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ORAL PRESENTATION
I
Bramasti
DaDang
2
SazkiaNoorAnggrsini
3
Mita P|r$asari
4
AndrianDektisa
5
Kurnlta Sadana
Putra"
S.Ds.,M.A
l-naPhu''udEnon
in theExislenceofThe Tdnpl
TheRoleofPatronage
ofcanjuran
NArrativeAnalysisofNationalismonUsmarIsmail
Film DarahdanDoa(1950)
TheShifthgOfvislal ADdMemingkr OndelOndelPwpetAs the Dllrallic Refl€ctionolr
BefawiCultur€
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ParodyIdiomsin theVisualCharactqistics
KNIL AndjingNICA Re€nactors
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lndonesiah's
Stahsoforphsnsfrom
VideoAft: Psychological
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theUffest in theTbrceSouthem
Cross-Cultural
StudyIn Local-wisdomFor
In€dpriwan
7
Sine€oart
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CreativeFoodPacktgeDevelopmer$
School
VisualArt ofThailsndin
Art ofEngagemer$:
Dr.
ThanomChapakdeq
8
GlobalCont€xts
To Inalonesisr
CodeMixilg In PolishLanguage
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languageOfPolandStude sAs ForeignSpeaker
R€quiemofDajangRindoeis a slnbol ofr€jeclion
10 Kiki Rahnatita
ofl-amptmgpeopiesagainstpowerPalembang
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TechdquesAppli$rion To TheViolin R€pertoirc
11 PipinGdibaldi
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AnakCublak-Cublak
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12 OriannTio Per6hitaNdnggolm DolaDan
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Music
New
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ConceptForKeroncong
13 singgihS.njslt
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Orchestr&
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ofModemityin fie
14 connieLim KehNie
Historyoflban PopulsMusic
RelativeNatureoflhei Tr"ditic'n6lMusicthrcugh
15 Nattqol Win$ipat
iS Tming Systen
Ceihry ofthe AngklungJourneyandIts
16 Prot Dr. PoonpitAnattakul
gstablishment
in Thailand
The
Folk Musicofl-owerNorthem
Merykala:
l7 NachayaN&lchanawatul
RegionofThailand
TraditionalSiamcs€
VocalExprEssiv€,
Se-Pha:
Assist.
l8 JarupomSeemaung
Nanative,Sto4,tellingandSingingpattems
Prof, Ph.D
veryfift handclapp€rb€atsand
accompanied
Pipatens€mble
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cejog L€sung,th€Pr€servatiotr
o Ja\€nese
l9 lEgit Sito*ati
Traditionby hculturationat TheChu'cbofthe
HeartofJesusat Gsduran
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FromtheHistoryto anInfluential
Jarun
20 AssistantProf€ssor
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167-179
180-188
189-199
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224-238
239-252
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Kanchsnapradit
2l
Zappatore
DaDiele
22
Giailucachelini
ChalutiTasganawongwam
litersture for Mon-rcc€dt€dThsi aaditional
RQ€rton€s
Tara ism: the italian pizzica tom music thdspy to
new formsof p€rfomanc€
Som€Analytical Consid€rationon Indor€sian
Melal Music
Mala'sian siam music in Northem Mal&rsia and
its R€presentation
24
25
Lucr Pi€trosatrti
ontheus€of gamelanin the
Cafholicliturs/ in Yogakarta
SPEAKERS
Kolrote Spealcr
Professor
SamuelLeong
or Ttansglessiott?
: Truhsitions
The Tra&dttctlintr! Chdllenge
Sp€aLer
hofesso!BarbaraBolt
Methodologt
FromIntuitionto Research
Prof GiovamiGiuriati
Asia
Patterns
ofchangein MusicalTraditionsof South"East
Fm[k HerschelFinoh
Professor
ThePwadign Shifiin MotionPicturesfrom anInda esianPerswti'.e
MadeMandeHood
Prof€ssor
AnimalEfrgiesin theAnt trotrxNene
Perfornmrce
Eabitatsfot Balinese
Sustabting
253-25E
259465
266-275
nG28l
282-303
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.
SatyaWacanaChristianUnivedsty
mediana.untuns@staff
uksw.edu
The aim of this sndy is to figwe out whether therc is a signiJicarrtrelationship
betweehpelfonnikg arts a d credive ind .ttry. The study was done Eblitativeb. It hds
beendoneaho by an analysiscorrcerningon signiJicantintellectualrelationship,business,
and governmenLOne of local folk art, Tq b, pws an impoftant role in economicsector
increasinglacal's capits. Not all economicsectorsare deter ined by economicfactors.
Culnral capital has becomehaih factor rehted to the existencesoffolk performing Nt.
All folk perfornarce hare tn be vell-presened sitEe it isfrom the locals, and also haveto
besytchronbed with cultural productio\ distribution, and societ/'s interest.
Keyrord: Folt perfomance, Tatwb,managemen\cultural cq)ital, ecorcmic cqital.
INTRODUCTION
When the d€adlineof the paper's submissionapp.oachin&I still got a chanceto
attetrdoae ofthe seminarheld by GraduateSchoolGadjahMada University, Yogiakarta"
B€fore its cotrclusionI askedthe co$mittee relatedto ci€alive industry. The cofimittee
told me that all topics had b€endeliveredare alreadychosenfrom what's .eally happening
now. The answerdidn't satis& me at all, ard he askeda questiorc to me, "What's lvrong
wilh lhat topic?". "Why isn't cr€ative industry applie.dtogether with alts? Or 'treotive
industrycoDldr't relatedto arh? Thosequestionsled me to finirh my temporary-postponed
paper.I startedto continuewritiog.
Takenfrom a book entitled "RencanaPengenbangadEkotromiKreatif Indonesia"
ondonesiadCreoliveEconomicPlanning),it is mentionedthot there gle 14 sectorsbelong
to creative industry. One of them is performing aft. PerforhiDg art her€ mears creadve
activi8 which relabd to oontentdevelopmentart productionOallet 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,
performingarts is on 14 oDt of 14 which helps oolmhy's income.In short, pedorming art
lessoontdbutesto lhe natiooal's income.The shdy that hasbee4usedby Tiading Minister
is doneto examinemacroeconomy,Anothe. aim ofthis study is to figure out performing
Othersareto Eveal hbw signfic€nt the performingfolk with
art linking to micro ec-onomy.
creativeiadustryarea.
Folk performanceis art which existsand pr€sefied by the locals.Folk performance
is local-frnded; not relying on the govemsent's budg€tiig plan (Soedarsono,2002).
Tlere
276
Ih. 4 t.Entttntul corhftn* ft ar& Po.&,4rnstd€r (lcAPAs)
is a oleardifrerencebetweeafolk aft and court art. Folk art usuallyexistswi6b the locals
like waysng jara4 kepang(taditioqal drtrceusingtoylike-e-horse-puppet),tayub,and etc.
Lit€rally, crertive industry is an industry bas€don humatrcreativity 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, interactlvegames,p€rfoming dts,
publishing offset, cultural heritage, compder stuffs, software, TV Radio, researchand
developngdt.From it, Agung Wicaksono(2009) hasgosped it into 4 maia sectolssuch.s
mediq cultumt art, designand t€chaology.Accoiding to him, afi gives its own udqueness
for its service.The prodoctis the art andlhe sdvice is the showitself.
To reg whetherth€reis conelationb€tweeop€rforminga.t and orealivehdustry the
pater here focuses more on p€rforming ad mechanism aad ils managementwithin
perspectiverelatedto creativehdustry. Ode offoft performancethat the witer usedas the
mah object is tayub ftonl Grobogaq CenrralJava.Ooe oftbe ways to observeperforming
arts h cr€ative industry is to see three main actoN such as htellectual, business,ond
government,Th€sethree actorsare 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. Secondis busircss; where businessmalatrd
investors are the one wbo gets lhe profit as the achievement The 186tone is the
govenrment.A govemmenthasa role to supportand developit basedon the iule and laws
ofcreative industry developrned.Thereare two Foblems here(l) Doest }{rb apply those
due€ ariors as it belongs to the triple helix? (2) ls there arothcr actors outside that
infl$cncesto}'rtbasa folk performance?
METHOD
This pap€ris createdbasedon 6e previousrcsearchand someadditionalint€Iview.
Using severalapproacheslike managementperspective,sociolos/ ort and pgrformance
studiescan be used to observehow organizationof certaio p€rfofiring art exists. This
study was coidocted before qualitstively and done with severalways in colleotitg daL
suchas literalue revie[ iderview and documentatiotr.Questionsthat hEvebeenusedto
intereiew the participa{t is detailed questions.It wa' €xp€ctedthot it oould snswer the
writer's {restioos to the ones rvho involve in tayub. The drta were anabzed with
descriptiveandlysi$ describingfacts then follow€d by its analysis.(Nyoman Kuta Ritoa"
2004)
RESULT AND DISCUSSION
Folk performanceis 6 part ofa societyand it has beel somethingimport nt mingle
with the sooiety (Soedasono, 2002). Tayub is often showed as an family's feast and
dadklgiving for harvestcropsin CenftalJava(Sti RochanaWidyastutieningtuo,2007).In
diis paperwe will carefully alalyze t4jrubas a family's feasteatertaiment.
Talub as folk art has function to c€lebmte humel's life phase like {edding,
bididay pafiy, circumcisedtbantsgiving and anoth€rc€lebiatioosheld by a fuily. Tayub
is well-knovn as a denc€Frformanog wherejoged danoe.(femaledancers)is the main
elemeqton 6e show.Thejoged dancaand sing aftogetheron stage.The grow of ga6elan
fre songGeadt a) which sungby the danc€rilsell
iGtrume4ts o. ,t4fawitdn acoompdnies
or
dore aod it dependsotr the demands.The stageis
ca'l
be
three
The trundberof daN€rs
set adjustingthe lo€ation where th€ oelebmtionwill be beld. It is usually held i! a fiont
2n
flE l.l'tcdtut&,nt
Conl.rcM h Ar,o&r.^rt3
5n dtes(lC PAs)
yard's host. The host shouldset temponry stageslnoethe performanceis held in the yard.
Lighting and souodsystemate equippedalong with the stagp.The audienoemostly 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.Tayubstsrtsftom mon to eveningor eveningto midnight'
H€Ie toyub will be analyzedbasedon thrce factorsoftriple helix. It hasme€dng of
thiee synergizingfield like academic,busircss and govemment(Meuled Mulyono' 2010),
tt is eipecteOtha intelleotual (aoademio can play its role to give the society aotivities
r€latedto the new creationsso that it canoteatecreativepeople.Business,is expectedto be
an economicexchangerelotions.Govem$ent has lole to handle and masagethe aading
t[ings for crertive industry developmed.In Ois research,scholars'role is not cle€rly seen
becausein Grobotrgmthere is no institutiotr whioh i8 b€ ableto insef tayub as prorDising
alt i! ihe future. The closestinstitution is ISI (Instihrte SeniIndonesia)SurakartaWhen it
was amually held TayubFestivel in 2013, the comoittee invited severaljudges fiom ISI
Surakartn-Forbothjoged and musioiansae not art goduates' studentsin CentralJavayet
tfiey leam by themselves.Thejuniors (./bgedand the musiciaos)imitate thei prcdecessors.
{fr esclher tvto ioged re
If it irvolves flr€e Jbge4 ther,a seniot Aogedmbok-mbol@n)
')wtt/rt (joged wtufon).
\fu resogrch Otat has been done by Sri Rochana
Widyastutiedngum (2007) shows that all interviewee(rbged)dotrt have ary educational
taoigrounA especialtyin d.noing All tlF./ba€d and Olemusiciansimitated their senior(it
can be tom the family who pt€viously is Jbged or musiciens).Gensrally,t e musioitns
involve thejuniors to s€e,to give them compaly or evento replacethe memberswho ctn't
come.
The reseorchwhioh colducted by Fidnansah(2014) sho*s that economicfactors
play inportant role in increaling the level of oteativity.The higher is the cost of conrumer
demand, the higho lwel of the or€ativity the atlist will do ortworks. His resea$h was
oonduoted in Acapella Mataraman Musicdl Palody Cornmunity Yog/akart& or o
perforEing arts businessin a coiDmudty base. This oase is differer$ with talub m
kabuparencrcbogao. eccording to the mandger,it will be fair whethertlrcy havereceiv€d
lhe d;wn payme or oot yet, theJbgedwill still sing and danceon stagB.It is also fot the
lighting, stegesettiqg, snd also video
musiciansas well. For soundsystemmatragBment,
shootin& they will serve the best scwicb dependingon the negotiat€df€e. The more
cturerssthat they warf to use,the higher fee thoy haveto pay. Busitressin t4yub sr€ those
who give big cootribution for its show likeJbged, musiciaN, houseand usher,maste.of
csemory, and eventproviders(st ge, lightin& soutldsystem,andvideo shooting)
In living its role, govemmentis reFesentedby DeputyofTourism (DISPORA?AR)
to educate,to promote,andto accommodeteall of showelements.DISPORAPARwill oot
interfe.e in creativity of show's elefienl Real prograrnsfor 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 DISPORAPARcanknow what's problem
they have and also what needsthey n€ed.Throughthis, DISPORAPARcan pla[ activities
which help the developmentof tayub. Not otrly giving them training hrt also th€y are
eocouragedto join suchactivity representingCroboganDisaicr to C€nttal tava or nahonal
coverags,This is oae ofDISPORAPAR'Srole in promotingtayub.
The pevious explanotiol hasmeotionedthat thosetiree sctors itr triple helix have
their own role. If their rcl€ is obviously oleaxit can be conolud€dthat it can contribute
mo.e in natiomlt income.Takenfiom shrdyofTrading Depa(ment which 1vasquotedby
ClarissaandAti cahya (2012) perfoding art i8 in l4b ofrank (0'12 %) compariry with
274
th.4kt
ntutt@ot
cooIeEEe
JoAtrord.t arasnrdesl|c1P^5)
A low economiodevelopmentalso
fashionindust y which is in the highestrark (43,71olo).
shows us about our lack in maragemeft. This is stretrgthenwith lhe write!'s previous
researohaboutOrgsnizingSystemofTayub Peformance(RachelMedianaUntun& 2014).
This researohknew betteathat perfonuing art really needsa good m0nagementso that the
businesscan work well. The managementlfiat really needsto b€ pdid attention more is
funotional manogement (Foductio! management marrcting mamgemed, human
&sources marlagement,and financial management).The r€sult showed that lhose four
managemetrtaspectare not y€t fitlly implemenr€dbut it is well'organized. All of the
performance'selementa€ not jofuing in an orga[izaiion but seParatedand there is no
compromisebetweenthe parties. It shows us th4t layub is e pfft of not really w€uorganizedbusiness.This resea&h showedthat functional managementaspecthas been
ifrplementedyet trot suc4essfirl,so ther€will be next slral,Bisaboutthis.
One basicthought is "is there any factors tbat exists b€hind intellectual,business,
alld govemment?In this case,ther€ eaeelgmentswbich basethose actors.Let us take a
look at performingafi basedon SooiologyofArt's perspective
Conmon questionappearedin sociology ofAn is aboutthe relationshipb€twe€n
art ad society.In perspectiveof Sociolog/ ofArt it is sta&dlhat artworksare alwaysbe a
part of the social and oultural world (Ja!€t woltr, 1981;David Inglis aad JohnHugbson,
2005).All .rtwo*s including the showsappesrin sooietyculture context Therc are tlrree
st&ggcultural productio4 distribution and consumption.David Inglis da! John Hughsotr
(2005: 2t) quotedBourdieu'sopinion saidthat in cultural production,holr ftuch tlle power
can inlluence capita aod how much oapita do they have?There are two main types of
capita;economiccopitaand culrural capita-The p€oplein lGbupatenGrobogantherehave
oultural and economiccapita to pr€sefie t8,'ub in their social life. Researohshowedthat
activity to oelehatehuman'slif€ ph0seindicatether€will be tayub amongthem.From the
previous researchEachel Mediana Untun&2014) it has been ob6elved about the cost
income .trd expeoditurebudgpt of tayub. In smatl soale( 3loged) the expenditurewill
reaohappmximately20 million rupiah. h letrgesc.le (72 ioged\ exp€nditurewill reach
approximately40 mi[ion rupiah.
Secondis distribution. The show will be spre.d out by produca which is the host
family who holds the event They will invite all lhe sbkeholderslike ioge4 flusicians'
soundsystern,ard other e4uipment.They oalt pe$olally conlactthern or through broker.
Thrcugh brok6r, tll p.oducsrs will not have burden in prepadng the event. Broker is
oommandedto call the entire stakeholdeiuntil they get agre€ment.Producers,itself, who
will pay feesto them.
The last one is consuntptton.This tie can't be foryotten b€causewithout glrests
there will be no shows.The audienoein talub is invited guests'Even you are not itrviled
guestsbut still you oarleajoy the show.Male guestsarc given a ohanceto dmaewith ioged
(ngibing).Everyonecfi enjoy the show.Thereis no limilstion. But aduhfiale gueststetrd
to danc€wilh joged.
Tayub has followed three stog€smentiooedio Sociology of Aft. The thrce stage,
cultural production, distribution ard ooDsumptionas a meoanismis showing that each
strge involve peoplein a difer position.To tefer this statementJanetWolfr(1981) metrtiolr
Se condition of prodactionale just as much determinedby social, ideological and btoad
cultural slrucfure as the condition of consumption. Base on Wolfr statemest,tqub
lerformanoeexist ir a socialand cultural contexts.
279
Ihz ?r ,nr?nan@lt Conl/e@ JoArIoPd.tLArE Sltd/.s llcAPAs)
CONCLUSION
Creativeindushy gives a big hopefor the Indonesisneconomydevelopmentwhich
base is creativity. Io real life, performing 6rt can't contribute mote towaralsnational's
income. From economic point of view talub applies the collaborotion of intellectual,
businessand gpvemment.Even thos€ are synergizedeachother but there is still tro rcal
relation power. llhis study shows that a social interaction is a stnrchrsl system. This
position dominateits power telation, like if ihere is no intellectual the businessoaq still
rurl. That's why it needsbasercasonlike cultural capita Cultlral capita ss a relation of
value of ils show. Realizing or not cultral capita leads and managepeople's culture.
lndirectly, tayub is done is becaDseit hasb€ena pafi of humanbehg's oelebrationthat the
locals should obey. Therc is certain rule that if there is a birthday party or wedding
thanksgiving tayub should be $erc to celeb(aieil. No tradition, no show. It meais that
cultural capitais lhe idain actorbondsthoseik€e actorsin triple helix.
Cultural occurenc€or artt fiom creativeiadustry point of view still has ecotromic
dimension.Productor art serice oanbe seenas eoonomicocgud€nceo,ono Simatupang,
2013).Not all economicoccurrenceis determinedby economicfactors(Sjati sairin et al,
2002).It is expeotedwitl the existe{ceof folk perform&ce in eootromiccapital, it can't be
separatedfrom symbolic lhings, An is a cultural syst€mso lhat the v&luecsn b€ glued'
giverL and got usedto th€ peoplewho preservedit (Clifrord Geeft 1983).Performitrg8rt
can be a pofi of an industry but it needsto pay ottention morc on cultuaalproduotion
.sp€c! distribution,and con$mptioa.
Befor€ it oameto a oonclusion,I will give you somethingwhich att acts de. In
l9?7 (38 yearsago) Mochtar Lubis utter€dsix chamcteiisticoflddonesia[ Oneofthem is
they have high senseof artistic. Characteristiclhat expressedin wooden sculpture,mck
statue,batik, musio, donceand folklore showing that Indonesianhas big cr€ativity. Art
potentialis the shengthoflddonesian tutur€.
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Performance(CaseStudy in Kabt@ten Grobogdn i4 Cerrtal Java). Paper pre€ent€d.t
The 2'd InternatiooalConferencefor Asia Pasific Arts SMies 0CAPAS), Yogaakstta.
Widyastutieningrum,SriRoahzlnd-Q007). Tdytb di Bloru Jowa Tengah:
Pefi,njukan RituolKerakyatan SurakartaPascaISI Sukartadao ISI Pr€ssSorakart&
WioaksonqAgung (2009). 'IGbsngkitan Bangsadi Era Ekonomi lkentif'. varta
.Otororrt No. 12TahunXX 9 Juni 2009.JakartaWolff, Janet.(1981).Ure SocialPloduction ofArt. New Yorh St.Martin'sPress.
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Mita P|r$asari
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TheShifthgOfvislal ADdMemingkr OndelOndelPwpetAs the Dllrallic Refl€ctionolr
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new formsof p€rfomanc€
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Mala'sian siam music in Northem Mal&rsia and
its R€presentation
24
25
Lucr Pi€trosatrti
ontheus€of gamelanin the
Cafholicliturs/ in Yogakarta
SPEAKERS
Kolrote Spealcr
Professor
SamuelLeong
or Ttansglessiott?
: Truhsitions
The Tra&dttctlintr! Chdllenge
Sp€aLer
hofesso!BarbaraBolt
Methodologt
FromIntuitionto Research
Prof GiovamiGiuriati
Asia
Patterns
ofchangein MusicalTraditionsof South"East
Fm[k HerschelFinoh
Professor
ThePwadign Shifiin MotionPicturesfrom anInda esianPerswti'.e
MadeMandeHood
Prof€ssor
AnimalEfrgiesin theAnt trotrxNene
Perfornmrce
Eabitatsfot Balinese
Sustabting
253-25E
259465
266-275
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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.
SatyaWacanaChristianUnivedsty
mediana.untuns@staff
uksw.edu
The aim of this sndy is to figwe out whether therc is a signiJicarrtrelationship
betweehpelfonnikg arts a d credive ind .ttry. The study was done Eblitativeb. It hds
beendoneaho by an analysiscorrcerningon signiJicantintellectualrelationship,business,
and governmenLOne of local folk art, Tq b, pws an impoftant role in economicsector
increasinglacal's capits. Not all economicsectorsare deter ined by economicfactors.
Culnral capital has becomehaih factor rehted to the existencesoffolk performing Nt.
All folk perfornarce hare tn be vell-presened sitEe it isfrom the locals, and also haveto
besytchronbed with cultural productio\ distribution, and societ/'s interest.
Keyrord: Folt perfomance, Tatwb,managemen\cultural cq)ital, ecorcmic cqital.
INTRODUCTION
When the d€adlineof the paper's submissionapp.oachin&I still got a chanceto
attetrdoae ofthe seminarheld by GraduateSchoolGadjahMada University, Yogiakarta"
B€fore its cotrclusionI askedthe co$mittee relatedto ci€alive industry. The cofimittee
told me that all topics had b€endeliveredare alreadychosenfrom what's .eally happening
now. The answerdidn't satis& me at all, ard he askeda questiorc to me, "What's lvrong
wilh lhat topic?". "Why isn't cr€ative industry applie.dtogether with alts? Or 'treotive
industrycoDldr't relatedto arh? Thosequestionsled me to finirh my temporary-postponed
paper.I startedto continuewritiog.
Takenfrom a book entitled "RencanaPengenbangadEkotromiKreatif Indonesia"
ondonesiadCreoliveEconomicPlanning),it is mentionedthot there gle 14 sectorsbelong
to creative industry. One of them is performing aft. PerforhiDg art her€ mears creadve
activi8 which relabd to oontentdevelopmentart productionOallet 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,
performingarts is on 14 oDt of 14 which helps oolmhy's income.In short, pedorming art
lessoontdbutesto lhe natiooal's income.The shdy that hasbee4usedby Tiading Minister
is doneto examinemacroeconomy,Anothe. aim ofthis study is to figure out performing
Othersareto Eveal hbw signfic€nt the performingfolk with
art linking to micro ec-onomy.
creativeiadustryarea.
Folk performanceis art which existsand pr€sefied by the locals.Folk performance
is local-frnded; not relying on the govemsent's budg€tiig plan (Soedarsono,2002).
Tlere
276
Ih. 4 t.Entttntul corhftn* ft ar& Po.&,4rnstd€r (lcAPAs)
is a oleardifrerencebetweeafolk aft and court art. Folk art usuallyexistswi6b the locals
like waysng jara4 kepang(taditioqal drtrceusingtoylike-e-horse-puppet),tayub,and etc.
Lit€rally, crertive industry is an industry bas€don humatrcreativity 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, interactlvegames,p€rfoming dts,
publishing offset, cultural heritage, compder stuffs, software, TV Radio, researchand
developngdt.From it, Agung Wicaksono(2009) hasgosped it into 4 maia sectolssuch.s
mediq cultumt art, designand t€chaology.Accoiding to him, afi gives its own udqueness
for its service.The prodoctis the art andlhe sdvice is the showitself.
To reg whetherth€reis conelationb€tweeop€rforminga.t and orealivehdustry the
pater here focuses more on p€rforming ad mechanism aad ils managementwithin
perspectiverelatedto creativehdustry. Ode offoft performancethat the witer usedas the
mah object is tayub ftonl Grobogaq CenrralJava.Ooe oftbe ways to observeperforming
arts h cr€ative industry is to see three main actoN such as htellectual, business,ond
government,Th€sethree actorsare 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. Secondis busircss; where businessmalatrd
investors are the one wbo gets lhe profit as the achievement The 186tone is the
govenrment.A govemmenthasa role to supportand developit basedon the iule and laws
ofcreative industry developrned.Thereare two Foblems here(l) Doest }{rb apply those
due€ ariors as it belongs to the triple helix? (2) ls there arothcr actors outside that
infl$cncesto}'rtbasa folk performance?
METHOD
This pap€ris createdbasedon 6e previousrcsearchand someadditionalint€Iview.
Using severalapproacheslike managementperspective,sociolos/ ort and pgrformance
studiescan be used to observehow organizationof certaio p€rfofiring art exists. This
study was coidocted before qualitstively and done with severalways in colleotitg daL
suchas literalue revie[ iderview and documentatiotr.Questionsthat hEvebeenusedto
intereiew the participa{t is detailed questions.It wa' €xp€ctedthot it oould snswer the
writer's {restioos to the ones rvho involve in tayub. The drta were anabzed with
descriptiveandlysi$ describingfacts then follow€d by its analysis.(Nyoman Kuta Ritoa"
2004)
RESULT AND DISCUSSION
Folk performanceis 6 part ofa societyand it has beel somethingimport nt mingle
with the sooiety (Soedasono, 2002). Tayub is often showed as an family's feast and
dadklgiving for harvestcropsin CenftalJava(Sti RochanaWidyastutieningtuo,2007).In
diis paperwe will carefully alalyze t4jrubas a family's feasteatertaiment.
Talub as folk art has function to c€lebmte humel's life phase like {edding,
bididay pafiy, circumcisedtbantsgiving and anoth€rc€lebiatioosheld by a fuily. Tayub
is well-knovn as a denc€Frformanog wherejoged danoe.(femaledancers)is the main
elemeqton 6e show.Thejoged dancaand sing aftogetheron stage.The grow of ga6elan
fre songGeadt a) which sungby the danc€rilsell
iGtrume4ts o. ,t4fawitdn acoompdnies
or
dore aod it dependsotr the demands.The stageis
ca'l
be
three
The trundberof daN€rs
set adjustingthe lo€ation where th€ oelebmtionwill be beld. It is usually held i! a fiont
2n
flE l.l'tcdtut&,nt
Conl.rcM h Ar,o&r.^rt3
5n dtes(lC PAs)
yard's host. The host shouldset temponry stageslnoethe performanceis held in the yard.
Lighting and souodsystemate equippedalong with the stagp.The audienoemostly 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.Tayubstsrtsftom mon to eveningor eveningto midnight'
H€Ie toyub will be analyzedbasedon thrce factorsoftriple helix. It hasme€dng of
thiee synergizingfield like academic,busircss and govemment(Meuled Mulyono' 2010),
tt is eipecteOtha intelleotual (aoademio can play its role to give the society aotivities
r€latedto the new creationsso that it canoteatecreativepeople.Business,is expectedto be
an economicexchangerelotions.Govem$ent has lole to handle and masagethe aading
t[ings for crertive industry developmed.In Ois research,scholars'role is not cle€rly seen
becausein Grobotrgmthere is no institutiotr whioh i8 b€ ableto insef tayub as prorDising
alt i! ihe future. The closestinstitution is ISI (Instihrte SeniIndonesia)SurakartaWhen it
was amually held TayubFestivel in 2013, the comoittee invited severaljudges fiom ISI
Surakartn-Forbothjoged and musioiansae not art goduates' studentsin CentralJavayet
tfiey leam by themselves.Thejuniors (./bgedand the musiciaos)imitate thei prcdecessors.
{fr esclher tvto ioged re
If it irvolves flr€e Jbge4 ther,a seniot Aogedmbok-mbol@n)
')wtt/rt (joged wtufon).
\fu resogrch Otat has been done by Sri Rochana
Widyastutiedngum (2007) shows that all interviewee(rbged)dotrt have ary educational
taoigrounA especialtyin d.noing All tlF./ba€d and Olemusiciansimitated their senior(it
can be tom the family who pt€viously is Jbged or musiciens).Gensrally,t e musioitns
involve thejuniors to s€e,to give them compaly or evento replacethe memberswho ctn't
come.
The reseorchwhioh colducted by Fidnansah(2014) sho*s that economicfactors
play inportant role in increaling the level of oteativity.The higher is the cost of conrumer
demand, the higho lwel of the or€ativity the atlist will do ortworks. His resea$h was
oonduoted in Acapella Mataraman Musicdl Palody Cornmunity Yog/akart& or o
perforEing arts businessin a coiDmudty base. This oase is differer$ with talub m
kabuparencrcbogao. eccording to the mandger,it will be fair whethertlrcy havereceiv€d
lhe d;wn payme or oot yet, theJbgedwill still sing and danceon stagB.It is also fot the
lighting, stegesettiqg, snd also video
musiciansas well. For soundsystemmatragBment,
shootin& they will serve the best scwicb dependingon the negotiat€df€e. The more
cturerssthat they warf to use,the higher fee thoy haveto pay. Busitressin t4yub sr€ those
who give big cootribution for its show likeJbged, musiciaN, houseand usher,maste.of
csemory, and eventproviders(st ge, lightin& soutldsystem,andvideo shooting)
In living its role, govemmentis reFesentedby DeputyofTourism (DISPORA?AR)
to educate,to promote,andto accommodeteall of showelements.DISPORAPARwill oot
interfe.e in creativity of show's elefienl Real prograrnsfor 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 DISPORAPARcanknow what's problem
they have and also what needsthey n€ed.Throughthis, DISPORAPARcan pla[ activities
which help the developmentof tayub. Not otrly giving them training hrt also th€y are
eocouragedto join suchactivity representingCroboganDisaicr to C€nttal tava or nahonal
coverags,This is oae ofDISPORAPAR'Srole in promotingtayub.
The pevious explanotiol hasmeotionedthat thosetiree sctors itr triple helix have
their own role. If their rcl€ is obviously oleaxit can be conolud€dthat it can contribute
mo.e in natiomlt income.Takenfiom shrdyofTrading Depa(ment which 1vasquotedby
ClarissaandAti cahya (2012) perfoding art i8 in l4b ofrank (0'12 %) compariry with
274
th.4kt
ntutt@ot
cooIeEEe
JoAtrord.t arasnrdesl|c1P^5)
A low economiodevelopmentalso
fashionindust y which is in the highestrark (43,71olo).
shows us about our lack in maragemeft. This is stretrgthenwith lhe write!'s previous
researohaboutOrgsnizingSystemofTayub Peformance(RachelMedianaUntun& 2014).
This researohknew betteathat perfonuing art really needsa good m0nagementso that the
businesscan work well. The managementlfiat really needsto b€ pdid attention more is
funotional manogement (Foductio! management marrcting mamgemed, human
&sources marlagement,and financial management).The r€sult showed that lhose four
managemetrtaspectare not y€t fitlly implemenr€dbut it is well'organized. All of the
performance'selementa€ not jofuing in an orga[izaiion but seParatedand there is no
compromisebetweenthe parties. It shows us th4t layub is e pfft of not really w€uorganizedbusiness.This resea&h showedthat functional managementaspecthas been
ifrplementedyet trot suc4essfirl,so ther€will be next slral,Bisaboutthis.
One basicthought is "is there any factors tbat exists b€hind intellectual,business,
alld govemment?In this case,ther€ eaeelgmentswbich basethose actors.Let us take a
look at performingafi basedon SooiologyofArt's perspective
Conmon questionappearedin sociology ofAn is aboutthe relationshipb€twe€n
art ad society.In perspectiveof Sociolog/ ofArt it is sta&dlhat artworksare alwaysbe a
part of the social and oultural world (Ja!€t woltr, 1981;David Inglis aad JohnHugbson,
2005).All .rtwo*s including the showsappesrin sooietyculture context Therc are tlrree
st&ggcultural productio4 distribution and consumption.David Inglis da! John Hughsotr
(2005: 2t) quotedBourdieu'sopinion saidthat in cultural production,holr ftuch tlle power
can inlluence capita aod how much oapita do they have?There are two main types of
capita;economiccopitaand culrural capita-The p€oplein lGbupatenGrobogantherehave
oultural and economiccapita to pr€sefie t8,'ub in their social life. Researohshowedthat
activity to oelehatehuman'slif€ ph0seindicatether€will be tayub amongthem.From the
previous researchEachel Mediana Untun&2014) it has been ob6elved about the cost
income .trd expeoditurebudgpt of tayub. In smatl soale( 3loged) the expenditurewill
reaohappmximately20 million rupiah. h letrgesc.le (72 ioged\ exp€nditurewill reach
approximately40 mi[ion rupiah.
Secondis distribution. The show will be spre.d out by produca which is the host
family who holds the event They will invite all lhe sbkeholderslike ioge4 flusicians'
soundsystern,ard other e4uipment.They oalt pe$olally conlactthern or through broker.
Thrcugh brok6r, tll p.oducsrs will not have burden in prepadng the event. Broker is
oommandedto call the entire stakeholdeiuntil they get agre€ment.Producers,itself, who
will pay feesto them.
The last one is consuntptton.This tie can't be foryotten b€causewithout glrests
there will be no shows.The audienoein talub is invited guests'Even you are not itrviled
guestsbut still you oarleajoy the show.Male guestsarc given a ohanceto dmaewith ioged
(ngibing).Everyonecfi enjoy the show.Thereis no limilstion. But aduhfiale gueststetrd
to danc€wilh joged.
Tayub has followed three stog€smentiooedio Sociology of Aft. The thrce stage,
cultural production, distribution ard ooDsumptionas a meoanismis showing that each
strge involve peoplein a difer position.To tefer this statementJanetWolfr(1981) metrtiolr
Se condition of prodactionale just as much determinedby social, ideological and btoad
cultural slrucfure as the condition of consumption. Base on Wolfr statemest,tqub
lerformanoeexist ir a socialand cultural contexts.
279
Ihz ?r ,nr?nan@lt Conl/e@ JoArIoPd.tLArE Sltd/.s llcAPAs)
CONCLUSION
Creativeindushy gives a big hopefor the Indonesisneconomydevelopmentwhich
base is creativity. Io real life, performing 6rt can't contribute mote towaralsnational's
income. From economic point of view talub applies the collaborotion of intellectual,
businessand gpvemment.Even thos€ are synergizedeachother but there is still tro rcal
relation power. llhis study shows that a social interaction is a stnrchrsl system. This
position dominateits power telation, like if ihere is no intellectual the businessoaq still
rurl. That's why it needsbasercasonlike cultural capita Cultlral capita ss a relation of
value of ils show. Realizing or not cultral capita leads and managepeople's culture.
lndirectly, tayub is done is becaDseit hasb€ena pafi of humanbehg's oelebrationthat the
locals should obey. Therc is certain rule that if there is a birthday party or wedding
thanksgiving tayub should be $erc to celeb(aieil. No tradition, no show. It meais that
cultural capitais lhe idain actorbondsthoseik€e actorsin triple helix.
Cultural occurenc€or artt fiom creativeiadustry point of view still has ecotromic
dimension.Productor art serice oanbe seenas eoonomicocgud€nceo,ono Simatupang,
2013).Not all economicoccurrenceis determinedby economicfactors(Sjati sairin et al,
2002).It is expeotedwitl the existe{ceof folk perform&ce in eootromiccapital, it can't be
separatedfrom symbolic lhings, An is a cultural syst€mso lhat the v&luecsn b€ glued'
giverL and got usedto th€ peoplewho preservedit (Clifrord Geeft 1983).Performitrg8rt
can be a pofi of an industry but it needsto pay ottention morc on cultuaalproduotion
.sp€c! distribution,and con$mptioa.
Befor€ it oameto a oonclusion,I will give you somethingwhich att acts de. In
l9?7 (38 yearsago) Mochtar Lubis utter€dsix chamcteiisticoflddonesia[ Oneofthem is
they have high senseof artistic. Characteristiclhat expressedin wooden sculpture,mck
statue,batik, musio, donceand folklore showing that Indonesianhas big cr€ativity. Art
potentialis the shengthoflddonesian tutur€.
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