R.M. Pramutomo, Sriyadi Sriyadi

Transformation Bedhaya Dance in Java Society: Rituals, Ceremonials, Entertainment

Introduction

Transformation bedhaya dance in java society: rituals, ceremonials, entertainment. Explore the transformation of Bedhaya dance in Java, from Hindu-Buddhist ritual and royal legitimation to cultural preservation and contemporary art. Discover its evolving role in Javanese society.

Abstract

Abstract: Bedhaya is a dance genre that lives and develops in Javanese society. This dance is a legacy of the times of the Hindu Buddha. In the course of the bedhaya dance era, it changed. This article aims to reveal the changes in the dance function of bedhaya and to examine its existence in Javanese society. The research used is qualitative with a historical approach. The data collection technique used is the archival studies method. The result showed bedhaya dance derived from the dance offerings performed by devadaҫi. In the times of Mataram Islam, it was used to legitimize the king’s position. The Bedhaya dance had a significant role in maintaining the king's authority when the palace lost political, economic, and juridical power during colonialism. During its development, the palace was only for cultural preservation. It can be presented outside the palace walls as an art of tourism. In the modern era, Bedhaya dance is one of the references in creating contemporary dance. The change in the function of the Bedhaya dance is accompanied by changes in how it is presented, the accompanying narrative, and the essence conveyed. This shows that changes in the views and ideas of Javanese society influence its artistic creations. Abstrak: Tari bedhaya adalah salah satu genre tari yang hidup dan berkembang di masyarakat Jawa. Tari ini merupakan sebuah warisan dari zaman Hindu-Budha sampai sekarang. Dalam perjalanannya dari masa-kemasa tari bedhaya mengalami perubahan. Penulisan artikel ini ingin mengungkapkan perubahan fungsi tari bedhaya, guna mengatahui eksistensinya dalam masyarakat Jawa. Bentuk penelitian yang digunakan adalah kualitatif dengan pendekatan sejarah. Teknik pengumpulan data menggunakan metode studi arsip. Hasil penelitian menunjukkan, tari bedhaya bersumber dari tari persembahan yang dilakukan oleh para devadaҫi. Pada zaman Mataram Islam tari bedhaya digunakan sebagai sarana legitimasi kedudukan raja. Tari bedhaya memiliki peranan signifikan dalam menjaga kewibawaan raja ketika kraton kehilangan kekuasaan politik, ekonomi, dan yuridis pada masa kolonialisme. Dalam perkembangannya, kraton hanya menjadi wadah pelestarian budaya. Tari bedhaya dapat disajikan di luar lingkungan kraton yang berfungsi sebagai seni pariwisata. Di era modern, tari bedhaya menjadi salah satu referensi dalam penciptaan karya tari kontemporer. Perubahan fungsi tari bedhaya disertai perubahan cara penyajian, narasi yang menyertai, serta esensi yang disampaikan. Hal ini menunjukkan bahwa perubahan pandangan dan gagasan masyarakat Jawa berpengaruh pada kreasi seninya.

Review

This article, "Transformation Bedhaya Dance in Java Society: Rituals, Ceremonials, Entertainment," presents a compelling historical analysis of the Bedhaya dance, a foundational Javanese art form. Utilizing a qualitative approach grounded in archival studies, the research meticulously traces the evolution of Bedhaya's function from its origins as *devadaҫi* offerings in the Hindu-Buddha era to its contemporary role as an inspiration for modern choreography. The abstract effectively highlights its significant shifts, including its instrumental use for royal legitimization during Mataram Islam and the colonial period, its later role in cultural preservation and tourism, and its current influence on contemporary dance. The paper's strength lies in its ability to chart this intricate journey, demonstrating how Bedhaya's meaning and presentation have continuously adapted in response to changing societal views and political landscapes. While the abstract provides a strong overview of the dance's functional transformations, it could benefit from greater elaboration on certain aspects, hinting at areas where the full paper needs to deliver depth. For instance, while it states that changes in function were accompanied by shifts in "how it is presented, the accompanying narrative, and the essence conveyed," the abstract itself does not offer specific examples or detailed explanations for these crucial elements across different periods. A more explicit engagement with a theoretical framework beyond a general historical approach could also strengthen the analysis, allowing the findings to resonate with broader discussions in performance studies or the anthropology of art. Additionally, while the focus on the palace and its evolution is clear, the abstract's use of "Java Society" as a broader context invites consideration of how Bedhaya's transformation might have been perceived or impacted communities beyond the royal court. Despite these minor points for potential expansion, the paper makes a valuable contribution to the understanding of Javanese cultural heritage and the dynamic nature of traditional art forms. Its systematic tracing of Bedhaya's functional metamorphosis offers significant insights into the interplay between art, power, and societal change in Java. This research is highly relevant for scholars of Javanese studies, performance history, and cultural anthropology, and could also inform cultural policy and preservation efforts. The article's ability to articulate how a singular art form can endure and adapt through centuries of profound societal shifts is commendable, making it a significant addition to the field.

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