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ORAL PRESENTATION
I DaDang Bramasti 2 Sazkia Noor Anggrsini 3 Mita P|r$asari
4 Andrian Dektisa 5 Kurnlta Sadana Putra"
S.Ds.,M.A 6 l-naPhu''udEnon 7 Sine€oart In€dpriwan
8 Thanom Chapakdeq Dr. 9 Donie Fadjar Kumiawan
10 Kiki Rahnatita
11 Pipin Gdibaldi
12 Oriann Tio Per6hita Ndnggolm
13 singgih S.njslt
14 connie Lim KehNie 15 Nattqol Win$ipat
16 Prot Dr. Poonpit Anattakul l7 NachayaN&lchanawatul l8 Jarupom Seemaung Assist.
Prof, Ph.D
l9 lEgit Sito*ati
20 Assistant Prof€ssor Jarun
fh. ?t ktqtfri@ol cott{@e Jq Artr pclJh at6 st!.t6ltc pAsl
The Role ofPatronage in the Exislence ofThe Tdnpl l-10 ofcanjuran
NArrative Analysis ofNationalism on Usmar Ismail lltl Film Darah dan Doa (1950)
The Shifthg Ofvislal ADd Meming kr Ondel- 22-35 Ondel Pwpet As the Dllrallic Refl€ction olr
Befawi Cultur€
Parody Idioms in the Visual Charactqistics of 36-53 KNIL Andjing NICA Re€nactors
lndonesiah's convivial Society hoducb 5443 Video Aft: Psychological Stahs oforphsns from 64-76 the Uffest in the Tbrce Southem Thai Provinc€s
Cross-Cultural Study In Local-wisdom For 17-w Creative Food Packtge Developmer$ h S€condary
School
Art ofEngagemer$: Visual Art ofThailsnd in 9l-99 Global Cont€xts
Code Mixilg In Polish Language To Inalonesisr 100-122 language OfPoland Stude s As Foreign Speaker
R€quiem ofDajang Rindoe is a slnbol ofr€jeclion 123-137 ofl-amptmg peopies against power Palembang
Sultanate
Techdques Appli$rion To The Violin R€pertoirc | 38-l57 Ad The Way To Study h For tdonestun's
S[rderfs
DolaDan Anak Cublak-Cublak Suweng in The 158-166 Persp€ctivo
ofMusic Education
New Composition Concept ForKeroncong Music 167-179 Ii The Oboe Concarto With Keroncong And
Orchestr&
Altornative Conceptions ofModemity in fie 180-188 History oflban Populs Music
Relative Nature oflhei Tr"ditic'n6l Music thrcugh 189-199 iS Tming Systen
Ceihry ofthe Angklung Journey and Its 200-207 gstablishment in Thailand
Merykala: The Folk Music ofl-ower Northem 208t17 Region ofThailand
Se-Pha: Traditional Siamcs€ Vocal ExprEssiv€, 2lA-223 Nanative, Sto4,telling and Singing pattems
accompanied very fift hand clapp€r b€ats and Pipat ens€mble
cejog L€sung, th€ Pr€servatiotr o Ja\€nese Musical 224-238 Tradition by hculturation at The Chu'cb ofthe
Sacred Heart ofJesus at Gsduran
2 l 22
24
25
Kanchsnapradit DaDiele Zappatore Giailuca chelini
Chaluti Tasganawongwam
Lucr Pi€trosatrti
rfu ld kEtDotlonot co'\kE@ fu Ard Ao.ff. ArB 5rudl6 lrcaPAS)
litersture for Mon-rcc€dt€d Thsi aaditional RQ€rton€s
Tara ism: the italian pizzica tom music thdspy to 253-25E new formsof p€rfomanc€
Som€ Analytical Consid€ration on Indor€sian 259465 Melal Music
Mala'sian siam music in Northem Mal&rsia and 266-275 its R€presentation
on the us€ of gamelan in the
nG28l
282-303
SPEAKERS
Kolrote Spealcr
Professor
Samuel
Leong
The Tra&dttctlintr! Chdllenge
: Truhsitions
or Ttansglessiott?
Sp€aLer
hofesso! Barbara
Bolt
From Intuition to Research
Methodologt
Prof Giovami Giuriati
Patterns
ofchange in Musical
Traditions
of South"East
Asia
lrE :ra tiEnortoNt co"lqwJo Aer Pr.t%,a,t J&drs {|CAPA9)
FOLK PERFORMANCE : FACING THE CREATIVE
INDUSTRY
CASE STUDY TAYT'B PERFORMANCE
IN KABUPATEN GROBOGAN CENTRAL JAWA
Rrchel Mediin. Unton& S,Sod., M,A. Satya Wacana Christian Univedsty
mediana.untuns@staff uksw.edu
The aim of this sndy is to figwe out whether therc is a signiJicarrt relationship betweeh pelfonnikg arts a d credive ind .ttry. The study was done Eblitativeb. It hds been done aho by an analysis corrcerning on signiJicant intellectual relationship, business, and governmenL One of local folk art, Tq b, pws an impoftant role in economic sector increasing lacal's capits. Not all economic sectors are deter ined by economic factors. Culnral capital has become haih factor rehted to the existences offolk performing Nt. All folk perfornarce hare tn be vell-presened sitEe it is from the locals, and also have to
be sytchronbed with cultural productio\ distribution, and societ/'s interest. Keyrord: Folt perfomance, Tatwb, managemen\ cultural cq)ital, ecorcmic cqital. INTRODUCTION
When the d€adline of the paper's submission app.oachin& I still got a chance to attetrd oae ofthe seminar held by Graduate School Gadjah Mada University, Yogiakarta" B€fore its cotrclusion I asked the co$mittee related to ci€alive industry. The cofimittee told me that all topics had b€en delivered are already chosen from what's .eally happening now. The answer didn't satis& me at all, ard he asked a questiorc to me, "What's lvrong wilh lhat topic?". "Why isn't cr€ative industry applie.d together with alts? Or 'treotive industry coDldr't related to arh? Those questions led me to finirh my temporary-postponed paper. I started to continue writiog.
Taken from a book entitled "Rencana Pengenbangad Ekotromi Kreatif Indonesia" ondonesiad Creolive Economic Planning), it is mentioned thot there gle 14 sectors belong to creative industry. One of them is performing aft. PerforhiDg art her€ mears creadve activi8 which relabd to oontent development art production Oallet show, dalrces, drama, traditional music, theahioal music, ope.a, ard ethric music tour), c-osftde design, stage setting and lighting (Wiko Sapuh4 2010). Seeing Indonesiar trading minister data, performing arts is on 14 oDt of 14 which helps oolmhy's income. In short, pedorming art less oontdbutes to lhe natiooal's income. The shdy that has bee4 used by Tiading Minister is done to examine macro economy, Anothe. aim ofthis study is to figure out performing art linking to micro ec-onomy. Others are to Eveal hbw signfic€nt the performing folk with creative iadustry area.
Folk performance is art which exists and pr€sefied by the locals. Folk performance is local-frnded; not relying on the govemsent's budg€tiig plan (Soedarsono,2002). Tlere
Ih. 4 t.Entttntul corhftn* ft ar& Po.&,4rn std€r (lcAPAs)
is a olear difrerence betweea folk aft and court art. Folk art usually exists wi6b the locals like waysng jara4 kepang (taditioqal drtrce using toylike-e-horse-puppet), tayub, and etc. Lit€rally, crertive industry is an industry bas€d on humatr creativity and there is a sysGm which suppolts it itr managing humon rcsourc€s. Accorditrg to the study of Indoaesion C.eative Iddustry itr 2007 those 14 creotive industries are adverdsement, archit€c! art, orafts, d€sign, fashio& vid€o filmgraphy, interactlve games, p€rfoming dts, publishing offset, cultural heritage, compder stuffs, software, TV Radio, research and developngdt. From it, Agung Wicaksono (2009) has gosped it into 4 maia sectols such .s mediq cultumt art, design and t€chaology. Accoiding to him, afi gives its own udqueness for its service. The prodoct is the art and lhe sdvice is the show itself.
To reg whether th€re is conelation b€tweeo p€rforming a.t and orealive hdustry the pater here focuses more on p€rforming ad mechanism aad ils management within perspective related to creative hdustry. Ode offoft performance that the witer used as the mah object is tayub ftonl Grobogaq Cenrral Java. Ooe oftbe ways to observe performing arts h cr€ative industry is to see three main actoN such as htellectual, business, ond government, Th€se three actors are usually oalled as triple helix. First of it is intelectual' whose role is to sp.ead, impleme arts and atro to create sociery's value in a way to develop society's mhd of ueative iodusfy. Second is busircss; where businessmal atrd investors are the one wbo gets lhe profit as the achievement The 186t one is the govenrment. A govemment has a role to support and develop it based on the iule and laws ofcreative industry developrned. There are two Foblems here (l) Does t }{rb apply those due€ ariors as it belongs to the triple helix? (2) ls there arothcr actors outside that infl$cnces to}'rtb as a folk performance?
METHOD
This pap€r is created based on 6e previous rcsearch and some additional int€Iview. Using several approaches like management perspective, sociolos/ ort and pgrformance studies can be used to observe how organization of certaio p€rfofiring art exists. This study was coidocted before qualitstively and done with several ways in colleotitg daL such as literalue revie[ iderview and documentatiotr. Questions that hEve been used to intereiew the participa{t is detailed questions. It wa' €xp€cted thot it oould snswer the writer's {restioos to the ones rvho involve in tayub. The drta were anabzed with descriptive andlysi$ describing facts then follow€d by its analysis. (Nyoman Kuta Ritoa" 2004)
RESULT AND DISCUSSION
Folk performance is 6 part ofa society and it has beel something import nt mingle with the sooiety (Soedasono, 2002). Tayub is often showed as an family's feast and dadklgiving for harvest crops in Cenftal Java (Sti Rochana Widyastutieningtuo, 2007). In diis paper we will carefully alalyze t4jrub as a family's feast eatertaiment.
flE l.l'tcdtut&,nt Conl.rcM h Ar,o &r.^rt3 5n dtes (lC PAs)
yard's host. The host should set temponry stage slnoe the performance is held in the yard. Lighting and souod system ate equipped along with the stagp. The audienoe mostly are from host's families, neighbon, and inviled guests. The main event in talub is when ihe guests are welcomed to d!rce. Womal usurlly ody involve in geparing rcols and watohhg the performarce. Tayub stsrts ftom mon to evening or evening to midnight'
H€Ie toyub will be analyzed based on thrce factors oftriple helix. It has me€dng of thiee synergizing field like academic, busircss and govemment (Meuled Mulyono' 2010), tt is eipecteO tha intelleotual (aoademio can play its role to give the society aotivities r€lated to the new creations so that it can oteate creative people. Business, is expected to be an economic exchange relotions. Govem$ent has lole to handle and masage the aading t[ings for crertive industry developmed. In Ois research, scholars' role is not cle€rly seen because in Grobotrgm there is no institutiotr whioh i8 b€ able to insef tayub as prorDising alt i! ihe future. The closest institution is ISI (Instihrte Seni Indonesia) Surakarta When it was amually held Tayub Festivel in 2013, the comoittee invited several judges fiom ISI Surakartn-For bothjoged and musioians ae not art goduates' students in Central Java yet tfiey leam by themselves. The juniors (./bged and the musiciaos) imitate thei prcdecessors. If it irvolves flr€e Jbge4 ther, a seniot Aogedmbok-mbol@n) {fr esclher tvto ioged re ')wtt/rt (joged wtufon). \fu resogrch Otat has been done by Sri Rochana Widyastutiedngum (2007) shows that all interviewee (rbged) dotrt have ary educational taoigrounA especialty in d.noing All tlF./ba€d and Ole musicians imitated their senior (it can be tom the family who pt€viously is Jbged or musiciens). Gensrally, t e musioitns involve the juniors to s€e, to give them compaly or even to replace the members who ctn't come.
The reseorch whioh colducted by Fidnansah (2014) sho*s that economic factors play inportant role in increaling the level of oteativity. The higher is the cost of conrumer demand, the higho lwel of the or€ativity the atlist will do ortworks. His resea$h was oonduoted in Acapella Mataraman Musicdl Palody Cornmunity Yog/akart& or o perforEing arts business in a coiDmudty base. This oase is differer$ with talub m kabuparen crcbogao. eccording to the mandger, it will be fair whether tlrcy have receiv€d lhe d;wn payme or oot yet, theJbged will still sing and dance on stagB. It is also fot the musicians as well. For sound system matragBment, lighting, stege settiqg, snd also video shootin& they will serve the best scwicb depending on the negotiat€d f€e. The more cturerss that they warf to use, the higher fee thoy have to pay. Busitress in t4yub sr€ those who give big cootribution for its show likeJbged, musiciaN, house and usher, maste. of csemory, and event providers (st ge, lightin& soutld system, and video shooting)
In living its role, govemment is reFesented by Deputy ofTourism (DISPORA?AR) to educate, to promote, and to accommodete all of show elements. DISPORAPAR will oot interfe.e in creativity of show's elefienl Real prograrns for Jbged is to give them vooel traidng and troining for stage ma!!ger. Besidos that, DISPORAPAR are invit€d by "LARASAIr' organization (Jogeds cdgluiztuon) to info@ thefl about what they are doing ir every meeting. In LARASA meeting DISPORAPAR can know what's problem they have and also what needs they n€ed. Through this, DISPORAPAR can pla[ activities which help the development of tayub. Not otrly giving them training hrt also th€y are eocouraged to join such activity representing Crobogan Disaicr to C€nttal tava or nahonal coverags, This is oae ofDISPORAPAR'S role in promoting tayub.
The pevious explanotiol has meotioned that those tiree sctors itr triple helix have their own role. If their rcl€ is obviously oleax it can be conolud€d that it can contribute mo.e in natiomlt income. Taken fiom shrdy ofTrading Depa(ment which 1vas quoted by Clarissa and Ati cahya (2012) perfoding art i8 in l4b ofrank (0'12 %) compariry with
th.4kt ntutt@ot cooIeEEe Jo Atro rd.t arasnrdesl|c1P^5)
fashion indust y which is in the highest rark (43,71olo). A low economio development also shows us about our lack in maragemeft. This is stretrgthen with lhe write!'s previous researoh about Orgsnizing System ofTayub Peformance (Rachel Mediana Untun& 2014). This researoh knew bettea that perfonuing art really needs a good m0nagement so that the business can work well. The management lfiat really needs to b€ pdid attention more is funotional manogement (Foductio! management marrcting mamgemed, human &sources marlagement, and financial management). The r€sult showed that lhose four managemetrt aspect are not y€t fitlly implemenr€d but it is well'organized. All of the performance's element a€ not jofuing in an orga[izaiion but seParated and there is no compromise between the parties. It shows us th4t layub is e pfft of not really w€u-organized business. This resea&h showed that functional management aspect has been ifrplemented yet trot suc4essfirl, so ther€ will be next slral,Bis about this.
One basic thought is "is there any factors tbat exists b€hind intellectual, business, alld govemment? In this case, ther€ eae elgments wbich base those actors. Let us take a look at performing afi based on Sooiology ofArt's perspective
Conmon question appeared in sociology ofAn is about the relationship b€twe€n art ad society. In perspective of Sociolog/ ofArt it is sta&d lhat artworks are always be a part of the social and oultural world (Ja!€t woltr, 1981; David Inglis aad John Hugbson, 2005). All .rtwo*s including the shows appesr in sooiety culture context Therc are tlrree st&gg cultural productio4 distribution and consumption. David Inglis da! John Hughsotr (2005: 2t) quoted Bourdieu's opinion said that in cultural production, holr ftuch tlle power can inlluence capita aod how much oapita do they have? There are two main types of capita; economic copita and culrural capita- The p€ople in lGbupaten Grobogan there have oultural and economic capita to pr€sefie t8,'ub in their social life. Researoh showed that activity to oelehate human's lif€ ph0se indicate ther€ will be tayub among them. From the previous research Eachel Mediana Untun&2014) it has been ob6elved about the cost income .trd expeoditure budgpt of tayub. In smatl soale ( 3loged) the expenditure will reaoh appmximately 20 million rupiah. h letrge sc.le (72 ioged\ exp€nditure will reach approximately 40 mi[ion rupiah.
Second is distribution. The show will be spre.d out by produca which is the host family who holds the event They will invite all lhe sbkeholders like ioge4 flusicians' sound systern, ard other e4uipment. They oalt pe$olally conlact thern or through broker. Thrcugh brok6r, tll p.oducsrs will not have burden in prepadng the event. Broker is oommanded to call the entire stakeholdei until they get agre€ment. Producers, itself, who will pay fees to them.
The last one is consuntptton. This tie can't be foryotten b€cause without glrests there will be no shows. The audienoe in talub is invited guests' Even you are not itrviled guests but still you oarl eajoy the show. Male guests arc given a ohance to dmae with ioged (ngibing). Everyone cfi enjoy the show. There is no limilstion. But aduh fiale guests tetrd to danc€ wilh joged.
Ihz ?r ,nr?nan@lt Conl/e@ Jo ArIo Pd.tLArE Sltd/.s llcAPAs)
CONCLUSION
Creative indushy gives a big hope for the Indonesisn economy development which base is creativity. Io real life, performing 6rt can't contribute mote towarals national's income. From economic point of view talub applies the collaborotion of intellectual, business and gpvemment. Even thos€ are synergized each other but there is still tro rcal relation power. llhis study shows that a social interaction is a stnrchrsl system. This position dominate its power telation, like if ihere is no intellectual the business oaq still rurl. That's why it needs base rcason like cultural capita Cultlral capita ss a relation of value of ils show. Realizing or not cultral capita leads and manage people's culture. lndirectly, tayub is done is becaDse it has b€en a pafi of human behg's oelebration that the locals should obey. Therc is certain rule that if there is a birthday party or wedding thanksgiving tayub should be $erc to celeb(aie il. No tradition, no show. It meais that cultural capita is lhe idain actor bonds those ik€e actors in triple helix.
Cultural occurenc€ or artt fiom creative iadustry point of view still has ecotromic dimension. Product or art serice oan be seen as eoonomic ocgud€nce o,ono Simatupang, 2013). Not all economic occurrence is determined by economic factors (Sjati sairin et al, 2002). It is expeoted witl the existe{ce of folk perform&ce in eootromic capital, it can't be separated from symbolic lhings, An is a cultural syst€m so lhat the v&lue csn b€ glued' giverL and got used to th€ people who preserved it (Clifrord Geeft 1983). Performitrg 8rt can be a pofi of an industry but it needs to pay ottention morc on cultuaal produotion .sp€c! distribution, and con$mptioa.
Befor€ it oame to a oonclusion, I will give you something which att acts de. In l9?7 (38 years ago) Mochtar Lubis utter€d six chamcteiistic oflddonesia[ One ofthem is they have high sense of artistic. Characteristic lhat expressed in wooden sculpture, mck statue, batik, musio, donce and folklore showing that Indonesian has big cr€ativity. Art potential is the shength oflddonesian tutur€.
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