Nyoman Chaya, Nyoman
Universitas Sebelas Maret

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Towards the Ideologies on the Developments of Bedhaya Dances in the Contemporary Age Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakit; Chaya, Nyoman
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 9, No 1 (2017): Komunitas, March 2017
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v9i1.7497

Abstract

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of Hermeneutics, Ideology, Aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results showed that the Bedhayan dance as developed by the local artists or choreographers in Surakarta as a realization of the local community’s thought, norm and principle (ideology) which covers both the economic and freedom interests. The ideologies reflected from the attitudes of the supporting community (of dancers and choreographers) toward Bedhayan dance are identified to imply the self-existence, freedom, political, economic, and market interests. The emergence Bedhayan dance was motivated by thoughts of the artists in constructing the dance movements to fit the purpose and function of current art creation. All the changes are deemed to be able to increase the economic welfare of performers, choreographers and the government on the tourism potentiality of the nation. However, there is the dangerous aspects in the development of a cultural dance to view it as a mere commodity, which at the end would give impressions of profanity, commercialization, even the shifts on the traditional values of the dance.
BEDHAYA BENGAWAN KARYA DJAROT BUDIDARSONO MENGANDUNG PENDIDIKAN KARAKTER BAGI MASYARAKAT JAWA Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakid; Chaya, Nyoman
Jurnal Pendidikan Ilmu Sosial Vol 27, No 2 (2017): JURNAL PENDIDIKAN ILMU SOSIAL
Publisher : Department of Accounting Education, Faculty of Teacher Training and Education Universitas

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.2317/jpis.v27i2.5722

Abstract

Bedhaya Bengawan is a dance work performed by nine dancers created by a choreographer named Djarot Budidarsono. Bedhaya Bengawan was created in 2010 performed in Wisma Seni Surakarta, Taman Budaya Surakarta Jawa Tengah (Surakarta Cultural Park of Central Java). The dance work was used as a means of delivering message to the spectators, art observers and community. The theme was adjusted with the artist/choreographer’s idea and creativity. Bedhaya Bengawan is a product inspired by the choreographer living around Bengawan Solo River. River water flows into the river for irrigation purpose; adequate water will yield abundant crops. The farmers express their gratitude to Dewi Sri for the abundant crop. In addition, in this nature, there should be integration between water, soil, wind and sun. The values delivered through Bedhaya Bengawan contain character education for the students including: gratitude to the Only One God, belief in the power of Dewi Sri with any rites as the reward to the abundant rice production, reminder that there should be balance between macrocosm and microcosm. Other character educations include: Manunggaling Kawula Gusti (uniting with God), Sangkan Paraning Dumadi (the origin of human beings and to which [Sang Yang Widi] they will return later). The character education above leads the students to have religious ritual awareness to appreciate nature, to believe in God and to be aware that there is a supreme power creating and nullifying human beings. The secular short life should be filled in with good things. Gratitude should always be expressed to God in order to be blessed. The students are expected to imitate what is included into bedhaya bengawan dance work and to apply it in their daily life.
Critiques on the Ideologies of Contemporary Bedhayan Dances Sawitri, Sawitri; Sudardi, Bani; Abdullah, Wakit; Chaya, Nyoman
KOMUNITAS: International Journal of Indonesian Society and Culture Vol 9, No 1 (2017): Komunitas, March 2017
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v9i1.7497

Abstract

This present paper provides a descriptive analysis toward a traditional court dance called Bedhaya, one of the cultural products of the Javanese community in Surakarta which evolved into its modern version Bedhayan due to the flow of global culture. By applying the theories of hermeneutics, ideology, aesthetics and Semiotics, the data are inferred according to the purposed questions. The inquiry is directed to infer the factors encompassing Bedhaya dance such as its emergence and the development, relationship with the existence and its role in the society, the relationship with systems within the society or with various interests. The results as inferred from the data obtained views in looking at the development on the classical dance of Bedhaya into Bedhayan left worthy of critical assessments. The reality of Bedhayan dance in the view of art as an ideology, from the outside, appears that the choreograhers/artists can freely express their creative ideas in the context of the fight agains the classical culture which is strongly enacted by the myths and power of the rulling king. However, it should be noted that Bedhayan dance artists which have managed to bring the classical bedhaya dance out of the walls of the Kraton also in essence always work in the confines of the iron curtain of a creativity called ‘ideology’. Whether consciously or not, being forced or sincere in living it, these choreographers actually fall into the life orientation which solely  concerns the fulfillment of material needs.