘Menjaga’ ini pun juga selaluakan terjadi perubahan-perubahan meskipun dari generasidalam komunitas itu. Tentu akan terjadi juga perubahan-perubahan, akan terjadi perkembangan-perkembangan. Dajuga kemungkinannya perkembangan ini juga mampumenembus batas-batas wilayah komunitas itu. Artinya kalaudemikian mampu menempus batas-batas komunitas yang‘menjaga’ ini artinya ini juga sudah mulai mempunyaikesadaran untuk berinteraksi dengan yang lebih luas itu.Berinteraksi, saling berbagai, dsb. Dan saya yakin sekalibahwa tari-tari dalam komunitas tertentu ini juga tidakegois.

(Q) Pak JokoBagaimana resep untuk dapat berbagi? Anggota

komunitas tari semakain lama semakin berkurang. Dan itudianggap sebagai hal yang biasa. Karena menurut saya initidak sehat. Harus lewat pintu mana dulu agar dapat masukkepada generasi sekarang? Kalau di Jogja sudah bisamengendalikannya. Tapi kurang bisa di kelompok tari saya.Bagaimana cara mengendalikannya?

(Q) LeonKami sebagai orang asing, sangat menghormati

kebudayaan yang ada di Indonesia. dan kami sangatberterima kasih kepada teman-teman, orang-orangIndonesia dari berbagai macam suku. Aparules penari dalamjaman globalisasi ketika mereka memiliki tradisi seni sendiridan adainfluence dari luar? Bagaimana mereka meresponantara kesenian sendiri dan dan kesenian dari luar?Menerima atau menutup influence menjaga seni tradisimurni sendiri?


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(Tanggapan) TasmanSeminggu yang lalu, di TV ada pendapat, pendidikan

kita tidak sepadan dengan biaya yang dikeluarkan. Olehkarena itu saya sebagai orang pendidikan, kita perluprihatin. Mudah-mudahan pernyataan itu tida benar. Tetapisaya sekilas melihatmemang di wiliyah kita, di dunia kita,di profesi kita terdapat hal-hal yang menurut saya agaksalah. Apa contohnya? Di dalam tari memang wujudnyadibentuk dari teknik. Tapi teknik itu hidup bisa mancawarna.Jadi beda-beda. Itu yang tidak pernah dibicarakan oleh kitasemua. Kenapa itu tidak dibicarakan? Mas Wahyu dan MasWasi itu tokoh Krisna yang luar biasa. Tekniknya sama tapiteknisnya yang berbeda. Menurut pengamatan saya dipendidikan kita, tidak di singgung. Itu masalah yang agakrelevan kalau kita membicarakan kehidupan teknik di dalamtari dan kehidupan di dalam masyarakat kita. Memang satubentuk tari bisa mati karena bagi orang yang tradisi beku,itu mempertahankan koreografinya, aturan-aturan yangteknik. Bukan teknik, tapi aturan-aturan yang teknik.Padahal apresiasi kehidupan kita berubah, ya sudah tidakgathuk. Ini yang menurut saya banyak dilalaikan olehpemerhati kehidupan tari kita. Lha mestinya, kalau sayamembaca buku-buku kuno itu ya begitu. Saya membacabuku bedoyo itu ya bedoyo sampai di kuil, masuk keraton,dari PB I sampai PB yang sekarang, Bedoyo itu berubahterus. Ngilmunya berubah pakai apa? Saya lihat itu yangteknis saja, rasanya yang masuk kepada mereka yang paraempu-empu. Yang itu dicerna dengan teknik denganteknisnya dia sendiri. kalau pembelajaran teknik inidipegang kuat, matilah seni kita. Tari kita matilah. Seni akanlunglai. Karena kehidupan berubah terus. Saya melihatnyakok begitu. Di sekolah yang saya dirikan, setelah sayatinggal sebentar. Itu saya kembali, ada orang-orang yangtidak tahu tapi mengajar. Ia mengajarkan isi kita yangsekarang dengan teknik orang yang dulu. Kan jadi tidak

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logis. Isi kita ya isi kita yang sekarang, bukan yang dulu.Lha bagaimana penjarwaannya itu mungkin pirantinyadiantaranya ‘mungkin’. Di IKIP, dunia fakultas pendidikan,universitas, membuka cabang kesenian termasuk tari. Tidakmembicarakan deduktik, metodik pembelajaran. Ya sudahbarang tentu kehidupan kesenian kita terlalaikan. Jadi yangdibicarakan itu sampingan-sampingan dari masalah-masalah itu. Saya bisa menunjukkan itu. Mudah-mudahanpengamatan saya tidak salah. Tapi menurut pengalamansaya itu salah. Dan itu terjadi beberapa. Jadi kembali, kalaupengumuman di TV itu benar. Kita harus prihatin. Mungkinterkadang kita menempatkan orang itu tidak pener.Berdasarkan pangkat, jabatan, tapi tidak tahu. Kalaukomposisi tarian kita menghendaki penari yang diinginkanisinya, ya itu jangan main-main. Saya agak keberatan kalaukesenian kita untuk sampingan kehidupan. Kesenian kitaharus menjadi adi luhung dalam kehidupan kita.

(A) Wahyu to Pak JokoSebenarnya, saya yakin betul bahwa kesenan akan terus

bergerak, akan teus bergulir, akan terus berubah. Karenaharus juga kita ikuti jiwa jamannya. Sehingga saya ingatsekai apa yang disampaikan Pak Gendon. Seni tradisi itukontemporer. Seharusnya kontempoter karena sifat-sifatkekinian itu selalu akan melekat pada seni tradisi termasuktari. Sehingga akan selalu berkembang. Dan ini kaitannyadengan generasi-generasi yang berubah tentu adapemikiran-pemikiran juga, ada pertimbangan-pertimbangan juga. Bagaimana masa kini itu akan bisadekat dengan generasinya. Sudah sampaikan bahwa adakedisiplinan konsentrasi, proses intens terus-menerus, tentudengan serius. Tidak ala kadarnya, tidak langsung jadi.Sebenarnya ada lagi, artinya bagaimana ketika kita inginmenumbuhkan kembali rasa yang menjadi esensi di dalamkesenian itu. Termasuk bagaimana kita mengkondisikan

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kondisinya, lalu bagaimana menciptakan caranya sendiri-sendiri. Itu akan menjaga keberlanjutan. Kalau kita selalumengadalkan how to, nanti kita hanya copy-paste dan teruscopy pasti lagi dan lagi. Kapan kita punya kekuatan untukbenar-benar bisa respon dengan situasi kondisinya. Tentusaja sekarang di dalam bidang seni kita punya pasti peran,kekuatan, atau ciri kahsnya masing-masing bisamemberikan kontribusi atas keberlanjutan tersebut. tadimengenai kehidupan estetik dengan kehidupan dalammasyarakat. Itu sejak dulu menjadi suatu tantangan, tapisaya merasa semuanya sama-sama penting. Tinggalorganisasi masing-masing mau mengedepankan ataumemprioritaskan yang mana. Akhirnya tanpa infrastruktur.Ini akan fokus pada pelestarian. Bagaiamana tidak merubah.Caranya seperti itu ya seperti itu, tapi menjadi nilai adabahan belajar, untuk penelitian juga siap. Tetapi sebagaipenelitian, relevansi dalam kehidupan bersama dalammasyarakat. Itu tetap harus dikembangkan. Namanyainovasi, tentu saja akan ada yang namanya pergeseran.Tapiitu juga menjadi resiko. Kadang-kadang ada bentukkesenian yang nggak kita senangi, tapi akhirnya tetap hidupdi dalam masyarakat. Ini sudah saatnya untuk manfaatkanteknologi. Karena semuanya bisa. Kita sekarang teknologiuntuk mendokumentasikan, manusia sudah sangat kuatuntuk hadirkan suatu hasil penelitian secara akademia,faktual, dsb. Itu untuk mendukung arsip tersebut. Tetapikita juga teap butuh seniman-seniman yang aktif untukmencari inovasinya. Bagaimana kesenian itu tetap hidup,masih punya fungsi, masih punya proses. Jadi saya merasaperan kita sebagai pemelihara ya bukan hanya presentation,tetapi keberlanjutanny, semua bisa punya peran tersebut.Kita tidak harus tangani semuanya sekaligus, siapa tanganiini, siapa mau ciri khas ini, nah ini namanya menjadi sebuahinfrastruktur yang saling mendukung.


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mereka untuk tidak hanya berhenti berproses dengan intensnamun juga bagaimana juga mengajak mereka untukmencoba menghayati rasa itu dengan melihat. Ketika kitadikondisikan untuk melihat berbagai macam pertunjukan,mendengarkan berbagai hal, tentu itu adalah salah satuupaya juga untuk mencoba membangkitkan rasa itu yangdikhawatirkan semakin pudar. Jadi kalau kita hanyakonsentrasi di proses untuk mengembangkan kecerdasantubuhnya, tapi tidak dibarengi mengkondisikan untukmencoba menghayati, dengan cara mengamati berbagaipertunjukan. Tentu masih juga ada hal-hal yang kurang.Itu juga harus dibarengi dengan satu yang membangkitkanapresiasi. Dari apresiasi terhadap kesenian itu, menjadi satukondisi yang akan mampu kemudian menghayati roso itu.Jadi tidak hanya kepenarian aja, atau proses pengkaryaantari saja tapi dibarengi dengan kondisi-kondisi pendalaman-pendalaman itu melalui berbagai pengamatan terhadap hal-hal yang berada di luar proses itu.

(A) JeanniKetiganya menghadirkan poin yang paling penting,

yaitu keberlanjutan. Baik melalui proses belajar mengenaiperan-peran kita sebagai pemelihara seni selanjutnya, untukmempertahankan tapi juga sekaligus mengembangkan.Sama mengenai resep-resep. Saya merasa –ilmu khusus dariAsia juga—adalah tidak ada resepnya. Diingkatkan lagidalam film untuk anak-anak tadi, dihadirkan dengan sangatsederhana sekali. Tidak ada resepnya. The secret receiptadalah kekuatan masing-masing sebagai individu. Dantidak ada How to. Kadang-kadang di barat sangat pintaruntuk menyiapkan how to, itu lebih ke guide line.Memudahkan. Tapi kadang-kadang kita terlalu tergantungdengan how to-nya tersebut. Sekarang saya akan lebihbanyak di ilmu pengelolaan, dll. Bagaimana caranya ya?Caranya yamari kita harus lebih kuat untuk identifikasi


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Disscusion | Second SessionINTERNATIONAL SEMINAR

“We Feeling in Dance : A Manifest ofIntercultural Values”

Indonesia Institute of the ArtsSurakarta

Friday, April 29th 2016Speakers : Narumol Thammaprulsa &

Shahanum MD. Shah

(Q) Mbah PraptoUntuk Kop, saya sangat tersentuh dengan yang tadi.

Sepertinya letaknya bukan kesenian, tetapi lebih kepadakemanusiaan yang tumbuh dan di situ kesenian menjadisarana. Jadi, tekanannya bukan pada nilai etnik yasebenarnya. Nah mengapa saya letakkan di situ, karena kitasebenarnya di umum di Indonesia ini kalau untuk diletakkandalam nilai etnik, itu restriksinya agak banyak ya. Temen-temen yang mungkin wah ini Jawaadhi luhung, umpanyagitu, atau etnik yang mempunyai nilai-nilai lalu dia harusmenjawab tantangan kesenian kota, umpamanya begitu.Atau agama yang membikin sama semacam tekanan-tekanan di situ. Nah, itu mungkin menarik kalau sayatanyakan dengan mbak yang dari Malaysia ya. Juga tentangapa ya restriksi agama dan etnik di situ, itu diudarinya apalewat pariwisata saja atau lebih pada nilai-nilai itu.

Tapi, sebenarnya yang paling ingin saya tanyakan kalaumelihat dari sudut kemanusiaan itu manusia yangbagaimana yang bisa untuk membangun intercultural val-ues. Itu pertanyaan besar, minimal buat saya yang kerjadengan orang-orang dari mancanegara, itu selalu ada : apasaya bakai human right, atau saya pakai Jawa saya, tapisaya memasuki Jawa saya yang sebenarnya memayu

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hayuning bawana. Jadi artinya di situ juga kemanusiaan. Tapikalau kita bicara sekarang ini ada “A Manifest of Intercul-tural Values” sepertinya kita tidak menyentuh nilai-nilaidasar dari etnik kita. Tapi punya konsekuensi-konsekuensidan itu rupanya akan bertabrakan (katakanlah ini terlaluberat kalau bertabrakan) akan terjadi sebuah polemik yangbiasanya dikalahkan dengan nilai konsep pendidikan untukekonomi Asean. Ini saya terus terang saja menanyakantentang hal itu sebenarnya bagaimana? Terima kasih.

(A) Narumol ThammaprulsaI’m not sure if I understand the question properly be-

cause it’s about promoting intercultural, but I think in anykind of work related to intercultural works definitely, notjust only art work but any kind of work. Because now welive in the intercultural among Thai cultural era where ev-eryone kind of mingle to each other. But, I want to talk morespecific on how people can include all the people and try tomake a change and of course include promoting differencesand diversity as well. I think if I understand the question,right.

So, when we talk about individual artist is not just onlyartist but anyone like i said before like creative people whoare interested in some social issues that occur near your houseor wherever in your city and also you want to take someactions to stop that kind of problem, and you tell stories,you collect people, you tell them to become your friends andorganize a group and sharing idea more and more. Then,started to implement some kind of project that you createdand then it leads to a movement. So, the change will comeafter. I think very similar to many intercultural projects thesedays that many artists trying to come up and work togetherand trying to identify what the issues they have. I didn’tmention that I’m a theater artist, so my main focus also on


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intercultural collaborations. I have been involved in manycross cultural works with many artists, especially in South-east Asia and in America. It’s the same way, I’m not a socialwelfare or humanity worker, I’m an artist. So, I do the sameas an individual and I saw their some problems in SoutheastAsia for example the project we call “Mobile” with artist fromSingapore, Philiphine, Japan, and what else, can’t remem-ber (5 countries). So we get together and we talk about theproblem that happens in Southeast Asia. We want to ad-dress the issue of migration, domestic worker and whatever.And then we started the project called “Mobile” and thenwe did a workshop, we meet a formal prostitute, and myground worker is in Singapore, Thailand, Japan, andPhiliphine. And then we come up with a story and the titlecalled somewhere and the way she moves and also the projectcalled “Mobile”, and then we performed in the SingaporeArt Festival. That’s we implemented, and then it became alittle movement because of the art. We also have art gallerythat presents photo exhibition and it brings up a changebecause some of the ministers of labor came to see our shows.He found that some element at pop in his mind and hethought this needs to be changed. So, he’s trying to imple-ment a new kind of regulation for the labors in Singapore.So, I think that’s very interesting too. I’m not sure if I answeryour question, but I think the way of promoting intercul-tural values is also in the social issues as well.

(A) Shahanum MD. ShahBapak, saya akan coba bicara dalam bahasa Indonesia.

Contoh yang saya berikan tadi (Cita Warna) itu adalahusaha kerajaan untuk menarik wisatawan, untuk tujuanwisata saja. Bukan untuk menunjukan itu sebuah daya tarikbahwa Malaysia mempunyai berbagai kumpulan budaya/ etnik supaya turis akan tertarik untuk datang ke Malaysia

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dan melihat. Malangnya, dalam pertunjukan yang sayatunjukan dalam video tadi tidak betul-betul mempamerkanciri-ciri etnik yang sebenarnya. Jadi, banyak praktisi danseniman di Malaysia tidak begitu setuju dengan apa yangdipamerkan karena tidak memberi gambaran sebenarnyamengenai ciri-ciri musik atau tarian, itu masalahnya. Jadimenurut saya, mereka yang terlibat dalam interkulturalismeadalah praktisi yang benar-benar mampu menghadirkanrasa dan jiwa, atau pendidik musik, pendidik tari yang dapatmengajarkan nilai-nilainya. Sebab, dalam Karya Cita Rasatadi tidak terlihat nilai budaya dan etniknya, bagi sayasecara pribadi pun tidak terlihat. Sebab, tujuannya hanyauntuk menarik wisatawan saja.

Manusia yang bagaimana yang harus mempromosikaninter-kulturisme seperti yang saya bilang tadi adalahseniman yang betul-betul paham, bisa mendalami,menjiwai, dan merasakan sesuatu yang ada di bidang tari,musik, untuk mendukung inter-kulturisme. Juga pendidik,tetapi pendidik tari ataupun musik pun harus mempunyainilai-nilai, sebab menurut saya pribadi di Malaysia “ramai”di kalangan pendidik mungkin tidak sampai tahap menjiwaidan merasai tari atau musik. Kemungkinan hasilnya bisadilihat dari karya “Cita Warna”, atau mungkin kerajaantidak mau mendengar seniman dan sebagainya. Tapi bagisaya, mereka yang betul-betul terlibat dalam sesuatu, seniitu yang harus mendukung inter-kulturalisme supayapemahamannya lebih sesuai untuk disampaikan.

(Q) I Ketut Saba, S.Kar, M.SiTerima kasih atas waktu yang diberikan. Saya juga akan

mencoba untuk menyampaikan pikiran saya, karena daritadi sesion pertama saya juga kehilangan satu kesempatanuntuk menyampaikan pikiran, tapi saya sekarang berusahauntuk menyampaikannya.


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Menurut saya, apa yang tadi telah disampaikan kalautidak salah kedua pembicara ini memaparkan tentangbeberapa produk budaya khususnya musik dan tari dimanamasing-masing dari produk budaya itu mempunyaikarakter dan keunikan masing-masing. Selanjutnya, sayakaitkan dengan apa yang disampaikan pada sesi pertamatadi, kaitanya dengan apa yang saya terjemahkan sendiridengan istilah “roh” daripada kesenian itu sendiri. Apakahdi dalam presentasi kedua pembicara ini juga sampai kepadapersoalan “roh” dari pada masing-masing kesenian etnistadi. Kalau sampai pada persoalan itu, kira-kira menurutpemikiran saudara, apa yang harus dilakukan oleh manusia-manusia seperti yang saya kaitkan dengan Pak Prapto tadi,manusia-manusia yang bagaimana yang kira-kira akanmampu untuk mewujudkan dan menghasilkan sebuahpresentasi kesenian dalam arti luas yang mempunyai “roh”,tidak hanya mempunyai teknis dan teknik saja. Terimakasih.

(A) Shahanum MD. ShahDalam presentasi saya tadi, saya lebih mau mengupas

definisi, cara inter-kulturisme dapat diinterpretasi dalamkonteks-konteks yang berbeda di Malaysia. Tetapi daripresentasi tersebut, unsur nilai atau roh dari pertunjukanCita Rasa mungkin tidak ada, namun hanya sebagai senisaja. Jadi, saya ingin mengupas interpretasi inter-kulturismedan nilai-nilai yang dipamerkan dalam aspek-aspek yangberbeda. Tapi bagi saya untuk “Cita Warna” sekali lagi diahanya sebagai daya tarik untuk para wisatawan ataumungkin untuk me”roh”kan persembahan itu perlu melihattujuan, cara penyampaian, dan pengajaran tari atau musik.Seperti yang saya sebut tadi, bagi saya yang seharusnyamendidik atau mengajar seni itu mestinya seseorang yangbetul-betul memahami seni itu dan mampu menjiwai sertamerasakan. Mungkin di Malaysia (I don’t want to say in the

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Discussion

very general term and I don’t want to make a blanket state-ment) that I personally see the problem also, that it’s as youmentioned just now more aform, tidak dilihat selain daripadabentuknya saja. Saya kasih contoh dari diri saya sendiri,saya pemain gamelan tetapi gamelan Melayu. Cara sayadiajar mungkin hanya dari cara memainkan gamelan atauinterpretasinya. tetapi jika saya mempunyai peluang belajarsedikit gamelan di sini (Jogja dan Bali) cara penyampaiannyasangat berbeda. Pikiran dan cara saya menghayati punsangat berbeda. Dan saya rasa kemungkinan bukan darikaidah cara pengajaran saja, tetapi juga maksud lain dariobjek itu sendiri, contohnya gamelan. Sebagai contohgamelan dalam hal kemasyarakatan, tetapi apabila sayabelajar di Malaysia unsur kemasyarakatannya tidak ada dantidak disebut. Jadi nilai dia tidak disebutkan, kalau begitubagaimana saya mau me”roh”kan gamelan kalau sayasendiri tidak betul-betul menjiwai dan memahami apa itumaksud dari gamelan. Jadi, saya rasa di Malaysia mungkinkita masih ada masalah begini, praktisi yang lama tidakada masalah. Tapi bila sekarang perubahan zaman, biladiajar di Institusi pengajaran tinggi contohnya, kalaugamelan dahulu diajar tanpa menggunakan notasi, gurumengikuti, dan sebagainya. Bila itu berlaku, saya rasapenghayatannya berbeda, tetapi jika sudah diberikan notasidi depan dan hanya mengikuti dan membaca notasi sajamaka tidak ada (nilai atau rohnya). Jadi, bagi saya pendidikatau praktisi yang mungkin masih kurang dari segikepahaman perlu kembali ke basic (back to the root) untukbetul-betul paham apa maksud sesuatu di tarian atau musikdan sebagainya, itu pandangan probadi saya. Dan saya jugapernah mengamati dua cara yang berbeda, pertamamengikuti notasi, kedua tanpa notasi, persepsi keduanyasangat berbeda. Bagi mereka yang tidak menggunakannotasi dia akan terpaksa untuk mendengar, sebaliknya bagiyang membaca notasi maka dia akan mengandalkan notasi


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terus, dia akan memainkan bagian dia sendiri. Jadi jikapenabuh gong atau instrumen lain masuk salah dia jalanjuga. Jadi, penghayatan dia tidak ada, saya seringmenyarankan kepada siswa saya untuk “tidak perlu bacanotasi, coba dengar coba dengar, itu akan memudahkan”,tapi mungkin karena background dia ada. So, now is likegoing back to how can you do it, so that they will really under-stand the function as you mentioned just now it’s not just theform, it goes what you all mean.

(A) Narumol ThammaprulsaVery interesting question, I’m also looking for the soul of

art as well, especially when I do my art work. And I have toadmit that it’s not easy. The word “soul of art” remind me ofthe idea of Taksu in Balinese believe, I think it’s very similarbecause all the artists they learn the art-form from the teach-ers by using their imagination and creativity, but not every-one has the soul of Taksu. So, Taksu is not just coming fromthemselves if they want how much they do the work, but itjust happens if in Balinese would say like “support a godsense” but Taksucoming go right?. So, not every work thatyou produce will have the soul, and you don�

proceedingrepository.isi-ska.ac.id/3333/1/5 matheus wa.pdf · 2019. 7. 30. · sunarno, wahyu...

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