CULTURAL HEGEMONY IN THE TRANSFORMATION OF DOLALAK DANCE MUSICAL INSTRUMENTS

Peter Petra Pradipta (Universitas Negeri Yogyakarta)
Kusnadi (Universitas Negeri Yogyakarta)

Multidiciplinary Output Research for Actual and International Issue (Morfai Journal)
Vol. 6 No. 6 (2026): Multidiciplinary Output Research For Actual and International Issue

This study examines the transformation of musical accompaniment in Dolalak dance within the Budi Santoso Group in Kaliharjo Village, Purworejo Regency, Central Java, Indonesia, through Antonio Gramsci’s theory of cultural hegemony. Using a qualitative case study design, data were collected through participant observation, in-depth interviews, focus group discussions, and document analysis. The findings show that musical transformation occurs through selective adaptation rather than radical change. Traditional instruments such as jidur, kendang, terbang, and traditional vocals remain the core musical structure, while nontraditional elements such as keyboards, kendang jaipong, multi pads, hand clapping, and nontraditional vocals function as supporting components that enrich performance without replacing traditional identity. Their acceptance depends on cultural legitimacy, performance context, and collective evaluation. From a Gramscian perspective, this process reflects cultural hegemony, where senior custodians, younger generations, audiences, and institutions negotiate acceptable boundaries of change through moral authority, shared consent, and institutional support. This study highlights selective adaptation as a strategy for sustaining Kaligesingan identity and preserving Dolalak as a living performance tradition.