108 The Aesthetic Taste Representation of Coastal Community Joko Wiyoso, Bintang Hanggoro Putra Department of Drama, Dance, and Music, Faculty of Languages and Arts, Universitas Negeri Semarang, Indonesia Submitted: December 31, 2019. Revised: March 9, 2020. Accepted: July 4, 2020 Abstract Aesthetic tastes of a person to an art form are determined by the knowledge and experience that comes from the culture of the community. In this regard, this study aims to determine the aes- thetic tastes of coastal communities as reflected in the collaborative packaging of the traditional art of Barong Ngesti Wargo Budoyo. The method used was a qualitative research method with data collection techniques, observation, interviews and documentation, then the data were ana- lyzed based on interactive data analysis which the flow were data reduction, data presentation, drawing conclusions and verification. The results showed that the collaborative packaging of the traditional art of Barong Ngesti Wargo Budoyo received tremendous appreciation from coastal communities, it was shown that every performance of this art was always full of audiences of all ages. The audience in the show as if there is no distance, the audience can also interact with players. The phenomenon that occurs in collaborative performances of traditional arts, indicates that the collaborative packaging of traditional arts represents the packaging of shows that suits the aesthetic tastes of coastal communities. Community tastes based on their characteristics can be categorized into popular taste. Keywords: Collaborative Packaging; Aesthetic Tastes; Coastal Communities How to Cite: Wiyoso, J., & Putra, B. H. (2020). The Aesthetic Taste Representation of Coastal Community. Harmonia: Journal of Arts Research And Education, 20(1), 108-116. Harmonia: Journal of Arts Research and Education 20 (1) (2020), 108-116 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.17426 a large mask as an embodiment or depicts four-legged animals, in Bali known as Ba- rong Ket, Barong Celeng and Barong Landung (Soedarsono, 2002) Barongan, in Blora, is the mask used is in the form of a tiger, this is related to the Blora people’s belief that the spirit of the tiger is as the most powerful spirit in maintaining safety (Sla- met, 2003). Therefore the movement also mimics the movement of the tiger. While the tiger dance movement that was deve- loped, contains a special meaning, specifi- cally representing and describing the life of Blora Regency agricultural community in Indonesia (Budy, 2017). INTRODUCTION The area of Weleri, Kendal Regen- cy, precisely in Penyangkringan area has a potential traditional art, it is Barong (Ba- rongan), namely Barong Art Group ”Nges- ti Wargo Budoyo”. The existence of this art is quite widely known by the Weleri and surrounding communities. The indications are that each time the group performs, people flock to watch the performance. Community members from children to adults mingle with one another to watch this artistic attraction. Barongan is a group dance that uses Corresponding author: E-mail: jokowiyoso1962@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 109 In general, Barongan is in the form of group dances, which mimics the might of a giant lion. The role of Singo Barong in the totality in the presentation is a very domi- nant figure, in addition there are several inseparable figures, namely: Bujangganong, Pujonggo Anom Joko Lodro, Gendruwo Pasu- kan Berkuda, reog Noyontoko Untup (Andri, 2017). Barongan in barongan art is a tool that is made to resemble Singo Barong or a big lion as a ruler of a haunted forest and very fierce. The Singobarong character in the barongan story is also called Gembong Amijoyo, which means a large tiger in po- wer. Barong art in the Weleri Penyang- kringan area, turns out to be different from the art barongan illustrations mentioned above. Barong art in Weleri is unique in the format of the show. This uniqueness occurs as a result of the Barong art perfor- mance material that collaborates on how many traditional arts in one show. Tra- ditional arts that are packaged into one performance include Barongan, Buroq, Da- wangan, Jaran Kepang, Balinese Dances, and Balinese Barong. The presence of an art presentation package, of course, cannot be separated from the role of the community as its sup- porters. Therefore, collaborative packa- ging as happened in the Singo Barong Ngesti Wargo Budoyo Art group, can be received or get a positive response from the community certainly cannot be separa- ted from the tastes of the community itself. Collaborative packaging offered will be accepted and supported if the packaging is suitable or meets the wishes of the com- munity as recipients. As mentioned at the beginning, the presence of this art which form of collaborative packaging has recei- ved a positive response from the north co- ast communities of Java, especially in the Kendal region. The community was very enthusiastic to watch each time the group performed. Previous studies related to Barongan Art have been carried out, such as Andri (2017), the results reported that the exis- tence of Barongan art in Pati experienced a shift in function towards mere enter- tainment. Septiyan (2018), the results re- ported that the form of Barongan Samin Edan was a typical dance of Blora which mimicked the movements of animals na- mely tigers. Movement in Barongan Samin Edan has a special meaning; specifically representing and illustrating the life of the farming community in Blora, Indonesia. Dewi (2016), the results report that there has been a change in the function of the Barong dance, which initially had more religious value but after being commodi- fied changed functions to commercial va- lues. Karyono (2013), reported that the Ba- rongan children’s performance model can be used as teaching material for Barongan children’s learning in schools or as a form of Barongan learning model in sanggar or in Barongan groups. Some of the previous studies with the theme of barongan art above, their re- levance to the research carried out are both related to barongan arts, the difference is the focus of their studies. Research con- ducted by previous researchers is more focused on the form of performance and material changes, while the research con- ducted examines the fun of the barongan based on the perspective of the aesthetic tastes of those supporting the arts. Furthermore, previous research on aesthetic tastes was done by Sitowa- ti (2012), the results reported that people who have classical music tastes as both ap- preciators and those who study them are citizens who belong to the upper classes in social strata. Purhonen (2017), the results report that there is a connection or relevan- ce between culinary tastes, musical tastes and political attitudes in Finland. The research above, its relevance to the research conducted is the same topic about aesthetic tastes, the difference is the focus of the study. The research conducted by Sitowati focuses on the case of the classi- cal music community in Yogyakarta, then Purhonen’s research focuses on the rela- tionship between culinary tastes and mu- sic tastes and political attitudes. While this research is focused on the aesthetic tastes Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116110 of the north coast communities of Central Java as a supporter of a performance at the Singo Barong Ngesti Wargo Budoyo Art Group in Weleri, Kendal Regency, Central Java. Even though there have been several previous studies with the same topic, this research is still feasible, because this rese- arch problem has never been investigated before. Of course this study is complemen- tary to existing research specifically about people’s aesthetic tastes. It is hoped that the results of this research will contribute to the study of special arts from the perspecti- ve of the aesthetic tastes of the community. Related to this, the focus of this research is how the form of collaborative performan- ce packaging and how the aesthetic tastes of coastal communities represented in the packaging of the show. Literally the word taste is one of the meanings of passion. While the word aest- hetic has the meaning of something related to the beauty of art and nature. Based on the literal meaning of aesthetic taste can be interpreted as a favorite about beauty, both beauty that comes from nature and beauty arising from the work of art. Based on the literal meaning of aesthetic taste can be interpreted as a favorite about beauty, both beauty that comes from nature and beauty arising from the work of art. Beauty is one of the needs of human life which is abstract, beauty cannot be touched with hands nor can be tasted with the tongue, beauty can only be felt by the senses. Humans sometimes are willing to sacrifice both material and time, in order to meet the need of beauty. All humans basically have the desire to enjoy beauty wherever and whenever they are. Enjo- ying beauty can reduce stressful thoughts, provide entertainment, and make a yout- hful appearance, because that activity can affect emotions and the human brain as an organ center that can affect the work of ot- her organs (Pujiati, 2017). People have different taste of beauty, both natural beauty and beauty of art. This is in line with the opinion of Hadiyatmo (2017) which explains that art tastes lead to one’s temperament, both artists and con- noisseurs of art. This temperament is of course not determined by education and knowledge (which can determine the un- derstanding of the flow of art), but by life experience and innate talent. Then Raditya (2013) argues that aesthetically based on people’s tastes, while people’s tastes are based on cultural patterns that are built. Kant (2000) argues that more per- sonal tastes are the basis of a person to make decisions about beauty, therefore his judgment is more subjective. So that the assessment of beauty based on subjective tastes is more universal, Kant as quoted by Suryajaya (2016) divides the decision of beauty into four aspects, namely aspects of quantity, quality, relations and modality. The four aspects of the beauty decision can be summarized as follows. Decision of taste is the ability to give decisions without influence and non-con- ceptual about an object that inevitably pro- duces decisions universally and inherently contains a goal, but is evaluated without regard to these goals (Suryajaya, 2016). According to Home, quoted by Suryajaya (2016) tastes are composed of two stages, namely the perception and af- fection stages. The perception stage is re- lated to the absorption of the quality of a work of art, while the affection stage is re- lated to the feeling of goodness or badness of a work of art. Furthermore Leibniz in Suryajaya (2016) states that tastes are per- ceptions of disaggregated ideas. Taste according to Bourdieu as quo- ted by Haryatmoko (2003) is not neutral and natural, but is determined and orga- nized by the position of social class in so- ciety. Taste as a cultural activity cannot be separated from the systems of typical representation of a social group, from a position in society, and from the desire to place themselves on an authority. One way a person distinguishes himself from social classes outside himself is through three structures of consumption, namely food, culture and appearance. Taste is a form of cultural consumption structure. Further- more Bourdieu in Sitowati (2010) shows Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 111 social patterns in the forms of tastes asso- ciated with basic social divisions such as social class, gender, rural and urban, and between higher education and lower edu- cation. Taste is used to indicate differences in the level of social class of the commu- nity. Each social class has their own tastes and struggles in the community (field) to determine and enhance their class in social life. Bourdieu divides the class of tas- tes into high and low tastes. Classes with ‘high’ tastes are called legitimate tastes, or aristocratic tastes. While those who have low taste are called popular tastes). Legitimate or aristocratic tastes are tastes that are formed or developed through art subjects in schools or educational institu- tions. It can also be said that through an education it has formaly understood about a complete art concept include the ins and outs. Therefore these legitimate or aristo- cratic tastes are tastes that have been habi- tualized (Pramudya, 2012). This legitimate taste is actually a ‘pure’ perception which practically con- firms objective and natural conditions. Na- tural objects or objective situations are no longer seen and perceived naturally, but aesthetically. A moment when a natural object becomes an object of art (aesthetic) is a moment that prefers form (perspective and form) over function (Pramudya, 2012). Low taste or common taste (popu- lar taste), usually develops ‘naturally’ due to contact with daily life. It could also be said that this taste is a continuity between art and life. Therefore, reading and under- standing based on the tastes of ordinary people are always associated with the con- text of their daily lives. So the beauty of an art is not seen as subliming the art itself as intended by Kant, but as long as it is con- nected with the life experienced. Bourdieu said, ordinary tastes always prioritize fun- ction over perspective or form.“Everything takes place as if the “popular aesthetic” were based on affirmation of continuity between art and life, which imply the subordination of form to function,.(Bourdieu, 1979) METHOD The method used in this study is a qualitative research method, which is a method that presents the results of rese- arch in the form of narration or words. Re- search data obtained through three techni- ques namely observation, interviews and documentation. Observations were made on the performance of the show to deter- mine the audience’s response and the ent- husiasm of the public to watch the show. Interviews were conducted with commu- nity members as spectators of the show to find out the reason they came to present the show, while documentation was carried out to complete the data obtained through observation and interviews. Furthermore, data analysis refers to the analysis of in- teractive model data with data reduction paths, data presentation and conclusions as well as data verification. RESULTS AND DISCUSSION Collaborative Packaging “Barongan Art” The packaging of traditional art “Barongan Art” of Singo Barong Ngesti Wargo Budaya group, Penyangkringan Village, Weleri District Kendal Regency, in the form of collaboration or combining of several different arts. Furthermore, this collaborative packaging is presented in one show that divides into some stages. The first is the Singo Barong attraction, in this attraction featuring three barongs consisting of black barong, yellow barong and small barong. The second is Dawan- gan, showing the attractions of two giant dolls that are moved by humans. The third is Buroq, showing the attraction of two dolls resembling a buroq animal and an elephant moved by people. The fourth is Jaran Kepang combined with a number of Balinese art icons. Broadly speaking, the order of presentation of the collaborative packaging of the Singo Barong Ngesti Bu- doyo group is as follows. Beginning with the Black Barongan comes out the stage, then do some attrac- tions by moving its body mimicking a lion Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116112 that occasionally open his mouth. After a while doing the attraction followed by the exit of the Yellow Barongan, then the two barongan doing the attraction together on the stage. Both of them walked around in circles in the arena of the performance. After a few moments of mutual attraction, the Yellow Barongan does the attraction of eating humans by swallowing one of the audiences through his mouth. After the attraction swallows humans, then the two barongan do attraction again in the are- na of the show. A few moments later the yellow barongan performed the attraction of giving birth, then the child/small ba- rongan also took part in the performance arena. So that in the arena there are three barongan that do attraction together. At the time of the three barongan attractions there is a kind of saweran from the audi- ence by putting money into the mouth ba- rongan. Barongan attractions give birth as a sign that the first performance will end. After a few moments the three barongan perform attractions together, the presen- tation of the first round ended marked by the entry of the three barongan out of the arena. The presentation of the first part is approximately 20 minutes. The next performance is dawangan, this performance is signed by the coming out of two big dolls similar to ondel-ondel moved by a person. The dawangan doll one has a scary face and the other has a handsome face. The attraction of these two dolls is by moving his body, such as jum- ping around, spinning around, shaking his hands. Sometimes spooky dolls chase after children who watch this show. After a few moments of attractions in the arena, the two dolls came out of the arena as a sign of the end of the show. In this second presentation is approximately 20 minutes. After Dawangan, it is continued with Buroq performance. This presentation is marked by the coming out of an animal which is like Buroq or a pretty winged hor- se and an elephant doll. Both doll are to- gether to do an attraction on the stage by walking aroud and moving their bodies. Sometimes, in this scene, there are children who want to ride Buroq. After the attracti- on, the dolls leave the stage, and the per- formance ends. This presentation is about 15 minutes. The last presentation is Jaran Kepang collaborated with Balinese Dance. This presentation was marked by the entry of a group of Jaran Kepang dancers to the per- formance arena, after a while doing attrac- tions with group dance, entered a dancer who wore a Balinese dance costume To- peng Tua handed a whip to one of the ja- ran kepang dancers then left the stage. Then entered two female dancers in the Bali Cendrawasih dance costume demonstra- ting the Balinese dance, after acting for a while the two dancers exited the stage. Next came two dancers in Balinese dance costumes, the type of Leyak or Rangda, to the performance arena, teasing the dancers who still pose on stage. After a while in ac- tion the two dancers exited the stage. Furt- hermore, the sitting Jaran Kepang dancers continue their attraction by dancing toget- her till end. After the Jaran Kepang perfor- mance was completed, two female dan- cers appeared in Balinese dance costumes resembling Condong Dance performing attractions imitating Balinese dance mo- vements followed by jaran kepang dancer who brought a whip, after a few moments in action the two dancers dressed in Bali- nese dance came out onstage. Next came three Balinese dance exhibits of 2 Rangde or Leyak and 1 Barong Ket to the perfor- mance arena performing attractions like a Balinese Barong dance accompanied by a dancer of Jaran Kepang carrying a whip. Af- ter some attractions, the Barong Bali per- formers come out the stage and continued with Jaran Kepang Dance till the end stage of the performance. This collaborative packaging is pre- sented or staged in an open arena, there is no special stage as a performance arena, the arena or venue is held in a field, perfor- mers and the audience as if without limits. Or in other words the show was held in a crowd of spectators. The audience wat- ched the performance forming a formati- on around the arena of the performance, Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 113 so that the audience with the performer merged. The audience watched this show so relaxed and informal, it was seen from their free position, they are standing, sit- ting, the children running and chasing the performers, people gave Saweran, etc. The audience really enjoyed the show, it appeared from the look on their faces that looked cheerful and sometimes also laughed when the attraction was funny. Spectators come to watch voluntarily and are free of charge. The collaborative packaging pre- sented by the Barong Ngesti Wargo Bu- doyo art group appears to be based on the desire to capture the audience or pursue purely entertainment aspects. This kind of phenomenon also occurs in Subang, as reported by Setiawan (2013) that the colla- boration of performing arts that takes pla- ce in Subang tends to place more empha- sis on entertainment aspects. Or in other words, the main purpose of collaborative performance is solely to get audiences. The phenomenon of collaborative performance that is mainly focus on entertainment as- pect, according to Maquet in Soedarsono (1999) is categorized as art of acculturation. Representation of Aesthetic Tastes of the Communities Based on the performance material presented, this group took the initiative to integrate several traditional arts into one performance package. This effort can be said to be a creative and innovative in or- der to keep traditional art in demand by the public. It seems that the creation of the Singo Barong Ngesti Wargo Budoyo Art group is not in vain, it can be said that be- cause the collaborative packaging they of- fer, turns out to get appreciation and good reception from the community. Evident- ly this group is often asked to perform in Weleri and surrounding areas in various activities, such as a celebration, celebrating holidays, celebrations and other activities and always filled with spectators. The positive response of the public to the packaging of this art can be seen from the enthusiasm of people of all ages co- ming to see this art performance on stage. The presence of community members in a group watching a performance, is an indi- cation that the show material offered is in line with the tastes of the community whe- re the performance was held. It was said so because people voluntarily came to see the show, which he also knew, so one of the motivations that moved them to come was the matching of people’s tastes with the show material. Based on the above analysis it can be said that the collaborative packaging displayed by the Singo Barong Ngesti Wargo Budoyo Art group represents the tastes of the community where the packa- ging is displayed. This arts group has a range of performances in the north coast region of Central Java, especially in Kendal and Batang regencies around the north co- ast of Java (pantura). Therefore, it can also be said that the people who support the collaborative offerings of the Singo Barong Wargo Budoyo Art group are part of the coastal communities, especially the north coast of Central Java. Thus the collabora- tive packaging in the Singo Barong Nges- ti Wargo Budoyo Arts group represents a performance package that meets the aest- hetic tastes of the coastal community. Referring to the theory about aest- hetic tastes by Bourdieu, it is stated that people’s aesthetic tastes can be divided into legitimate tastes, and popular tastes. For classes that have aesthetic tastes legiti- mate taste, appreciate an artwork prioriti- zing perspective and form and put aside in terms of function, while popular aesthetic tastes in appreciating an artwork prioritize function rather than perspective and form. Based on this theory, the tastes of coastal communities supporting the collaborative packaging of Singo Barong Ngesti Wargo Budoyo Art can be categorized as aesthetic tastes in the popular taste category. Cate- gorized as such because people who come to watch Singo Barong Ngesti Budoyo per- forming arts, are citizens who need fresh entertainment and can immediately enjoy without having to have special provisi- ons to enjoy their artistic performance. Or Harmonia: Journal of Arts Research and Education 20 (1) (2020): 108-116114 in other words, they prioritize their func- tions more than the form of their presen- tation. They can be directly involved with the show, can give saweran (some money), can take a Figure 1 together or take a selfie with the presenter during the show, their children can ride one of the Buroq dolls displayed, they merge with the show. This shows or indicates that the public came to watch not because of the consideration of the form or quality of the packaging of the show, but more concerned with the func- tional aspects for him. The interaction of the audience during the performance can be seen in the following Figure 1. Figure 1. A child rode a Buroq doll. The Figure 1 shows that the audience can interact directly with the performers during the show by raising their child on one of the Buroq dolls, they also took a photo via cellphones. Figure 2. Audiences take Figure 1s together with Dawangan Dolls The Figure 2 shows that the audience interacts with the players during the per- formance by asking for a photo together with the performers. Figure 3. The audience waving money to give saweran Figure 3 shows that the viewers real- ly enjoyed the show when they teased one of Dawangan doll to give a saw, their faces were very happy to interact with the per- formers. Figure 4. The audiences put saweran into Dawangan’s clothes Likewise Figure 4 shows the audi- ence was so happy to be able to nyawer (give some money) by putting money in Dawangan’s clothes. The phenomenon that occurs in Sin- go Barong Ngesti Wargo Budoyo art per- formance above also reinforces the argu- ment about the aesthetic tastes of coastal communities supporting the arts into the popular taste category. As Bourdieu said that aesthetic tastes in the popular taste category develop naturally and intersect with life so that in appreciating art, it is more the function rather than the form. Bourdieu said (1979), “Everything takes place as if the “popular aesthetic” were based on affirmation of continuity between art and life, which imply the subordination of form to function,…’ Based on the show events il- Joko Wiyoso, Bintang Hanggoro Putra, The Aesthetic Taste Representation of Coastal Com- 115 lustrated above, showing that the audien- ce emphasizes the function rather than the form of the presentation, they do not care about the packaging of the show, the main thing is that they can instantly enjoy the performance of the show even involved in the show. CONCLUSION The show material, which was packa- ged in a collaboration of several traditional Barong, Dawangan, Buroq, Jaran Kepang and some Balinese art icons, was the choi- ce taken by the Singo Barong Ngesti War- go Budoyo Art Group. This package is presented in one show which is divided into four parts or rounds. It starts with Barongan attraction, then Dawangan, con- tinued by Buroq and ends with Jaran Ke- pang combined with several Balinese art icons such as Barong Ket, Rangde, Pendet Dance, Old Mask, Cedrawasih Dance. The packaging offered turned out to get a good appreciation from the community, the in- dications that this group is often asked to appear in the community in various activi- ties, and always crowded with people who want to watch the show. Willingness of the community to voluntarily watch a performance, as an indication that the material displayed is in accordance with the wishes of the com- munity, or in other words according to the tastes of the community in terms of perfor- ming arts. 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