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SENI DOLALAK PURWOREJO JAWA TENGAH: PERAN PEREMPUAN DAN PENGARUH ISLAM DALAM SENI PERTUNJUKAN Djarot Heru Santosa
Jurnal Kawistara Vol 3, No 3 (2013)
Publisher : Universitas Gadjah Mada

The role of women artists in the performing arts, also within the arts as well as the other broader life, inIndonesia, seems to be strengthening in recent years. It doesn’t mean that it is a new issue, of course. Butperhaps it happened since Indonesia experiencing and witnessing a great change of mainstream withinit self since 1998; this issue, as well as the other critical issues gaining a more free momentum and spaceof expression. Of course, this still needs further scrutinization. The superiority of women is not limitedto the mith in which giving special space for them, but indeed women have strong key role as the escortof performing arts. Women have the central key in promoting traditional arts; however, there is womenrole shift in the stage of performing arts. Women artists in the culture posseses inevitable duality ofposition. They are praised as high as the sky, in the other hand they are also insulted, abused, and usedas a profit-making commodity. Besides their beautiful manner and behaviour, women are also capableof breaking through the boundary of culture. Women as the mother earth who’s also identical withthe symbol of fertility, paragon, and the parameter of values and norms that is expected by the socialcommunity, are also capable of fulfilling the promises attached into the miths that praise and adorethem. Therefore, it is their nature that they have the central role in the success of a performing art bothtraditional and modern. Serious problems in the world of performing arts occur when women artists tryto promote tradition. Inner conflict uccur between their basic nature and their environemntal condition.In this case, pressures are not only coming from the social environment but also from within. In fact,the soul of tradition survives and sustain from their very hands. When the stage experiences shift, therole of women as the escort of the tradition is also fading. Performance industry does properly placestage women as a subject but only as a commodity to attarct the market for the capitalists. Together, weshould be able to solve this problem if we still want women to attend in the world of performing artsand change the world into a more colorful one.

Transforming folklore into stage performance: the role of oral literature as local resources for traditional performing arts in Indonesia Djarot Heru Santosa; Heni Siswantari; Niswi Mukarromah
International Journal of Visual and Performing Arts Vol 3, No 2 (2021)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v3i2.439

The transformation of folklore as oral literature is often used for traditional performances. Its function is to strengthen the resilience of a local culture. This research aims to gain better knowledge about the transition process of traditional theatre performances to increase the awareness of the local community. The method used in this research uses a qualitative approach with an explanatory analytical approach and focuses on a multidisciplinary approach that comes from the theory of several branches of science. The results obtained from this study, namely the oral literature of the archipelago, have an important role in historical knowledge. The use of oral literature in stage performances makes a simple story more complex, one of which is manifested in the performing arts of the Dolalak dance. The conclusion that can be drawn is that the transformation of folklore as oral literature into stage performances provides a spiritual experience for the community because it is packaged interestingly through the dance movements. This article will contribute to the use of oral literature as a source of stories in traditional performances so that the results can be used to nurture and maintain the resilience of a local culture

Pemberdayaan masyarakat berkonsep pembangunan berkelanjutan (SDGs) dalam kegiatan kuliah kerja nyata Universitas Gadjah Mada di masa pandemi Covid-19 Djarot Heru Santosa
Unri Conference Series: Community Engagement Vol 2 (2020): Seminar Nasional Pemberdayaan Masyarakat
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat Universitas Riau

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31258/unricsce.2.317-324

Gadjah Mada University (UGM) students conducted community empowerment activity in providing service to the community during the Covid-19 Pandemic era through Student Community Services Learning (SCL)Program. The goal was to help deal with the Covid-19 Pandemic impacted the community from various sectors, such as social, economic, education, culture, using various science and technology, especially internet-communication, to support the education. The SCL program is carried out in the emergency response and the recovery phase. The implementation was determined based on the UGM Chancellor's Circular. Operational implementation in the field during the emergency response phase was carried out through assistance in understanding and mitigating the Covid-19 pandemic. The results of SCL activities during the pandemic showed a real contribution in handling the emergency response period and the recovery period of the impact of the Covid-19 Pandemic. The approach is taken by prioritizing the humanities' social approach, namely paying attention to the community's background, local elements, equality, customs, and culture, and the conditions in the society it faces.

Model pendampingan pengelolaan dan penguatan branding desa wisata menuju kemandirian ekonomi masyarakat Djarot Heru Santosa; Hendrokumoro Hendrokumoro; Moh Masrukhi
Riau Journal of Empowerment Vol 5 No 3 (2022)
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat Universitas Riau

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31258/raje.5.3.197-207

The Community Service Program (PkM) was carried out by a team from the Department of Language and Literature, FIB-UGM in Ponjong Village, Ponjong District, Gunung Kidul Regency, Yogyakarta Special Region. In its implementation, the team synergizes with the Regional Government of Gunung Kidul Regency in a sustainable manner (2020-2022). First year 2020, it began with mapping the potential of the area and pre-conditions of PkM by the team together with Community Student Service (KKN) activities. In 2021, the preparation of the activities agenda, socialization, assistance in Community Organization Management (MOM), trainings and community empowerment. In the last year 2022, strengthening, branding tourist attractions in Ponjong Village, publication programs through social media, monitoring and evaluating the sustainability of the program. The result is the understanding of the people of Ponjong Village towards the current situation (pandemic period, pre-normal, and normal) and the formation of a strong and independent institution for tourism awareness groups and local/village economic drivers in utilizing the potential of the "Water Byur" tourist attraction in Ponjong Village.

SENI DOLALAK PURWOREJO JAWA TENGAH: PERAN PEREMPUAN DAN PENGARUH ISLAM DALAM SENI PERTUNJUKAN Djarot Heru Santosa
Jurnal Kawistara Vol 3, No 3 (2013)
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/kawistara.5218

The role of women artists in the performing arts, also within the arts as well as the other broader life, inIndonesia, seems to be strengthening in recent years. It doesn’t mean that it is a new issue, of course. Butperhaps it happened since Indonesia experiencing and witnessing a great change of mainstream withinit self since 1998; this issue, as well as the other critical issues gaining a more free momentum and spaceof expression. Of course, this still needs further scrutinization. The superiority of women is not limitedto the mith in which giving special space for them, but indeed women have strong key role as the escortof performing arts. Women have the central key in promoting traditional arts; however, there is womenrole shift in the stage of performing arts. Women artists in the culture posseses inevitable duality ofposition. They are praised as high as the sky, in the other hand they are also insulted, abused, and usedas a profit-making commodity. Besides their beautiful manner and behaviour, women are also capableof breaking through the boundary of culture. Women as the mother earth who’s also identical withthe symbol of fertility, paragon, and the parameter of values and norms that is expected by the socialcommunity, are also capable of fulfilling the promises attached into the miths that praise and adorethem. Therefore, it is their nature that they have the central role in the success of a performing art bothtraditional and modern. Serious problems in the world of performing arts occur when women artists tryto promote tradition. Inner conflict uccur between their basic nature and their environemntal condition.In this case, pressures are not only coming from the social environment but also from within. In fact,the soul of tradition survives and sustain from their very hands. When the stage experiences shift, therole of women as the escort of the tradition is also fading. Performance industry does properly placestage women as a subject but only as a commodity to attarct the market for the capitalists. Together, weshould be able to solve this problem if we still want women to attend in the world of performing artsand change the world into a more colorful one.

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