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All Journal Jurnal Sejarah Citra Lekha SASDAYA: Gadjah Mada Journal of Humanities IHiS (Indonesian Historical Studies) Paramita: Historical Studies Journal
Dhanang Respati Puguh
Department Of History, Faculty Of Humanities, Diponegoro University
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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How the Public in the US Responded to Javanese and Balinese Performing Arts? Rafngi Mufidah; Dhanang Respati Puguh; Singgih Tri Sulistiyono
IHiS (Indonesian Historical Studies) Vol 5, No 2 (2021)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v5i2.10926

Abstract

After declared independent, Indonesia had to deal with the question of its national identity. It was pertaining to the debate on the national culture, particularly arts. As Indonesia had diverse traditional arts, the debate was a dilemma. Many people disagreed if the traditional arts became the national identity. Meanwhile, Indonesian traditional arts, especially Javanese and Balinese ones, had been appreciated abroad. During Sukarno's regime, Indonesia sent several art missions to present itself to the world. They performed mostly traditional arts from several regions, including Java and Bali. By employing the historical method, this study aims to discuss Javanese and Balinese performing arts shows in the United States. It is of importance that from 1950s to 1960s, Indonesia had to adapt to the Cold War, which forced the developing countries to choose the Western or Eastern bloc in their foreign policy. Until the beginning of the 1960s, Indonesia tended to be with the Eastern bloc. Subsequently, there was a tendency to be with the other bloc. Therefore, in this article the response to the Javanese and Balinese performing arts shows in the US after two eras was analyze.
Discotheque in Semarang and It’s Social Consequences, 1970-1998 Petra Wahyu Utama; Sutejo K. Widodo; Dhanang Respati Puguh
IHiS (Indonesian Historical Studies) Vol 3, No 2 (2019)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (270.298 KB) | DOI: 10.14710/ihis.v3i2.6285

Abstract

This study focuses on analysis regarding the development of the discotheque as an impact of the disco trend which occurred at the beginning of the Orde Baru reign. Many places facilitated the disco-lovers which were begun with the development of Discobar, Night Club, then Discotheque. They were used as a medium of socialization and became a symbol of modernity which brought social consequences for the society in Semarang. This research discovers; firstly, the emergence of the discotheque and some nightclubs during the Orde Baru governance became an opportunity for the entrepreneurs who work in this field. For the governance, the amount of money circulation in this sector was considered an effective way to increase revenue either officially or through bribery. The existence of discotheques and any nightclubs were considered having an important role in reducing unemployment. In practice, the permission related to establishing the discotheques became much easier to be issued by the government of Semarang. Secondly, the existence of discothèques did not always affect positively the society. Negative behaviors, such as drinking alcohol, violence, drugs using, corrupted law officials, bribery crime, and also hidden prostitution are always stigmatized with the existence of discothèque. Thirdly, those negative emergences could not be separated by various orientations, such as economic and psychological orientation, as well as various motives, such as mental health, socio-economic, and situational which possessed by each individual. Fourthly, these social consequences made the government doing various efforts to overcome it. These efforts involved preventive ways, such as the education of alcohol and drugs abuse and data collection toward people with the genital disease, then preventive action, such as security patrol and counseling; as well as the repressive-coercive way, such as the raids, and the punishment for alcohol vendors and drugs dealer. In addition, they regulated the hidden prostitution in the discothèque area, disciplined the law enforcement officials and revoked the operational license as the last action to parse the issue which reached the alarming standard.
Radio Republik Indonesia Surakarta, 1945-1960s:
 Its Role in Efforts to Maintain Indonesian Independence and 
the Formation of National Culture Dhanang Respati Puguh
Indonesian Historical Studies Vol 1, No 2 (2017)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v1i2.1919

Abstract

This article discusses the role of Radio Republik Indonesia (RRI, The Radio of Republic of Indonesia) Surakarta in the period 1945-1960s. In that period RRI Surakarta had two roles in the context of decolonization. In the period 1945-1949, RRI Surakarta had a role in the effort to maintain the independence of Indonesia. The RRI Surakarta employees struggled to maintain the existence of RRI Surakarta with rescuing the station and transmitter so that the struggle of the Indonesian nation in defending the independence of Indonesia could be broadcasted to various parts. In the period 1950-1960s RRI Surakarta participated in efforts to the formation a national culture. When the discourse of national culture continued to be discussed by the elite of Indonesia, the Bureau of the Radio of the Republic of Indonesia had the establishment and set choice of ways to build a national culture since 1950. In this connection, RRI should be directed to build a national culture. Based on the policy of the Bureau of Radio of the Republic of Indonesia, RRI Surakarta realized that idea by organizing Javanese art broadcasts (gamelan, wayang wong, kethoprak, and shadow puppets), “local entertainment” and national music, and organizing Radio Star Competition. RRI Surakarta Radio Star made an important role in the creation of popular music in Indonesia. 
The Policies of Balai Pustaka as the Dutch Colonial Government’s Publishing Agency in 1917-1942 Sulistya Putri; Dewi Yuliati; Dhanang Respati Puguh
IHiS (Indonesian Historical Studies) Vol 5, No 1 (2021)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v5i1.10451

Abstract

The Ethical Policy (1901) generated many intellectuals who were able to express their ideas and opinion of nationalism and opposition through written media. The colonial government felt restless and needed a sensor agency for the intellectual’s works. In 1908 the colonial government started to establish the Commission for People’s Reading which in 1917 changed to Balai Pustaka. This was the Dutch Colonial Government’s first publishing agency with privileged rights in the monopoly on the publishing and printing industries. Balai Pustaka also created a policy supporting a sensor function. This study aims at analyzing the implementation of Balai Pustaka’s function as the sensor agency for literary works in ensuring the colonial government’s social-political stability in Dutch East Indies. The critical historical method of political approach was employed in this research, especially in the scope of colonialism and political policy. The policy issued by Balai Pustaka consists of three forms, namely: preproduction, production and postproduction policies. The preproduction policy was in the form of Nota Rinkes containing rules of the content of script to be issued, corporate management policy, and recruitment. Production policy covers editing (modification and hyphenation) and control over scripts received by Balai Pustaka. Meanwhile, postproduction policy was in the form of distribution of script by establishing more Taman Pustaka, expanding sales agents, and performing mobile library program. Other than these, Balai Pustaka also actively sued publication which were not published by it and by idea and notion opposing the colonial government.
Banditry in Semarang, 1950-1958 Joseph Army Sadhyoko; Agustinus Supriyono; Dhanang Respati Puguh
Indonesian Historical Studies Vol 1, No 1 (2017)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v1i1.1239

Abstract

This article discusses about banditry that occurred in Semarang during the period of 1950-1958 with the problem focus on the causes of the banditry, types of banditry, and mitigation. Through the historical method, this article reconstructs those problems by using the approach of social reality of crime concept. In result, the banditry happened in the aftermath of the independence war, occurred due to economic difficulties, the reorganization and rationalization program, and the circulation of guns that was uncontrolled.
The Pattern of Social Changes in the Samin Community and Its Influencing Factors Muhamad Arif; Abdul Ghofur; Dhanang Respati Puguh
IHiS (Indonesian Historical Studies) Vol 5, No 2 (2021)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v5i2.13389

Abstract

In general, social changes occurred progressively, but it is not happened in the Samin community. This article aims to analyze the social changes in the Samin community in Tapelan Village and its influencing factors. The research was conducted in Tapelan Village, Ngraho District, Bojonegoro, using a qualitative and descriptive approach. There are two important findings in this study. First, there is a regressive pattern of social change in the Samin community during the colonial period, with the Dutch colonialists taking over teak forests in 1890, forcing the Samin community to leave the forest, becoming a closed society, and developing a unique tradition. Second, there is a progressive pattern of social change in the Samin community during the independence era after rediscovering their identity as an open and adaptive society, with Islamic dakwah as the main driver of social change.
Perusahaan Rekaman Lokananta, 1956-1990-An: Perkembangan Produksi dan Kiprahnya dalam Penyebarluasan Seni Pertunjukan Jawa Surakarta Dhanang Respati Puguh
SASDAYA: Gadjah Mada Journal of Humanities Vol 2, No 2 (2018): MEI
Publisher : Unit Penelitian dan Publikasi Fakultas Ilmu Budaya Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/sasdayajournal.36457

Abstract

This article examines on the role of Lokananta in disseminating Javanese performing arts of Surakarta during 1956-1990. It is focused on records production either in vinyl or tape cassettes and its distribution. This article composed using historical method and utilize wide range of historical sources, such as archives, newspapers, vinyl and cassette covers, articles, books, and oral history. The results showed that during 1957-1971, Lokananta has produced vinyl records which were classified into National Music, Regional Entertainment, and Regional Theatre Music. In that period, Lokananta production was dominated by recording of National Music and Music-Theatre of Central Java. During 1971-1985 Lokananta produced many music and theatre records of Central Java printed into cassette tape. In 1985-1990’s, Lokananta produced and made reproduction on cassette recordings. Quantitatively, production and reproduction recording number has drastically decreased compared to the previous period. Records vinyl and tape cassettes sale, as well as the distribution via Radio Republik Indonesia and private broadcasts, proved that Lokananta has been instrumental in disseminating Javanese performing arts of Surakarta.
Lawatan Misi Kesenian Mangkunegaran ke Mancanegara 1989: Kontribusi bagi Pembangunan Nasional Meilinia Fathonah; Dhanang Respati Puguh
Jurnal Sejarah Citra Lekha Vol 7, No 1 (2022): Politik Ekonomi dan Identitas Budaya
Publisher : Department of History, Faculty of Humanities, Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/jscl.v7i1.46597

Abstract

This study argues the Mangkunegaran Arts Mission Visit to foreign countries in 1989 as an effort to contribute to Indonesia's national development. The mission which held in 1989, exactly a year after K.G.P.H. Djiwokusumo was inaugurated as the head of the Mangkunegaran Temple with the title K.G.P.A. Mangkunegara IX. The countries which had been visited on the tips were France, Britain and Japan which had become the member of Group of Seven (G-7) and had a large share in determining international economic policy. The decline in the country's foreign exchange in 1986 due to the devaluation of Rupiah against the dollar as well as on the declined of oil and gas prices spurred the New Order government to promote tourism as an alternative solution. The visit of the Mangkunegaran Arts Mission to foreign countries has become one of the promotional media for Indonesian tourism to attract foreign tourists. This momentum can not be separated from the great mission of Mangkunegara VIII and the pre-eminent oath of Mangkunegara IX to develop Mangkunegaran as a center of Javanese culture. Through historical methods, this study reveals the reasons and process of the implementation of Mangkunegaran Arts Mission Visit and explores the meaning of the visit for Indonesia's national development during the New Order Period. Because it moves from the momentum of an arts mission tour, this study can be used as a basis for policy making in the future.
From Komedie Stambul to Toneel: Theatre Arts Development in Batavia, 1891-1942 Khairana Zata Nugroho; Dhanang Respati Puguh
IHiS (Indonesian Historical Studies) Vol 6, No 2 (2022)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/ihis.v6i2.16023

Abstract

Performing arts became a popular entertainment form among groups in the colonial era. People who enjoy performing arts were always craving for something new, and in turn, performing troupes were trying to create new innovations for their performances. In the late 19th century, a theatre group Komedie Stamboel was established in Surabaya. This group soon became popular because their uniqueness: the hybridity of their dramaturgies and stories which combined the West and East aspects. Their popularity resulted in a tour across Java, one of tour destinations was Batavia. When they were in Batavia, many of Komedie Stamboel’s performances were influenced by Indische culture and Indo people. By implementing the historical method, this article find the role of the Indo people and the influence of the Indische culture in Batavia’s development of  theatre arts. The increasing popularity of Komedie Stamboel resulted in imitators, both professional and amateur, with the majority of their performers consisted of Indo [hybrid] and Pribumi [local; indigenous]. Komedie Stamboel also developed into a theatrical genre known as komedie stambul. In the 20th century, a  theatre form known as Toneel Melajoe emerged as a continuity of the Komedie Stambul with new additions. Other theatrical genre known as Indische Toneel, a colonial  theatre created by playwrights of Dutch totok and Indo descent that often held in theatres  in Batavia. They had komedie stambul influences and Indische culture references on them.
Dinamika Kehidupan Kethoprak di Kabupaten Pati 1950-2007 Azmi Globalian Nazal; Dhanang Respati Puguh
Jurnal Sejarah Citra Lekha Vol 7, No 2 (2022): Islam dan Penggerak Kebudayaan
Publisher : Department of History, Faculty of Humanities, Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14710/jscl.v7i2.54339

Abstract

Kethoprak is a traditional performing art originating from Surakarta. Kethoprak is not able to develop optimally in its ownregion, because it cannot compete with wayang wong. The existence of wayang wong in Surakarta is more demanded by the public compared to kethoprak. This situation forced kethoprak groups move to Yogyakarta which is very developed region. Kethoprak is not only performing around Yogyakarta, but also outside the region. Pati Regency is one of the regions which is affected by the development of kethoprak from Yogyakarta. This study discusses the dynamics of kethoprak groups in Pati by applying historical methods. In 1950, kethoprak entered Pati for the first time, especially in Bakaran Village. In the past, kethoprak which come from Yogyakarta, was invited to entertain the people of Bakaran. From its performances, the ideas were emerged from a group of people to form a kethoprak group. In its development, the groups emerged in Pati. The ups and downs colored by the journey of kethoprak in Pati. Kethoprak was once used as a source of income because of the intense performance. Then, with the emergence of modern performance, the existence of kethoprak is increasingly shifted. However, kethoprak in Pati is still able to maintain its existence to survive in the midst of society.
Co-Authors Abdul Ghofur Agustinus Supriyono Azmi Globalian Nazal Dewi Yuliati Ema Pratama Agustiningsih Heri Priyatmoko Herliyana Rosalinda Joseph Army Sadhyoko Khairana Zata Nugroho M. Dalhar Mahendra P. Utama Mahendra Pudji Utama Meilinia Fathonah Muhamad Arif Petra Wahyu Utama Rabith Jihan Amaruli Rafngi Mufidah Rafngi Mufidah Singgih Tri Sulistiyono Singgih Tri Sulistyono Sulistya Putri Sutarwinarmo Sutarwinarmo Sutejo K. Widodo Yety Rochwulaningsih