Indonesian Performance Arts

Oleh Endra Nim : 20010055

Tugas Menandai Kata Penting dalam Artikel Bahasa Inggris

Indonesia has a diverse range of performance arts: Javanese and Balinese gamelan or
orchestra, shadow plays like puppet shows (wayang), Sundanese bamboo musical instrument
performance (angklung), and many more. Arts from different ethnic group have ingenuously-
produced costumes and instruments. One of the most complex ones is the Balinese barong
costume and gamelan orchestra setup. Ramayana is an example of one of the best known
Javanese and Balinese wayang show, with many puppeteers or dalang who can play multiple
puppet roles all night. If you have ever visited Bali, you’ll know that you can watch so many
ethnic performance arts there, and they are mostly performed by Balinese villagers.

There are also contemporary performance arts as a result of Western influence, but this is
mostly found in Jakarta and Yogyakarta. Jakarta has a special place called Taman Ismail
Marzuki which serves as a national heart for arts, like theater, dance, and music. These
performances usually reflect political themes. More dynamic approaches and models have
however emerged. A newer approach to Indonesian performance is derived from the academic
discipline – some would say anti-discipline – of performance studies and the loosely allied field
of theatre anthropology founded by Eugenio Barba, which focused on an exploration of
intercultural performance through practice. Performance studies developed in the late 1970s and
early 1980s in the interstices between theatre and anthropology. A number of performance
studies’ early theorists, including Richard Schechner, Phillip Zarrilli, and John Emigh, went to
Asia initially to study Asian performance to enrich their own theatre-making vocabularies, and
later ecogniz that Asian performance in situ holds its own inherent attractions and points of
interest worthy of exploration. Performance studies has served to de-exoticise Indonesian
performance by pointing out commonalities with cultural practices from other parts of the world.
It has celebrated the diversity and variety of performance, paying homage to both cultural and
individual styles and through its connection with theatre anthropology it has stimulated a
practice-based exploration of Indonesian theatrical idioms. However, performance studies since
the 1990s has been less attentive to Indonesian (and other non-Euro-American) performance,
further removing itself from anthropology proper and from the theoretical uncertainty of theatre
anthropology, and converging with queer studies in its reformulation of performativity.

The performance studies of Schechner and Emigh is not necessarily the only desirable
model for a study of Indonesian performance. The ecognize work of linguist A.L. Becker
(1979) on Javanese wayang kulit has inspired a small but influential cohort of scholars to
consider Indonesian traditions of verbal art as oral philology, by which the elements of the past
are unearthed and made to speak to the present. Village performers have been thus figured as
hermeneuts who ecogniz to make sense of the confusions and ambiguity of contemporary
society by way of tried-and-true artistic strategies inherited from the ancestors. Interpretation is
thus not the sole prerogative of the scholar-observer, but is a shared concern with the artist-
subject.

In more recent years there has been a deeply felt dissatisfaction with the lack of
consistent engagement with the epistemologies of the body, among those engaged in the study of
Indonesian performance – and more specifically dance performance making – and the lack of a
scholarship grounded in the physicality of the body, able to ecognize the dancing body as a
cultural-political producer. Dance studies is the disciplinary field which took off in the 1990s
from Susan Leigh Foster’s articulation of the notions of corporeality and embodied knowledge
and their relationship to the act of writing. Foster ushered in a scholarship that views dance
making as ‘a form of theorizing, one that informs and is informed by instantiations of bodily
significance’ (Leigh Foster 1995: 16). It is only a matter of time before such approaches are
turned towards and reworked to investigate Indonesian performance making.

KESIMPULAN

Indonesia memilki banyak kesenian pertunjukan diantaranya ada gamelan/osketra dari

Jawa dan Bali, wayang,angklung dan masih banyak lagi yang lainnya. Diantara kesenian etnis
ada yang memakai pakaian unik seperti kostum Barong. Ramayana adalah pertunjukan wayang
yang berasal dari Jawa dan Bali yang paling terkenal dengan banyak dalang dam cerita
bonekanya. Ada juga seni pertunjukan kontemporer yang berasal dari pengaruh budaya barat
khususnya di daerah Jakarta dan Yogyakarta. Salah satu tempat yang terkenal di Jakarta adalah
Taman Ismail Marzuki yang menjadi pusat tempat pertunjukan seni teater dan musik.
Pertunjukan ini banyak yang mencerminkan tema politik. Namun pendekatan dan model yang
lebih dinamis telah muncul Pendekatan yang lebih baru untuk kinerja Indonesia berasal dari
disiplin akademis - beberapa orang akan mengatakan anti-disiplin - studi kinerja dan bidang
antropologi teater sekutu longgar yang didirikan oleh Eugenio Barba, yang berfokus pada
eksplorasi kinerja antarkultural melalui praktik. Studi kinerja dikembangkan pada akhir 1970-an
dan awal 1980-an di antara interstik antara teater dan antropologi. Sejumlah ahli teori awal studi
kinerja, termasuk Richard Schechner, Phillip Zarrilli, dan John Emigh, pergi ke Asia awalnya
untuk mempelajari pertunjukan Asia untuk memperkaya kosakata pembuatan teater mereka
sendiri, dan kemudian menyadari bahwa pertunjukan Asia di situ menyimpan atraksi dan tempat-
tempat menarik yang layak untuk diekspriasi. Studi kinerja telah berfungsi untuk mende-
eksotisisasi kinerja Indonesia dengan menunjukkan kesamaan dengan praktik budaya dari
belahan dunia lain. Ini telah merayakan keragaman dan berbagai pertunjukan, memberikan
penghormatan untuk gaya budaya dan individu dan melalui hubungannya dengan antropologi
teater, ia telah merangsang eksplorasi berbasis praktik idiom teater Indonesia. Namun, studi
kinerja sejak 1990-an kurang memperhatikan kinerja Indonesia (dan non-Euro-Amerika) lainnya,
lebih lanjut menghapus dirinya dari antropologi yang tepat dan dari ketidakpastian teoritis
antropologi teater dan berkonvergensi dengan studi aneh dalam reformulasi performativitasnya.

Studi kinerja Schechner dan Emigh belum tentu menjadi satu-satunya model yang diinginkan
untuk studi kinerja Indonesia. Karya pioneeering ahli bahasa A.L. Becker (1979) tentang wayang
kulit Jawa telah menginspirasi kelompok kecil ulama tetapi berpengaruh untuk menganggap
tradisi seni verbal Indonesia sebagai filologi lisan, di mana unsur-unsur masa lalu digali dan
dibuat untuk berbicara dengan saat ini. Dalam beberapa tahun terakhir ada ketidakpuasan yang
sangat terasa dengan kurangnya keterlibatan yang konsisten dengan epistemologi tubuh, di antara
mereka yang terlibat dalam studi kinerja Indonesia - dan lebih khusus lagi pembuatan
pertunjukan tari - dan kurangnya beasiswa yang beralasan dalam fisik tubuh, mampu mengenali
tubuh menari sebagai produsen budaya-politik. Studi tari adalah bidang disipliner yang lepas
landas pada 1990-an dari artikulasi Susan Leigh Foster tentang gagasan-gagasan tentang
kemusyralan dan pengetahuan yang diwujudkan dan hubungan mereka.