10.48255/1973-9494.JCSCH.21.2021.13
Questa ricerca analizza gli studi relativi alla danza sanggar, a East Java, e il loro ruolo nel preservare le tre aree culturali in cui viene eseguita: Arek Malangan, Mataram e Madura. I dati sono stati raccolti attraverso interviste condotte a Padepokan Mangun Darmo (per la cultura Arek), Tarara Dance Studio (per la cultura Madura), Sanggar Singo e Aglar Nuswantoro (per la cultura Mataram), nonché attraverso l’osservazione diretta, studi bibliografici, documenti d’archivio, foto e video. Successivamente sono state condotte analisi dei dati e sono state tratte conclusioni, rivelando un modello di gestione per la conservazione. I risultati indicano che la gestione degli studi sulla danza consente, mediante l’adesione ai modi di pensare culturali adottati dalla comunità, di rafforzare la resilienza culturale. Inoltre, attraverso l’istruzione della danza, si realizzano pratiche di gestione, processi di lavoro creativi ed eredità di nobili valori. I tre studi sulla danza hanno mostrato un’esistenza e una coerenza storica, nonostante le mutevoli condizioni portate dalla globalizzazione, suggerendo così che la cultura tradizionale continua a essere una guida per la vita delle persone. Ciò implica che artisti e governi devono sforzarsi per la sua conservazione concentrandosi sulla tutela dei mezzi di sussistenza della comunità e sull’educazione del pubblico, in modo da rafforzare l’identità culturale e la resilienza della nazione.
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Conservation Science in Cultural Heritage
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Conservation management of performing art in East Java: a case study of traditional dances
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John Vong
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Conservation management of performing art in East Java: a case study of traditional dances
https://conservation-science.unibo.it/article/download/15255/14483
21
C    ONSERVATION MANAGEMENT OF PERFORMING ART
     IN EAST JAVA: A CASE STUDY OF TRADITIONAL DANCES

   Warih Handayaningrum *, Autar Abdillah
                              1




   Universitas Negeri Surabaya, Indonesia

   Pamela Arumynathan
   James Cook University, Singapore

   John Vong
   Monash University, Australia

   Keywords: Arek culture, Mataraman culture, Madura culture, Malangan culture,
   preservation

   DOI: 10.48255/1973-9494.JCSCH.21.2021.13



   1. Introduction

    Many countries in the world possess a wealth of performing arts as cultural heri-
tage. These art forms are essential to differentiate national cultures and is especially
so in multicultural countries such as Indonesia, which consist of a plethora of ethnic
groups and races. Yet, these performing arts, both traditional and non-traditional, are
ever-evolving, giving rise to new emergent genres. Such continuous development and
evolution is critical in ensuring the sustainability and preservation of art forms [1].
    As such, the seemingly “rigid” traditional art forms of the world are under threat of
extinction, as traditional performances garner audiences consisting of older genera-
tions while young people consider the art ancient and inconvenient, and avoid them,
perhaps owing to a perceived dichotomy between tradition and agency, where ad-
hering to tradition is perceived as an impediment to their individual right to make free
choices [2].
    Conservation efforts, then, are especially important in the context of traditional arts,
which are fast approaching extinction. It is feared that someday there will be a gener-
ation who knows nothing about their cultural roots, resulting in a culturally “foreign” na-
tion. According to Tavkhelidze [3]:
   “…as happened in Georgia many art projects, art events did not attract much pub-
   lic interest. This has many causes: bad economic situation, people addicted to the
   internet, competitive environment, etc. Nowadays, the art manager has to com-
   plete a difficult mission; they have to bring art and audience together. Effective
   managers need to have as much information as possible about the external envi-
   ronment, gather information, be aware of how to use it properly”.
   The same aspect was also found in Kim’s study, as follows [4]:



   * Corresponding author: warihhandayaningrum@unesa.ac.id
                                                                                                                                                          “Like the behavior of people in Australia who find it difficult to attend shows until
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                          now, there are projects that help the performing arts sector, especially the theater
                                                                                                                                                          sector, to encourage people to attend theater performances by providing vehicle fa-
                                                                                                                                                          cilities so that people change their behavior to attend shows” [4].
                                                                                                                                                            Such is the condition of traditional art forms in Indonesia. For example, traditional arts
                                                                                                                                                       such as ludruk (traditional east Javanese theatre consisting of musical and costuming el-
                                                                                                                                                       ements, depicting stories of heroism and of daily life), kethoprak (central Javanese tradi-
                                                                                                                                                       tional theatre consisting of dance, music, costuming, and literary elements, depicting sto-
                                                                                                                                                       ries from legends, history and fiction), and wayang orang (central Javanese traditional
                                                                                                                                                       theatre consisting of musical and costuming elements, depicting stories from the Ma-
                                                                                                                                                       haratha and Ramayana), are rarely found in Indonesia, particularly in East Java. Global-
                                                                                                                                                       isation too, presents a threat to the preservation of traditional arts in Indonesia because
                                                                                                                                                       the younger generation has a tendency to lose interest in participating in traditional arts
                                                                                                                                                       due to the influence of globalization, where foreign art forms are preferred.
                                                                                                                                                            East Java is a province in the eastern part of Java Island, Indonesia. Its capital is lo-
                                                                                                                                                       cated in Surabaya with an area covering 47,922 km², and a population of 42,030,633 peo-
                                                                                                                                                       ple [5]. This region has a wealth of heterogeneous performing arts. There are 5 major cul-
                                                                                                                                                       tural areas, namely Banyuwangen, Mandalungan, Madura, Arek / Malangan, and
                                                                                                                                                       Mataraman [6]. Folk culture is very popular and gives a special identity to the cultural ty-
                                                                                                                                                       pology developed by its people. Diversity and culture is characterized by art products that
                                                                                                                                                       differ from one region to another as a result of East Java’s pluralism. The different forms
                                                                                                                                                       of folk dance are derived from popular characters. Art pockets in the East Java area con-
                                                                                                                                                       tinue to grow and develop through the performing arts studio. As sites where knowledge
                                                                                                                                                       about culture and art forms are transmitted and transformed [7-8], an analysis of practic-
                                                                                                                                                       es carried out in studios could reveal insights into the preservation of traditional art forms.
                                                                                                                                                            Such traditional performing arts possess great cultural weight. Art is full of cultural
                                                                                                                                                       values and can even become a form of expression that stands out from cultural values.
                                                                                                                                                       Performing arts are not privatized, and are shared among all members of a community,
                                                                                                                                                       hence, they can create a sense of mutual pride, and increase cultural resistance, contrib-
                                                                                                                                                       ute to building national identity, and generate revenue for a country’s economy as a po-
                                                                                                                                                       tential tourist attraction. For example, during the independence movement of Indonesia,
                                                                                                                                                       performing arts played a role in presenting Indonesian identity in world cultural missions
                                                                                                                                                       [9]. These reasons further essentialise the preservation of performing arts. Therefore, art
                                                                                                                                                       actors must adopt an approach to preserve and raise awareness of performing arts by
                                                                                                                                                       inviting younger generations to construct culture and arts as a whole in accordance with
                                                                                                                                                       the current era. This coincides with previous research which has shown that the preser-
                                                                                                                                                       vation of traditional dances requires garnering new audiences who can relate to the art
                                                                                                                                                       form, thus, necessitating traditional dances to evolve to continue to be relevant for con-
                                                                                                                                                       temporary society, especially in these times of globalization and urbanization [10].
                                                                                                                                                            The implementation of academic tasks should be encouraged as follows:
                                                                                                                                                          (1) Identifying certain dominant and viable arts in art studios that have the oppor-
                                                                                                                                                              tunity to be developed and enriched, which can attract the emergence of com-
                                                                                                                                                              munity appreciation.
                                                                                                                                                          (2) Selecting arts that are articulated in accordance with the demands of social
                                                                                                                                                              development, so that they are easy to adapt and are able to encourage gen-
                                                                                                                                                              eral sensitivity toward the values ​​of artistic elegance.


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   (3) Achieving these main goals encourages the dynamics of art to promote cre-
       ation and enlightenment for the completeness of life, thus transforming such
       art into a way of life, in addition to developing regional tourism.
     In the context of Indonesia, several studies on sanggars (a studio-like place to train,
create, perform and preserve various arts such as dance, drama, and music) conclude
that the sanggar is a place for several cultural arts, a medium for education and training,
a medium for entertaining the surrounding community and art enthusiasts, a place to
gather and consolidate knowledge in the arts, and a place to gather and discuss different
themes [11-14]. In addition, they embody creative processes in the form of cultivation,
creation and revitalization, as well as teaching-learning processes and cultural transfor-
mation, thus, serving as extremely effective cultural centers. Although the role of the
sanggar is very varied in society, their priority is the preservation of art. Preservation of
art, in this context, is carried out to maintain the noble values of tradition in the communi-
ty as a form of cultural resilience. Consequently, the management pattern of each studio
in preserving the very varied performing arts is an emerging focal area for study. The art-
ists, as managers of the studio, have varying management patterns in preserving tradi-
tional arts, this could thus become a reference for other studios in Indonesia and abroad.
     As such, the present study aims to add to the current literature by examining the cul-
tural preservation of three cultural areas, namely the Arek / Malangan, Mataram and
Madura cultures, and their management by dance studios in East Java. The findings of
this study are useful in introducing the very diverse Indonesian East Java performing arts
to the global community. The different cultures across the regions can, moreover, give
rise to mutual regard and respect for cultures, thereby strengthening national harmony.
     The first study at the Mangun Dharma Center, which preserves the Arek Malangan
Culture in the form of wayang masks through its sanggar (studio), is an important site
of study. The Mangun Dharma Art Studio is a dance-supporting property, namely the
Malangan Mask, where traditional theater, Wayang Topeng Malangan with the Panji




                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE
story is taught. Previous research has shown the Sanggar Mangun Dharma to follow
a traditional learning system that is adjusted to the customs and beliefs of the sur-
rounding community. The leader of the studio, M. Soleh Adi Pramono, regularly creates
various social relationships between individuals, forming a fixed and stable social struc-
ture. As such, the Sanggar Seni Mangun Dharma is a social fact that has the concept
of empirical reality, thus, making it an optimal site of study representing the Arek Ma-
langan Culture [15].
     The second study site is the Tarara Bangkalan Studio led by Sudarsono, which has
developed the culture of Madura. Bangkalan is one of the districts in East Java and has
various kinds of performing arts products, including Patenteng (a type of wayang mask
used in traditional ceremonies), Sandhur (a traditional dance-drama theatre from the
districts of Bojonegoro and Tuban), Kerapan Sapi (cattle racing), and Sarone music,
which contains elements of drama, dance and music. Meanwhile, there are also ritual
performances that present dance, drama, and music, for example Rokat Somor Brumbu,
Mokka Blebe, and Pelet Bhetten [16-17].
     The third site of study is the Bikam and the Aglar Company Dance Studio, which has
led the preservation of the Mataran Culture of the Reog (or Reyog) group. The Matara-
man culture covers 7 districts. This culture was strongly influenced by the Mataram King-
doms of Yogyakarta and Surakarta. Mataraman culture in this discussion is represented
by Reog Ponorogo art which has been patented worldwide since 2001. Reog is now an
icon of East Java art. The Reog performance is accompanied by a horse braid dance


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                                                                                                                                                       (locally known as lumping), in which the dancers simulate ‘riding’ a horse using spe-
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                       cially crafted props (horses), and the dance is characterized by culture-specific super-
                                                                                                                                                       natural implications.


                                                                                                                                                          2. Research methods

                                                                                                                                                            Often, researchers are positioned as studying objects without affecting them and
                                                                                                                                                       without being influenced by them in the way they conduct research and draw conclu-
                                                                                                                                                       sions [18]. In reality, the study of the preservation of traditional dances by the communi-
                                                                                                                                                       ty is influenced by a myriad of processes such as enculturation, socialization, reconstruc-
                                                                                                                                                       tion, and revitalization [19]. As such, the present study adopts a qualitative approach in
                                                                                                                                                       order to understand the ways in which ethnic groups preserve their traditional dances
                                                                                                                                                       and traditional artistic values by building art studio institutions. This is the ideal approach
                                                                                                                                                       to explain cultural symptoms and values, concept art, creative processes, conserva-
                                                                                                                                                       tion management, art presentation, the lives of artists and audiences, and the environ-
                                                                                                                                                       ments that sustain art [20-21].
                                                                                                                                                            The formal object of this research is the management of performing arts preserva-
                                                                                                                                                       tion, while the material object is dance studios in three areas of East Java, involving
                                                                                                                                                       the Arek culture, the Malangan culture and the Mataram culture. Data collection tech-
                                                                                                                                                       niques, such as observation and interviews, were carried out to obtain data about the
                                                                                                                                                       activities of the people in the studio and the resulting dance work, as well as public in-
                                                                                                                                                       terest in the existence of the studio.
                                                                                                                                                            Observational methodologies were used to reveal a systematic picture of the events
                                                                                                                                                       of educational art behavior appreciation and creation, and artistic instruments, such as
                                                                                                                                                       medium and technique, at the research sites which, in this case, are the art studios [21].
                                                                                                                                                       Behavioral observation, in particular, was used to understand intentions arising from
                                                                                                                                                       deeper cultural values, beliefs and knowledge [21].
                                                                                                                                                            Additionally, ethnographic interviews were also conducted. Following Spardley’s
                                                                                                                                                       model, the interviews covered explicit objectives and the acquisition of cultural infor-
                                                                                                                                                       mation and cultural data [21-22]. The interviews were conducted with influential, prom-
                                                                                                                                                       inent figures who possessed expertise on the organization of the art studio and the
                                                                                                                                                       sanggar dance and its preservation. Although the students and the surrounding com-
                                                                                                                                                       munity could influence the practices of the studio, this group of influential, prominent
                                                                                                                                                       figures was chosen as it enabled a deeper understanding of the expectations and the
                                                                                                                                                       culture set by the studio, given constraints in resources [23].
                                                                                                                                                            Analysis in art is imaginative, flexible, creative and reflective, thus showing high
                                                                                                                                                       proficiency and intellectual abilities [24]. Art analysis is carried out by looking for the
                                                                                                                                                       meaning of the work, and noting the regularities, patterns, explanations and configura-
                                                                                                                                                       tions of causal relationships and the propositions that emerge [25].
                                                                                                                                                            Art analysis in the present study followed the analytical approach used by Miles
                                                                                                                                                       and Huberman, which emphasizes the understanding of interpretivism, where human
                                                                                                                                                       activities are seen as text collections of symbols that reveal meaning. In order to inter-
                                                                                                                                                       pret the meaning, deep understanding is needed [26]. To this end, data reduction was
                                                                                                                                                       conducted regularly throughout the research process by selecting, sorting, simplifying,
                                                                                                                                                       abstracting and transforming rough data collected through observational strategies
                                                                                                                                                       and ethnographic interviews [27]. Data presentation was then also carried out regular-
                                                                                                                                                       ly using the reduced data, by creating a narrative, combining information and arrang-
                                                                                                                                                       ing it into an integrated and easy-to-understand form [28]. Subsequently, conclusions
                                                                                                                                                       were drawn iteratively [26].


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   3. Results and discussion

   3.1. Preservation of Arek / Malangan culture, at Sanggar Mangun Dharma
        Malang

     In the 4th-9th centuries AD, Arek and Malangan cultures emerged with archipelag-
ic cultural patterns influenced by Javanese Hinduism. As such, Arek culture is identical
to 4th-9th century AD Javanese Hindu culture in religion and belief, because all life
systems refer to Javanese Hinduism. The beliefs of the Javanese Hindu era are still at-
tached to some of its people, including the arts community, and especially the dance
community. Thus, all the show’s management patterns and production attitude carry
Javanese Hindu elements [28].
     Arek / Malangan culture was born out of the complexity of the large historical king-
doms in the archipelago and had a very broad impact on the birth of arts, which
emerged in its historical narratives and high aesthetic meaning. However, Arek culture
began to change significantly in the 13th century AD. After the small islands separated
from each other, human characters in Arek Culture became more layered. On the one
hand, the ancient elements were resistant to change due to natural influences, while
on the other, the mystical and religious elements fluctuated in accordance with the be-
liefs of the community at any particular time, such as with the entry of Islam and Chris-
tianity in the 14th century.
     Indonesian society is an agrarian society. This encourages the existence of a cere-
monial environment in the tribes of Indonesia and in the performing arts, such as theater,
dance, and music. According to Munardi, there exist several management strategies in
Indonesian performing arts, such as community management, incidental management,
commercial management, and management through formal schools and television pro-
grams [29]. From generations 1 to 3, the management strategy of the Mangun Dharma
studio evolved in accordance to the function of the Wayang Topeng (mask puppet art)




                                                                                                CONSERVATION SCIENCE IN CULTURAL HERITAGE
where puppets are attired in masks and made to dance in the community in the context
of a ceremony to honour its ancestors [30]. The masks that are made and used for danc-
ing must be made of selected wood materials. As the basic material in the art of mask
carving, the chosen wood will produce a beautiful mask. Mask performances are consid-
ered sacred by their supporters, starting from the preparation of the performance with rit-
uals, the actual show is carried out in earnest. It is packaged, not according to the audi-
ence’s will, but is performed with a purpose relating to the belief system. Managing this
kind of show requires togetherness, and mutual cooperation in organizing performances,
relying solely on the spirit of the community for support [31].
     Sholeh Adi Pramono, a graduate of the Indonesian Art Institute in Yogyakarta, is the
leader of the Mangun Dharma group. Activities in the dance studio include, learning
dance and revitalizing the traditional theater of Wayang Topeng style Malangan, Ped-
halangan Malangan, Karawitan, Mocopat (tembang), mask carving crafts and shadow
puppets. In addition, it is also a place for Wayang Mask players, who are members of
the studio, to practice.
     History and heritage are given importance in this culture, with performers reporting
that the material that is worked upon is a tradition from their ancestors. This coincides
with findings by Berg, where he says “The mask puppet show with the Panji play is
thought to have existed since the Singasari era in 1268-1298 AD and the heyday of the
Majapahit kingdom” [32]. Interestingly, recent research has suggested that mask art orig-
inating from Malang is losing its authenticity and consequently, its sustainability, due to


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                                                                                                                                                       the lack of history resulting from the modernization of its community [33]. The emphasis
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                       on history in this studio highlights the potential of its management strategy to aid in pres-
                                                                                                                                                       ervation, where reinforcement of cultural identity is essential to preserving art and dam-
                                                                                                                                                       ming the encroachment of foreignism into the traditional arts [34-35].




                                                                                                                                                            Figure 1. Main Pavilion of the Mangun Dharma Art Studio; (source: Doc. Dani, 2018).



                                                                                                                                                            In the 1990s, this studio became a typical Malangan cultural resource study institu-
                                                                                                                                                       tion with the name Mangun Dharma Art Center (Figure 1), where both domestic and
                                                                                                                                                       foreign students study Wayang Topeng and Malangan arts.
                                                                                                                                                            The flagship production of the Padepokan Manungun Dharma dance studio is
                                                                                                                                                       Mask, which is associated with puppetry and dance, and it also produces masks. This
                                                                                                                                                       studio performs rituals to build personal strength during the pre-production of a show,
                                                                                                                                                       in the form of bathing in a particular river, or fasting and praying. It is believed that the
                                                                                                                                                       rituals carried out can give strength for the production process [36].
                                                                                                                                                            The cultural characteristics of Arek Malangan in this studio lie in the form of the per-
                                                                                                                                                       formances and the narrative of the Panji stories, as well as the stories of Ramayana and
                                                                                                                                                       Mahabarata. The cultural character of the Arek is shown in their egalitarian and demo-
                                                                                                                                                       cratic attitude when producing wayang masks. All members are considered important, so
                                                                                                                                                       that the role in wayang mask activities is carried out seriously; all members of the studio,
                                                                                                                                                       moreover, can express their thoughts to improve the functioning and pedagogy of the
                                                                                                                                                       studio. Spectators from the audience and players performing on the stage can interact
                                                                                                                                                       with each other, exhibiting a high level of kinship. The prevalence of such practices and
                                                                                                                                                       attitudes is in congruence with the culture of Arek Surboyo in general, where egalitarian-
                                                                                                                                                       ism has been embedded as a cultural value since ancient times in the region of Malang,
                                                                                                                                                       which identified as a culture free of caste and appreciated the dignity and position of hu-


                                                                                                  284
mans as being equal to each other [37]. This egalitarian value of Arek Suroboyo has also
been shown to strengthen the local culture in Indonesia, suggesting the potential value
of this art form to promote egalitarian values and reinforce local culture as well [38].
    Topeng Malangan is an important part of Arek Malangan culture because it is able to
present the identity of its people, historically, philosophically, as well as in terms of religion,
anthropology, and sociology. Malangan culture is very different from Balinese culture,
which still focuses on promoting religion and has not produced cross-cultural performing
arts, so people see Balinese dance as if they are looking at static reliefs in temples [39].
    The leadership of the studio gains support through performances. Performances
that are not routine require the studio to find ways to obtain financial input, by making
masks, and renting and making dance clothes (Sholeh Adi Pramono, interview, Sep-
tember 11, 2018).
    “Sanggar Mangun Dharma” means continuing to build and pass down art in the
form of a learning process [40]. The activities of the studio in the initial phase were de-
signed as a means for artists to gather together. Students of the studio were members
of the family and relatives of the studio owner, as well as members of the community.
The learning process follows the prevailing traditional customs based on traditional
values so that students can understand that tradition is an important part of art that
cannot be separated and must be passed on. The learning methods are Niteni, Nyonto,
and Nglakoni (paying attention, imitating and applying).
    As shown in Figure 2, Wayang Topeng Malangan as traditional theatre, consists of
elements including script and plot, plays, gending (musical composition) consisting of
percussion instruments and singing by Sinden (a traditional Karawitan singer), and
musicals, as well as janturan and jaranan (a traditional dance with hobby horses).




                                                                                                        CONSERVATION SCIENCE IN CULTURAL HERITAGE


Figure 2. Photographs of scenes from Malangan Topeng Puppet Show. (Source: Padepokan Seni
Mangun Dharma, 2017)


    3.2. Preservation of Madurese culture in the Tarara Bangkalan Madura studio

    Madura is a small island located in East Java. The Madura tribe is one of the few
large Indonesian ethnic groups which has spread across to other parts of Indonesia.
As shown in Figure 3 and 4, the Madurese tribe is known for its traditional clothes with
horizontal red and white stripes, clurit-type weapons, trumpets (Saronen music and
musical instruments), cattle running competitions (kerapan sapi), fighting culture (Carok),
Rondhing traditional dances, Gethak masks to cover the face, and Sholawat Jidor (an
Islamic art that consists of singing praises to God and the Prophet Muhammad accom-
panied by Jidor rhythmic instruments).


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W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances




                                                                                                                                                                                  Figure 3. Madurese men’s clothing.




                                                                                                                                                                               Figure 4. Cow kerapan (cow sprint race).


                                                                                                                                                           The Madurese tribe inhabits four districts, namely, Bangkalan, Sampang, Pamekasan,
                                                                                                                                                       and Sumenep – which was believed to be the center of the ancient Madura kingdom.
                                                                                                                                                           Despite some cultural practices including Hindu rituals and mysticism, the Madura
                                                                                                                                                       region was influenced more by Islamism than Javanese Hinduism, due to the Madu-
                                                                                                                                                       rese rulers’ dependence on Islamic kingdoms, on the north coast of Java, from 1500 to


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1624. In 1624, Madura was conquered by the Islamic Mataram kingdom, further integrat-
ing Islamic and Mataram cultural elements into Madurese culture, such as in speech
and in the transmission of mantras for ritual activities and arts, and in art management
strategies, such as building interactions with community members or other dance stu-
dios, which is also a central ontological transcendental norm in Madurese culture [41].
     Sudarsono, the head of the Tarara Studio, comes from a family of artists and is a
music and dance artist. He set up the studio in the Bangkalan region to bring togeth-
er, especially children and school dropouts, to educate them in the arts, so as to pre-
serve and develop the Madurese art form. He is renowned in Madura and other areas
due to his productivity in producing dance works, such as the Pasemoan Kerraben
Sape, Kamantakah dance, and the Patenten Mask, all of which elevates Bangkalan
Madurese culture [16].
     As an art organization, the Tarara dance studio is semi-professional, with perform-
ers ranging in expertise. Amateur artists are rarely paid, semi-professionals work part-
time in art activities, while professionals are paid artists [42]. The studio gains income
(Ngamen) through performances, making it possible to equip the studio with all the
necessary trimmings, such as costumes, accessories and musical instruments. This
equipment is also rented out to the community to gain further income.
     As such, Sudarsono believes in grasping opportunities in the community to sustain
the studio. The Tarara studio has become the go-to spot for cultural regalia and perfor-
mances for events, such as weddings, and for art events by the Bangkalan govern-
ment, where members of the Madurese community can present their cultural identity.
Consequently, the studio prioritizes its ability to attract attention from outside the tradi-
tional arts community which will subsequently translate into more economic capital, an
aspect which may require deviating from the traditional values of catering to the needs
of the community. The government, in particular, has lent out building facilities for train-
ing purposes in exchange for services rendered. Apart from financial remuneration,
these practices help to boost the popularity of the dance studio in the community, a fac-
tor that is essential to the maintenance of educational institutions in society. This “com-




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
mercialization” of Madura art could be attributed to Madura island’s “exotic” reputation
internationally [43], thus, commodifying Madura culture as a product to be “sold” - a
fate that has befallen other cultures “exoticised” by the West [44].
     Sudarsono and his trainer have choreographed 36 dance works for children, and 28
dances for adults, all of which are taught in the studio. Proficient students are selected
as peer tutors to help train other students. Besides being able to study at the Sanggar,
students from the Tarara studio have also been sent as trainers to 25 elementary schools,
5 junior high schools and high schools (Sudarsono interview, September 10, 2018).
     Sudarsono seeks to preserve Bangkalan Madura art through knowledge transmis-
sion, carrying out dance activities together, creating art and exchanging ideas about art
in studios and schools, and through the performances about Hajadan people, as well
as through participation in arts festivals. This characterization coincides with past re-
search which has shown that the dance studio is a site for group activities which are
conducted as preparation for staged professional activities [45].


   3.3. Preservation of Mataram culture at the Ponorogo Aglar Company dance
        studio

    Mataraman culture in East Java is prevalent in 6 districts and is a mix of Javanese
philosophy, which is influenced by Hinduism, Buddhism and Indian Philosophy, and


                                                                                                287
                                                                                                                                                       Islamic mysticism, and is characterized by romanticism, mysticism and philosophy.
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                       The basis of Javanese society is mutual cooperation, kinship and divinity. Javanese
                                                                                                                                                       philosophy endeavours to:
                                                                                                                                                          (1) open the way to reality;
                                                                                                                                                          (2) think deeply about every symptom in question until it reaches a universal con-
                                                                                                                                                              clusion;
                                                                                                                                                          (3) look for a clear relationship between cause and effect;
                                                                                                                                                          (4) use a system and methods;
                                                                                                                                                          (5) solve problems and look for goals.
                                                                                                                                                            Furthermore, Mataraman lifestyle and language is influenced by the Mataram King-
                                                                                                                                                       doms, namely Kraton Surakarta and Yogyakarta, as well as pastoral life [46].
                                                                                                                                                            Ancient Mataram culture had ritual and mystical powers prior to the entry of Is-
                                                                                                                                                       lamic Mataram. In the 8th century, there existed two dynasties simultaneously influ-
                                                                                                                                                       encing belief systems, namely the Syailendra Dynasty (Buddha) and the Sanjaya
                                                                                                                                                       Dynasty (Hindu), which in turn affected the cultural life depicted in traditional and folk
                                                                                                                                                       arts. Some people, even today, still believe in supernatural powers found in sacred
                                                                                                                                                       objects [47].
                                                                                                                                                            After the entry of Islam and the arrival of the Dutch colonialists in particular, based
                                                                                                                                                       on the Giyanti Agreement, Mataram was divided into two parts, namely Mataram Sura-
                                                                                                                                                       karta and Mataram Yogyakarta. The Mataram culture that entered the Ponorogo area
                                                                                                                                                       was Mataram Surakarta culture, because Surakarta was more progressive than
                                                                                                                                                       Mataram Yogyakarta. Mataram Surakarta was even known to have the largest number
                                                                                                                                                       of war troops in its era. According to Abdillah, “Mataram in the early 17th century AD
                                                                                                                                                       was a kingdom that believed in being able to control Java” [47]. Mataram was one of
                                                                                                                                                       the great kingdoms after the collapse of the Majapahit kingdom. Mataram is also
                                                                                                                                                       known to have dance works created by its kings, as mentioned by Dwiyanto, namely
                                                                                                                                                       Beksa Lawung, Beksa Sekar Madura, Beksa Wayang, Beksa Tameng and Wayang
                                                                                                                                                       Wong which were the works of Sultan Hamengkubuwono I from the Kingdom of Kra-
                                                                                                                                                       ton Mataram Yogyakarta [48].
                                                                                                                                                            Ponorogo is an area known for its Reog arts (traditional dance). This art is synony-
                                                                                                                                                       mous with Barongan or Merak (figures) and consist of Bujangganong, Klono sewando-
                                                                                                                                                       no the Warok, and Jathilannya (types of characteristic music and dance) performed
                                                                                                                                                       in a neat and energetic colossal ballet (a theatrical performance consisting of dia-
                                                                                                                                                       logues through dance movements). Figure 5 shows one of the Reog groups from the
                                                                                                                                                       Aglar Dance Company.
                                                                                                                                                            Ponorogo Regency geographically follows East Java but is culturally inclined to-
                                                                                                                                                       wards the Central Java region [49]. The people’s love for Reog art is evidenced by the
                                                                                                                                                       number of Reog groups that existed in Ponorogo before its independence, when 300
                                                                                                                                                       villages had a total of 385 Reog groups meaning that each village had one Reog group
                                                                                                                                                       or more [50]. This is also reinforced by Simatupang (2013), who states that Reog was
                                                                                                                                                       so widespread that by 1999, there was not a single sub-district that did not have a
                                                                                                                                                       Reog group [51]. Reog has become the identity of the people of Ponorogo, there is
                                                                                                                                                       even a Reog performance festival which is held every year and is attended by partici-
                                                                                                                                                       pants from all over Indonesia, thus making Reog a dominant characteristic in the iden-
                                                                                                                                                       tity of the Indonesian nation. For the people of Ponorogo, the love for Reog is like an
                                                                                                                                                       instinct. This is reinforced by Simatupang’s statement that instinct refers to a tradition
                                                                                                                                                       that is deeply rooted in past habits. Reog then, has become a “social reflex” due to its
                                                                                                                                                       long history of being subjected to efforts to study, expand and maintain it [51].


                                                                                                  288
Figure 5. Shodiq (center), the founder of the Sanggar Aglar Dance Company with other members
of the Company.




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
    The characteristics of the Reog show do not involve the practice of trance. Reog
music combines pelog and slendro musical scales, and several roles are acted out
[51]. For example, Jathilan male dancers ride horses masquerading as females and
Warog dancers are considered the leaders in the art of Reog [52].
    The arts organizations in Ponorogo can be divided into two Reog groups: the Reog
group owned by the village and the Reog group owned by the studio. The village-owned
Reog organization only performs Reog arts at festivals and during the celebrations of
the country’s festivities. This is considered the original Reog art form, for which no spe-
cial training is provided, and all facilities belong to the village. Reog in this group is still
orthodox and adheres to the existing guidelines, whereas the studio organization is
more open and develops Reog art in different ways.
    Shodiq Pristiwanto is an artist who graduated from the Indonesian Art Institute in
Surakarta and later founded the Sanggar Aglar Dance Company in 2004. He has a strong
passion and desire to produce new works according to the times. Several new dance
works have been produced: Lebur Seketi Dance, Kang Potro Dance, Si Potro, Devide Et
Impera, Mahaputra Sang Utra Wengker and so on. Here, dance functions as a represen-
tation of the figures and local cultural values of Ponorogo, East Java. The Aglar Dance
Company also teaches various other traditional dances such as the Merak, Girang-Girang,
Gambyong, and Rampak dances, as well as Reog for children aged 8 to 15 [53].
    The Aglar Company Dance Studio is an art organization that provides opportunities
for people to study arts (dance, music, theater) and acts as a laboratory for its mem-


                                                                                                   289
                                                                                                                                                       bers to carry out various explorations in finding new ideas, such as discovering the
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                       dancer’s body experience in playing scenes in a story for a Reog show. The studio is
                                                                                                                                                       professionally managed to hold training sessions. The development of Reog in this
                                                                                                                                                       group is similar to that carried out in two religious groups in Central Kalimantan, as well
                                                                                                                                                       as in East Kalimantan and can be mutually affiliated with politics and social change,
                                                                                                                                                       and can, eventually, give rise to new genres [54-55].
                                                                                                                                                            From the discussion above, it can be concluded that the management system of
                                                                                                                                                       dance studios in East Java consists of the organization of a teaching / training compo-
                                                                                                                                                       nent which includes master artists as trainers or teachers, trainees as students, and ar-
                                                                                                                                                       tistic procedures as teaching materials [56]. This process of transferring culture or art
                                                                                                                                                       implies the knowledge is passed on to a limited target group; it should additionally in-
                                                                                                                                                       clude the study of how to support communities, the function of a culture in society, and
                                                                                                                                                       examine the community values that are ​​expressed in art. In this way, the target of cul-
                                                                                                                                                       tural preservation is wider.
                                                                                                                                                            In carrying out their duties, the owner of the studio manages various forms of art,
                                                                                                                                                       students, infrastructures, financing, community relations and teachers [57]. Each stu-
                                                                                                                                                       dio has a different mission. The knowledge and material that is learned and performed
                                                                                                                                                       in the studio is a legacy from its predecessors. It can also be sourced from the aca-
                                                                                                                                                       demic world, or from the creations of other artists. The heritage, consisting of artistic
                                                                                                                                                       genres such as Wayang Topeng and Reog, complete with supporting elements in the
                                                                                                                                                       form of accompaniments and mask-making with their particular characteristics, are
                                                                                                                                                       also studied. Studio students are people who have a love for the arts, a sense of be-
                                                                                                                                                       longing to the studio, and are afraid of losing their arts and culture. The facilities and
                                                                                                                                                       infrastructures are obtained from self-financing and the hard work of the artists. Com-
                                                                                                                                                       munity relations are built through the performance of dance works and collaboration
                                                                                                                                                       with different studio communities.
                                                                                                                                                            Dance studios conduct ongoing efforts to maintain and preserve their culture. The
                                                                                                                                                       ideal and activities of dancing are to uphold the culture inherent in the community. Thus,
                                                                                                                                                       the management of the dance studio is attached to its view of cultural life. The manage-
                                                                                                                                                       rial pattern begins with the understanding that a dance studio is not a commercial insti-
                                                                                                                                                       tution or a mere moneymaker, but a place where community members come together to
                                                                                                                                                       preserve and maintain the cultural values ​​they adhere to. Their main activity is under-
                                                                                                                                                       standing the culture to be developed and transmitted in the dance studio. This cultural
                                                                                                                                                       pattern is applied in everyday life and is in accordance with Lipsey, Sjholm and Sun’s
                                                                                                                                                       view of the sanggar as a center for individual creative activities, scientific products, and
                                                                                                                                                       experiments in practicing skills [58]. The sanggar is also a place to present old and new
                                                                                                                                                       works, with revisions based on the artist’s development and evaluation of their artwork.
                                                                                                                                                            In addition, art galleries must remain responsive and be able to seize opportunities
                                                                                                                                                       and cultural phenomena in society in the post-reform era where cultural politics and the
                                                                                                                                                       revival of public traditions are popularized as a reflection of the current dynamics be-
                                                                                                                                                       tween Islamization, policy making, and culture which are open to various negotiations
                                                                                                                                                       and individual interpretations. For example, in the city of Gede Yogyakarta, modifica-
                                                                                                                                                       tions to local religious rituals are used in tourist events for economic reasons and for
                                                                                                                                                       acceptance in an increasingly Islamicized environment [59].
                                                                                                                                                            The commitment to financing dance studio activities is loose or flexible, but with the
                                                                                                                                                       aim that all community members are involved in preserving and maintaining their culture.
                                                                                                                                                       The community also feels comfortable and believes in the way dance studios are run, so
                                                                                                                                                       that dance studios carry out their managerial processes simply and are tailored to exist-
                                                                                                                                                       ing needs. However, some dance studios get assistance from local authorities as well as
                                                                                                                                                       the central government in Jakarta. Assistance can be in the form of support by providing


                                                                                                290
“jobs” to prepare dance performances, to procuring equipment and renovating dance
studios. For dance studio managers, support from the government is accepted without
any ties, although at various levels there is assistance with the tendency to support po-
litical interests, a situation which often makes it difficult for dance studio managers.
     Members of the Padepokan Mangun Dharma dance studio in Malang are more
“closed” to new membership than the Tarara dance studio in Bangkalan and the Singo
Aglar Nuswantoro studio in Ponorogo. This is known as ‘membership closure’ – where
new millennial youths and students are not included in the studio productions as they
are less able to conform to the managerial expectations and regulations of the studio
that are unique to Malangan or Arek culture.
     The Tarara Dance Studio in Bangkalan and the Singo Aglar Nuswantoro Studio in
Ponorogo do not have a management pattern that requires its members to perform
certain ritual activities. The two studios prepare directly for the production of perfor-
mances and conduct dance lessons to master the dance skills. Members of the two
studios are people who wish to cultivate their personalities through dance work based
on local culture.
     The Tarara dance studios in Bangkalan and the Singo Aglar Nuswantoro Studio in
Ponorogo also have a more open membership. Even their production is tailored to the
needs of members, such as including modern and contemporary dance. Nevertheless,
these dances still have ties to their respective cultures. These two dance studios often
produce work referred to as “reinterpretation of traditions” or “creations / garapan
dance” with modern and contemporary genres [59].
     The establishment of the three dance studios, the Mangun Dharma Malangan stu-
dio, the Tarara Madura studio and the Aglar Company Dance and Reyog Pononorogo
studio, is in accordance with the research results of Barry and Meisiek, who look at the
“how’s” of studios and:
     “… some of the ways in which studios have been established and run. We attempt
to landscape the world of business studios using four lenses: materiality, space and




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
place, process, and theme. Each lens espouses different core assumptions and ac-
cordingly results in different forms of inquiry” [60].
     The colors of the 3 studios are different because each has different materiality,
space and place, process, and theme. In Sanggar Mangun Dharma Malangan, the ma-
terial for the establishment of the studio is Wayang Topeng, the place or location is the
Malang area, the process is related to the elements of the wayang Mask, namely
gamelan masks, property masks (another type of mask), and song. In contrast, in the
Tarara Madura studio, the material is traditional Madurese art in the form of cow com-
petitions, angklung music, dance and tembang, which are traditional songs (with lyrics
that rhyme). The process and the themes meet the needs of the people who want the
performance. The material of the Reog Ponorogo is very popular and is, effectively, the
pride of the people of Ponorogo. Meanwhile, the Aglar Company Dance Studio, which
practices Reog, has contributed to the development of various aspects of Reog Po-
norogo, such as the creation of scenes and choreography.
     In Indonesia, studio leaders do not usually teach diversity or multi-cultural issues due
to a number of barriers, such as competence of the trainer in the subject matter and the
sociopolitical context of the studio, as shown in the results of research by Cuyler:
   “… approximately fourteen percent of respondents reported that they do not teach
   about diversity issues in their courses. Respondents gave a variety of reasons for
   not engaging in this practice, including not having enough time in the curriculum
   and not finding diversity issues relevant to the course topic” [61].


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                                                                                                                                                           All strategic decisions on where to go from the 3 studios depend on the studio man-
W. Handayaningrum, A. Abdillah, P. Arumynathan, J. Vong - Conservation management of performing art in East Java: a case study of traditional dances



                                                                                                                                                       agers, namely Sholeh Adi Pramana, Sudarsono, Bikam and Sodiq. The group leader
                                                                                                                                                       makes strategic decisions for the small groups in the studio. The aim of the studio
                                                                                                                                                       manager is to inherit the knowledge and know-how on Panji Mask puppet, Madurese
                                                                                                                                                       Art and Reog Art. This is in accordance with the results of research conducted by Cray
                                                                                                                                                       and Inglis [62].
                                                                                                                                                           The data also implies that strategic decisions in arts organizations are made by a
                                                                                                                                                       restricted group of people, although the effects regarding this tendency is not yet clear.
                                                                                                                                                       However, smaller groups of decision makers are more apt to rely on personal contact
                                                                                                                                                       over more structured, bureaucratic processes.


                                                                                                                                                          4. Implications of the findings

                                                                                                                                                            Art studios play an important role in the preservation of performing arts in East
                                                                                                                                                       Java. The sanggar non-formal education continues to exist due to its pattern of man-
                                                                                                                                                       agement. The role of the studio in preserving the performing arts is crucial in the com-
                                                                                                                                                       munity. Preservation of the art is practiced, in essence, to maintain the noble values ​​of
                                                                                                                                                       tradition upheld by the community as a form of its cultural resilience. Past research sug-
                                                                                                                                                       gests a failure to do so could result in loss of culture, funding and support, thus, mak-
                                                                                                                                                       ing the studio a profit-based organization that “sells” art for tourism, leading to further
                                                                                                                                                       cultural degradation [63].
                                                                                                                                                            Performing arts such as dance, music, and drama are studied by future genera-
                                                                                                                                                       tions at the Mangun Dharma studio, Tarara studio and Aglar Company Dance, based
                                                                                                                                                       on traditional arts, community needs, and innovation in traditional arts to keep up
                                                                                                                                                       with the times.
                                                                                                                                                            The artist as the head of the studio performs complex activities, including art mate-
                                                                                                                                                       rial production, creating new art, staging works of art, and completing infrastructures for
                                                                                                                                                       the art. Hence, artists really determine the life or death of the studio. In addition, there
                                                                                                                                                       are creative processes in the form of cultivation, creation, and revitalization that are
                                                                                                                                                       also carried out by the community in the studio.
                                                                                                                                                            Finding strategies to preserve traditional arts in the form of revitalization, reconstruc-
                                                                                                                                                       tion, commodification, restructuring and other cross-cultural development is essential.


                                                                                                                                                          5. Conclusion

                                                                                                                                                           The management of dance studios in East Java is influenced by factors unique to
                                                                                                                                                       the region due to contestation about the heirs to the studio, as well as the style of art
                                                                                                                                                       form used in the studio and the ways in which it is developed by the studio. The devel-
                                                                                                                                                       opment of traditional forms, through innovation and experimentation, is the basis for
                                                                                                                                                       the discovery of new, broader art forms. This strengthens and maintains the preserva-
                                                                                                                                                       tion of the arts. The management of the studio continues to bring together the arts and
                                                                                                                                                       the community, thus strengthening the bond between the two. Dance studios in East
                                                                                                                                                       Java have several types of activities, namely training, giving dance performances
                                                                                                                                                       ranging from rituals to custom art, making dance equipment and accessories and rent-
                                                                                                                                                       ing them (real estate property where the studio is located, masks, dance clothes), and
                                                                                                                                                       creating. In this millennial era, the sustainability of the studio needs the support of all
                                                                                                                                                       parties to preserve the arts and strengthen national identity.


                                                                                                      292
      Acknowledgements

    Thank you to Dr. Edy Mintarto, M. Pd, as the Post Graduate program manager at
the Universitas Negeri Surabaya which provided the funding for this research. We also
thank the MERIA team, especially Prof. John Vong, and Dr. Jeff Fang for helping to re-
view the paper and acting as an advisor. Lastly, we would like to thank Prof. Dr. Darni,
head of the Research Department, Dr. Mintowati, M. Pd and Dr. Surana for supervis-
ing the research.


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                                                                                                                                                          Biographical notes

                                                                                                                                                           Warih Handayaningrum is an Academic at the Performing Art Department and
                                                                                                                                                       Study Program of Culture and Arts in Universitas Negeri Surabaya (Indonesia). War-
                                                                                                                                                       ih’s key teaching focus is on Dance Art Education for Undergraduates and Manage-
                                                                                                                                                       ment of Arts Education for Postgraduates.

                                                                                                                                                           Autar Abdillah is an Academic at the Performing Art Department and Study Pro-
                                                                                                                                                       gram of Culture and Arts in Universitas Negeri Surabaya (Indonesia). Autar’s key
                                                                                                                                                       teaching focus is on Theater Education for Undergraduates and Anthropology Educa-
                                                                                                                                                       tion for Postgraduates.

                                                                                                                                                           Pamela Arumynathan is an Academic at the School of Languages, James Cook
                                                                                                                                                       University (Singapore). Pamela’s key teaching focus is on Challenging and Supporting
                                                                                                                                                       First Year students.

                                                                                                                                                         John Vong is Sustainable Finance System Lead at Climateworks Centre within the
                                                                                                                                                       Monash Sustainable Development Institute, Monash University Australia.


                                                                                                   296
    Summary

    This research analyses the management of sanggar dance studios in East Java,
and their role in preserving the three cultural areas where sanggar dance is performed:
Arek Malangan, Mataram and Madura. Data was gathered through interviews conduct-
ed in Padepokan Mangun Darmo (for Arek culture), Tarara Dance Studio (for Madura
culture), Sanggar Singo and Aglar Nuswantoro (for Mataram culture), as well as
through direct observation, library studies and archival data, such as documents, pho-
tos and videos. Data analysis, data reduction and data presentation were subsequent-
ly conducted and conclusions were drawn, revealing a preservation management
model. The results indicate that adherence to the cultural ways of thinking adopted by
the community enables the management of dance studios to be effective in strength-
ening cultural resilience. Subsequently, the capabilities of East Java dance studios are
realized through management practices, creative work processes, and the inheritance
of noble values through
                  ​​      education. The three dance studios displayed a long-standing
existence and consistency despite the changing conditions brought by globalisation,
thus, suggesting that evolving culture continues to be a life guide for the people. This
implies that artists and governments need to carry out conservation management ef-
forts focusing on protecting the community’s livelihood and educating the public so as
to strengthen the cultural identity and resilience of the nation.


    Riassunto

    Questa ricerca analizza gli studi relativi alla danza sanggar, a East Java, e il loro
ruolo nel preservare le tre aree culturali in cui viene eseguita: Arek Malangan, Mataram
e Madura. I dati sono stati raccolti attraverso interviste condotte a Padepokan Mangun
Darmo (per la cultura Arek), Tarara Dance Studio (per la cultura Madura), Sanggar Sin-




                                                                                                      CONSERVATION SCIENCE IN CULTURAL HERITAGE
go e Aglar Nuswantoro (per la cultura Mataram), nonché attraverso l’osservazione di-
retta, studi bibliografici, documenti d’archivio, foto e video. Successivamente sono sta-
te condotte analisi dei dati e sono state tratte conclusioni, rivelando un modello di
gestione per la conservazione. I risultati indicano che la gestione degli studi sulla dan-
za consente, mediante l’adesione ai modi di pensare culturali adottati dalla comunità,
di rafforzare la resilienza culturale. Inoltre, attraverso l’istruzione della danza, si realizza-
no pratiche di gestione, processi di lavoro creativi ed eredità di nobili valori. I tre studi
sulla danza hanno mostrato un’esistenza e una coerenza storica, nonostante le mute-
voli condizioni portate dalla globalizzazione, suggerendo così che la cultura tradizionale
continua a essere una guida per la vita delle persone. Ciò implica che artisti e governi
devono sforzarsi per la sua conservazione concentrandosi sulla tutela dei mezzi di sus-
sistenza della comunità e sull’educazione del pubblico, in modo da rafforzare l’identità
culturale e la resilienza della nazione.




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