(Universitas Ahmad Dahlan Yogyakarta, Indonesia)(2) Lovandri Dwanda Putra
(Universitas Ahmad Dahlan Yogyakarta, Indonesia)(3) Ganing Rimas Hayu Kerti
(Universitas Ahmad Dahlan Yogyakarta, Indonesia)*corresponding author
AbstractLengger dance, as one of the local wisdom of the Banyumas community, is considered by the wider community to have no Islamic values. However, the fact is that every art that grew from the people of the archipelago emerged for reasons of spirituality, getting closer to God and nature so that when Islam was present in the archipelago, Islamic values were very easily integrated into these arts. This research aims to examine more deeply and describe the value of spirituality in the Banyumas Lengger dance. The research method used in this study is qualitative with an ethnographic approach. The subject of this research is the Lengger Banyumasan art, and the paradigm used is spirituality and Islamic values in the process, movement, and accompaniment of the Banyumasan Lengger dance. Data regarding dance movements were obtained through the process of observing and interviewing the dancers. Furthermore, the research explored whether religious values were taken into consideration in creating the musical accompaniment for the Lengger dance performances. The results showed that the Banyumasan lengger dance contained spiritual values related to God, fellow human beings, and the environment. The spiritual values found in the lengger dance in Papringan Hamlet, Banyumas is the local community's belief in the existence of indhang, offerings offered to the indhang, movements that are considered erotic have spiritual value and gratitude to the power, and there are several taboos for lengger dancers
KeywordsLengger Banyumasan; Spirituality; Islamic values; Local culture; Strengthening socio-cultural society
|
DOIhttps://doi.org/10.31763/viperarts.v4i2.646 |
Article metrics10.31763/viperarts.v4i2.646 Abstract views : 707 | PDF views : 215 |
Cite |
Full Text Download
|
References
[1] R. T. A. Lysloff, “Rural Javanese ‘Tradition’ and Erotic Subversion: Female Dance Performance in Banyumas (Central Java),” Asian Music, vol. 33, no. 1, p. 1, Jan. 2001, doi: 10.2307/834230.
[2] A. Carraro, A. Ignacio, E. L. Cupchik, and G. C. Cupchik, “The Aesthetics of Culture:Framing Shared Experiences through Embodied Metaphors,” in Cultural Memory, New York: Routledge, 2022, pp. 121–136. doi: 10.4324/9781003205135-11
[3] M. J. Kartomi, “Music in Nineteenth Century Java: A Precursor to the Twentieth Century,” J. Southeast Asian Stud., vol. 21, no. 1, pp. 1–34, Mar. 1990, doi: 10.1017/S0022463400001946.
[4] S. Suharto, T. Sumaryanto, V. Ganap, and S. Santosa, “Banyumasan Songs As Banyumas People’s Character Reflection,” Harmon. J. Arts Res. Educ., vol. 16, no. 1, p. 49, Dec. 2016, doi: 10.15294/harmonia.v16i1.6460.
[5] L. S. W. A. Fatmawaty and C. N. Alim, “Virtual Sphere: A Site to Negotiate the Image of Lengger Banyumas,” Ling. Cult., vol. 14, no. 2, pp. 261–266, Dec. 2020, doi: 10.21512/lc.v14i2.6837.
[6] D. Supardan, “Sintren art show (the analysis of the declining of historical awareness happening in the coastal border of West Java and Central Java and its contribution to the history learning),” Hist. J. Pendidik dan Peneliti Sej., vol. 13, no. 1, p. 1, Jul. 2017, doi: 10.17509/historia.v13i1.7695.
[7] E. Rapoport, “Jathilan Horse Dance: Spirit Possession Beliefs and Practices in The Present-Day Java,” IKAT Indones. J. Southeast Asian Stud., vol. 2, no. 1, p. 1, Jul. 2018, doi: 10.22146/ikat.v2i1.37389.
[8] E. Kismini, “Preservation of the Local Culture Values through the art of Java Dance in Developing the National Character,” in Proceedings of the International Conference on Rural Studies in Asia (ICoRSIA 2018), 2019, pp. 240–242, doi: 10.2991/icorsia-18.2019.58.
[9] L. I. al Faruqi, “Dance as an Expression of Islamic Culture,” Danc. Res. J., vol. 10, no. 2, pp. 6–13, Jan. 1978, doi: 10.2307/1477998.
[10] A. Shay and B. Sellers-Young, “Belly Dance: Orientalism—Exoticism—Self-Exoticism,” Danc. Res. J., vol. 35, no. 1, pp. 13–37, Jul. 2003, doi: 10.1017/S0149767700008755.
[11] M. M. J. Fischer, “Culture and cultural analysis as experimental systems,” Cult. Anthropol., vol. 22, no. 1, pp. 1–65, Feb. 2007, doi: 10.1525/can.2007.22.1.1.
[12] R. T. Lysloff, “Cultural universals and local traditions,” in Srikandhi Dances Lènggèr, BRILL, 2009, pp. 1–18. doi: 10.1163/9789004253841_002
[13] M. N. Hayati and H. Herlinah, “Perkembangan bentuk penyajian kesenian lengger banyumasan di paguyuban seni langen budaya desa papringan kecamatan banyumas kabupaten banyumas,” Pendidik. Seni Tari-S1, vol. 5, no. 3, 2016.
[14] R. T. A. Lysloff, “Rural Javanese ‘Tradition’ and Erotic Subversion: Female Dance Performance in Banyumas (Central Java),” Asian Music, vol. 33, no. 1, pp. 1–24, Jan. 2001, doi: 10.2307/834230.
[15] U. M. Ulinnuha, A. Andayani, S. Suyitno, and S. Sumarlam, “Eroticism of Java Society in The Novel Ronggeng Dukuh Paruk (Study of Literature Anthropology),” in Proceedings of the 1st International Conference of Humanities and Social Science, ICHSS 2021, 8 December 2021, Surakarta, Central Java, Indonesia, 2022, pp. 1–12, doi: 10.4108/eai.8-12-2021.2322695.
[16] M. D. Manggarrani, “Translation Analysis of Sexist Attitudes in Ronggeng Dukuh Paruk Novel,” Mozaik Hum., vol. 19, no. 2, pp. 248–254, Jan. 2020, doi: 10.20473/mozaik.v19i2.13230.
[17] R. S. Dewi and Masdalifah, “Mythological Criticism Analysis in Novel Ronggeng Dukuh Paruk by Ahmad Tohari,” in Proceedings of the Eighth International Conference on Languages and Arts (ICLA-2019), 2020, pp. 264–265, doi: 10.2991/assehr.k.200819.053.
[18] K. Kuwat, “Tracing the bongkel: bamboo music of rural farmers in Banyumas, Central Java, Indonesia,” Int. J. Vis. Perform. Arts, vol. 3, no. 2, pp. 85–97, Dec. 2021, doi: 10.31763/viperarts.v3i2.545.
[19] L. S. W. A. Fatmawaty, W. Udasmoro, and R. Noviani, “The Body Politics of Gendered Subjects in Indonesian Post-Reform Films,” Rupkatha J. Interdiscip. Stud. Humanit., vol. 14, no. 2, pp. 1–11, Jun. 2022, doi: 10.21659/rupkatha.v14n2.14.
[20] A. L. S. Putri, H. H. Hidayat, S. Siswantoro, and N. Wijayanti, “Motivating Factors Analysis for Halal Certification on the Catering and Restaurant Services in Banyumas Regency,” Proceeding ICMA-SURE, vol. 2, no. 1, pp. 100–108, Feb. 2023, doi: 10.20884/2.procicma.2023.2.1.7784.
[21] T. N. M. Nguyen, L. Whitehead, G. Dermody, and R. Saunders, “The use of theory in qualitative research: Challenges, development of a framework and exemplar,” J. Adv. Nurs., vol. 78, no. 1, pp. e21–e28, Jan. 2022, doi: 10.1111/jan.15053.
[22] G. Dietz and L. S. Mateos Cortés, “Doubly Reflexive Ethnography and Collaborative Research,” in Oxford Research Encyclopedia of Education, Oxford University Press, 2022. doi: 10.1093/acrefore/9780190264093.013.1709
[23] J. Lee, G. H. Pelto, and S. Nordhagen, “Beliefs, values, and sociocultural patterns related to food safety in low- and middle-income countries: A synthesis of the descriptive ethnographic literature,” Appetite, vol. 178, p. 106265, Nov. 2022, doi: 10.1016/j.appet.2022.106265.
[24] E. Nurdiyanto and G. A. Resticka, “Sociopragmatics Competence in The Characteristics of Banyumas Community Blakasuta,” J. Pragmat. Res., vol. 3, no. 1, pp. 28–45, Apr. 2021, doi: 10.18326/jopr.v3i1.28-45.
[25] C. Geertz, “Religion as a Cultural System,” in Anthropological approaches to the study of religion, M. Banton, Ed. London: Routledge, 2013, pp. 1–46.
[26] R. Suraji, “Religiusitas Tari Lengger Desa Gerduren Kecamatan Purwojati Banyumas,” Media Apl., vol. 1, no. 2, pp. 123–139, 2010.
[27] D. R. Wehrs, S. Nalbantian, and D. M. Tucker, Cultural Memory: From the Sciences to the Humanities. New York: Routledge, 2022. doi: 10.4324/9781003205135
[28] U. P. Arora, “The Indika of Megasthenes—An appraisal,” Ann. Bhandarkar Orient. Res. Inst., vol. 72, no. 1/4, pp. 307–329, 1991.
[29] I. W. Watra, “Tri Murti ideologi sosio-religius mempersatukan sekte-sekte di Bali,” Dharmasmrti J. Ilmu Agama dan Kebud., vol. 18, no. 2, pp. 114–121, Oct. 2018, doi: 10.32795/ds.v9i2.153.
[30] D. Thomases, “Making Pushkar Paradise: Hindu Ritualization and the Environment,” Int. J. Hindu Stud., vol. 21, no. 2, pp. 187–210, Aug. 2017, doi: 10.1007/s11407-017-9212-2.
[31] D. Devi and W. Akram, “a case study of tantricism in early medieval Kashmir (with special reference to Kalhana’s Rājataraṅgiṇī),” in Proceedings of the Indian History Congress, 2019, vol. 80, pp. 311–319.
[32] S. Boonstra and P. Rae, “The aesthetics of intercultural method: from process to procession in new Indonesian and Indo-Australian dance,” Inter-Asia Cult. Stud., vol. 23, no. 4, pp. 540–558, Oct. 2022, doi: 10.1080/14649373.2022.2131103.
[33] J. Pugh-Kitingan, “Balancing the Human and Spiritual Worlds: Ritual, Music, and Dance Among Dusunic Societies in Sabah,” Yearb. Tradit. Music, vol. 46, pp. 170–190, Dec. 2014, doi: 10.5921/yeartradmusi.46.2014.0170.
[34] M. A. Ishiguro, “Ratoeh Jaroe: Islam, Youth, and Popular Dance in Jakarta, Indonesia,” Yearb. Tradit. Music, vol. 51, pp. 73–101, Nov. 2019, doi: 10.1017/ytm.2019.10.
[35] R. Kraus, “They Danced in the Bible: Identity Integration among Christian Women Who Belly Dance,” Sociol. Relig., vol. 71, no. 4, pp. 457–482, Dec. 2010, doi: 10.1093/socrel/srq077.
[36] C. Tuchman-Rosta, “From Ritual Form to Tourist Attraction: Negotiating the Transformation of Classical Cambodian Dance in a Changing World,” Asian Theatr. J., vol. 31, no. 2, pp. 524–544, 2014, doi: 10.1353/atj.2014.0033.
[37] M. Sheets-Johnstone, “From movement to dance,” Phenomenol. Cogn. Sci., vol. 11, no. 1, pp. 39–57, Mar. 2012, doi: 10.1007/s11097-011-9200-8.
[38] M. I. Cohen, T. E. Behrend, and T. . Cooper, “The Barikan Banner of Gegesik: Ritual and History in a Village Painting from Colonial Java,” Archipel, vol. 59, no. 1, pp. 97–144, 2000, doi: 10.3406/arch.2000.3555.
[39] S. Suharto, T. Sumaryanto, V. Ganap, and S. Santosa, “Banyumasan Songs As Banyumas People’s Character Reflection,” Harmon. J. Arts Res. Educ., vol. 16, no. 1, pp. 49–56, Dec. 2016, doi: 10.15294/harmonia.v16i1.6460.
Refbacks
- There are currently no refbacks.
Copyright (c) 2022 Heni Siswantari
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
___________________________________________________________
International Journal of Visual and Performing Arts
ISSN 2684-9259
Published by Association for Scientific Computing Electronics and Engineering (ASCEE)
W: http://pubs2.ascee.org/index.php/viperarts
E: sularso@ascee.org
Organized by:
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0