Arti dello Spettacolo / Performing Arts (original) (raw)

Les danseurs, médiums des pawang Stefania Rossetti Choreography, possessions and dispossessions are the sequence of the Jatilan ritual-performance in the village of Bener on Java island. The art of Jatilan is the initiation performance defined recently as a folkloristic art form of the Javanese tradition. Ancient transmissions have been handed down from the Majapahit and Mataram kingdoms, thanks to the elderly pawang masters to children’s and old people’s preparing themselves for the ability to see beyond the body practicing: dancing, playing traditional instruments and singing old songs in vernacular language. The ethnographic research that follows in this article transcribes the languages ​​and symbolisms expressed by bodies possessed by the invisible. Groups of dancers, ride black and also white horses builted with bamboo and coconut, dancing for the public and collectively offering their self like flowers, rice and incense smoke on the largest and metaphorical table of the village. Space, time and simultaneity moving the young horses under the guidance of the wise Javanese tigers. Keywords: Possession, Ritual, Dance, Ethnography

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Jathilan Horse Dance: Spirit Possession Beliefs and Practices in Present-Day Java

IKAT: The Indonesian Journal of Southeast Asian Studies, 2018

Jathilan is one of the names for traditional Javanese trance dance which takes its roots in the most archaic levels of local culture but remains very popular nowadays. It is also described as a horse dance for the horse effigies made of woven bamboo are the hallmark props used by the performers. Horse dance is a part of the folk culture, still untouched by institutionalization or commodification; it can be performed for both ritual and entertainment purposes. Trance is its main attraction, though through the lens of local beliefs it is interpreted in terms of spirit possession thus it is understood that spirits can enter performers' bodies and fulfill their needs while being manifest in material world, but also allow the dancers to perform various feats demonstrating invulnerability to physical harm (like eating glass, walking over hot coals, being whipped or even run over by a motorcycle). The purpose of this paper is to provide a thorough description of how trance in jathilan is performed and understood, based on existing literature, practitioners' first-hand accounts and numerous performances observed and documented; but also to consider it in the wider context of Javanese beliefs and practices involving spirits, possession, and exorcism, which persist alongside with Islam.

Javanese 'horse dances': Between ritual and entertainment. Interpretations that change and functions that persist

2017

Kuda kepang, or Javanese horse dance (for horse effigies, commonly made of woven bamboo, are emblematic for these trance performances), is a remarkable example of the tradition that was passed down through the centuries and generations and has preserved its form and its functions while the interpretations of its meaning and even origins allowed certain changes according to the transformations of social, political and religious situation. The purpose of this paper is to combine a general description of kuda kepang as ritual and art form employing altered states of consciousness with the assumptions regarding its role for Javanese communities and analysis of certain ideological adjustments that have occurred over the time and their influence on the persistence of the tradition in question.

Physicalising the spirit-dimension by song, dance and ‘fakery’ in indigenous mainland Riau, Indonesia

Journal of Southeast Asian Studies, 2015

The early literature on Malay animism and magic includes a passing reference to a concept called maya. This reference is hardly noticeable in the literature, and when Kirk Endicott wrote his Malay Magic, he omitted the word altogether. In this article the author uses ethnographic material from the Malayanspeaking Orang Sakai of Riau to examine the concept of maya (image) as it relates to a 'lifeless soul' inherent in material objects, giving physical objects vitality of form, appearance and use.

Communication and ritual on jaranan pogogan: The semiotics of performing arts

Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies)

The main objective of this research was to study culture and arts in the form of performing arts, which have a significant role in the preservation of tradition through the perception of communication semiotics. The suguh ritual is a presentation that is carried out before the jaranan pogogan traditional performance art activity in Nganjuk Regency. The suguh ritual is expected to represent language indirectly through the semiotics of communication during its implementation. In addition, the preservation of traditional performing arts through the perception of this ritual can provide the right image to maintain the preservation of traditional arts in the Nganjuk Regency. This ritual of regeneration is still occurring to this day. This research was a qualitative descriptive study. The literacy process used to determine information results were obtained from informants who distributed data in Nganjuk Regency. Researchers also conducted interviews, observed and collected data in the fie...

Embodiment, Balinese Dance Theatre and the Ethnographer's Predicament

I had carved three Topeng bondres 1 masks. My recollection of how this was achieved is now rather dim, but I suspect that mask maker and teacher Ida Bagus Alit had a large hand in the accomplishment. My masks were at the temple in Lodtunduh waiting to be blessed and, as a part of the temple Odalan, 2

What is the Ritual Context in Javanese Court Dance? (abstract)

What is the ritual context of traditional performances? Is the loss of ritual context always wrong? Ritual context is often created by the political power, even if it is derived from a religion or faith. In case of Javanese court dance referred as ritual, religious, or sacred, almost all of court dance had really been created for entertainment for ceremonial occasions in the court, which were held to maintain the court system. Srimpi and bedhaya, female court dances of Surakarta Court in Java were not opened to the public until 1970, because the court concubine system was maintained after the Indonesian independence. When female court dance was opened to the public, it became from political to aesthetic. However, there have been some conflicts between the court and national art institutions who took initiative to revive the court dance. The court dance was opened to the public in a national project to revive traditional dance. Should we maintain such ritual context of Javanese court dance, which is really the concubine system and federal court system? Because the court dance repertoires were separated from such ritual context in the national project, Indonesian people can equally appreciate and succeed them as their national heritage.

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