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All Journal Acintya Jurnal bahasa, sastra, seni, dan pengajarannya
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LOCAL AESTHETICS AND COMMODIFICATION: EFFORTS TO SELF-ACTUALIZE AND EXISTENCE IN THE GEDRUK DANCE ART OF THE SALEHO GROUP Paimin; Lokanantasari, Ryndhu Puspita; Sendanatasa Kunthi Febiyani
Acintya Vol. 17 No. 1 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v17i1.7554

Abstract

The development of folk arts has generated diverse modes of performance and increasing complexity. This article examines the dynamics of aesthetics and commodification in tari Gedruk, a folk dance performed by the Saleho group in Boyolali, Central Java. Employing an ethnographic approach, the study explores how this community-based art group integrates local aesthetic values—particularly the concept of gayeng, which emphasizes festivity, spontaneity, and emotional engagement—with commercial strategies as a means of self-actualization and sustaining cultural presence. Gayeng serves as a primary aesthetic parameter, replacing classical standards and reflecting the ways in which aesthetics are experienced and interpreted by local audiences. What kind of aesthetics emerge in such a context? And how do they function within the logic of popular performance? In this framework, tari Gedruk becomes not only a form of cultural expression but also a commodified creative product that aligns with contemporary entertainment demands while preserving its indigenous values. Using the Saleho group as a case study, this article argues that local aesthetics and commodification are not necessarily oppositional, but can instead coexist and inform each other within the evolving landscape of folk performance. Ultimately, commodification here is not solely about generating material profit, but also a strategic response to ensure the continuity and vitality of the art itself. This reflects how traditional arts survive outside palace walls and institutional cultural systems.
Flexibility in Javanese Folk Performing Arts: Adaptation, Creation, and Innovation Kiswanto, Kiswanto; Paimin, Paimin; Prihatin, Wahyu
Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya
Publisher : citeus

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Abstract

This study aims to uncover and explain the concept and model of flexibility as a mechanism for the sustainability of folk performing arts amidst conditions of social and cultural change. The study was conducted using an ethnographic approach, based on participatory and collaborative activities within the Turonggo Seto Boyolali group, and supported by data collection techniques including observation, interviews, documentation, and literature review. The results of this study indicate that flexibility is a principle and approach applied through the process of adaptation, creation, and innovation. This process is carried out to preserve and develop traditional performing arts, ensuring they continue to exist and evolve amid changes in their social and cultural context. Adaptation, creation, and innovation in the form and variety of artistic presentations are carried out by considering several aspects, namely the development of aesthetic needs (tastes) of performing artists, audience segmentation (social and market), the needs or requirements of the performance organization, and the spatial and temporal context of the performance organization. The process occurs through the practice of diversification and differentiation of artworks, followed by developments in almost every type of artwork. The results of this process make the TSB group more flexible in determining and selecting the types of artworks to be offered and presented for performance. In general, folk performing arts performances are divided into Full Performance Formats and Limited Performance Formats.
Co-Authors Kiswanto Kiswanto Lokanantasari, Ryndhu Puspita Prihatin, Wahyu Sendanatasa Kunthi Febiyani