144 The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context Malarsih Malarsih, Usrek Tani Utina, Moh Hasan Bisri Universitas Negeri Semarang, Indonesia Submitted: February 13, 2020. Revised: August 9, 2020. Accepted: November 24, 2020 Abstract This study aims at analyzing the non-aesthetic aspect of Mangkunagaran-style dance from the perspective of its social context. The method employed in the study is interpretative-descriptive qualitative. The approach used social culture to analyze the perspectives. The research was con- ducted in Pura Mangkunagaran, with the focus of research lies on the non-aesthetic aspect of Mangkunagaran-style dance taken from the perspective of its social context. Techniques for col- lecting data was an observation, interview, and documentation study. The data validity mainly used data triangulation. Results show that from the perspective of social context, the Mangku- nagaran-style dance is divided into four major social functions, i.e., the social order for integra- tion, the function of expression, the function of entertainment, and the function of Psychiatric, Aesthetic, and Economic. These for main social functions are taken part in the existence of Man- gkunagaran-style dance in Pura Mangkunagaran and wider communities. Keywords: Mangkunagaran-style dance; non-aesthetic aspect; social context How to Cite: Malarsih, M., Utina, U. T., & Bisri, M. H. (2020). The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study From The Perspective of Social Context. Harmonia: Journal of Arts Research And Education, 20(2), 144-152 Harmonia: Journal of Arts Research and Education 20 (2) (2020), 144-152 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i2.23410 the phenomena that happened in the pa- lace. Mangkunagaran-style dance, which is discussed in this study, as a Javanese dance, cannot be separated from the pala- ce of Surakarta, Yogyakarta and Mangku- nagaran itself. In its history, this type of Mangkunagaran-style dance emerged or was created from the Surakarta, Yogyakar- ta, and Mangkunagaran Palace. The three Keratons or palaces reflected the three po- wers who were initially originated from one Keraton power, namely Keraton Ma- taram. The Mataram Palace became Kar- tasura Palace, then became the Surakarta Palace. After becoming Surakarta Palace, power was divided into three, namely Kasunanan Surakarta, Yogyakarta, and Mangkunagaran or Surakarta, Yogyakar- INTRODUCTION Mangkunagaran-style dance is a form of Javanese dance. The Javanese dance itself is a unique world of art. The uniqueness of Javanese dance lies in many aspects, including the history behind the emergence of a dance. Different historical backgrounds give rise to different styles between one place to another. Many Java- nese people actually have a variety of dan- ce types, be it folk dance, populist dance, classical dance, or traditional dance, it has very specific features to its movement. The movement was originated from history of the place or palace. Palace dance is a dance emerged and choreographed based on the story of Corresponding author: E-mail: malarsih@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Malarsih Malarsih et al., The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study 145 ta, and Mangkunagaran palaces (Prabowo et al., 2007). The existence of dance in the palace will affect and relate to the royal people’s lives, and the society living around the neighborhood and larger communities. As a choreography set, a dance built based on a certain story or history felt by the cho- reographer, has typically two important aspects of being discussed and analyzed, namely the textual (aesthetic aspect) and contextual aspects (non-aesthetic aspect). While the first focuses on the dance mo- vements, including head, neck, dance, and leg movements, the latter focuses more on the relation between the dance and the social environment affected by the dance existence. The aesthetic aspect is also rela- ted closely to the understanding of physi- cal evaluation of the dance being observed (Jazuli, 2015). The non-aesthetic aspect related to the social context is related closely to the social functions of dance. Royce (2007) states that a functional dance study is re- lated to dances’ contribution in a commu- nity where it is continuously preserved. Shay (1971) studied the functions of dance and categorized it into six: dance is used to illustrate social order, dance is as ritu- al media, dance is used as entertainment or recreational activity, dance is used as psychiatric media, dance is used as an ae- sthetic activity, and the last is dance is used as an economic activity. In its relation to the culture, Kaeppler (1992) suggests that a thorough study of a dance should be seen from the cultural aspect of the dance being researched because a dance is a product of culture and creativity of the community. This research will tell the readers about the non-aesthetic aspect of Mang- kunagaran-style dance, especially from a social context. Ahimsa-Putra (2002) and Sukatja (2004) mention that dance’s con- textual aspect is related to a wider world. Wider here remains connected with as- pects of the text or aspects of the secula- rity, for example, the historical side of the dance creation, the socio-cultural environ- ment of its creator (choreographer), the psychological condition of its creator (cho- reographer), the socio-cultural condition of its people, the natural physical environ- ment of community, or the function or use of the dance in the community, especially in this context is Pura Mangkunagaran (The Mangkunagaran Palace). The state of the art of this paper lies in the idea of seeing Mangkunagaran-style dance from the non-aesthetic aspect, which is related closely with its social context in relation to Pura Mangkunagaran and the commu- nity. While other researchers had studied the aesthetic or historical aspects of Mang- kunagaran-style dance (Putri et al., 2015; Suharji, 2009), this study will focus more on the analysis of the non-aesthetic aspect of Mangkunagaran-style dance, especially from the perspective of social context. METHODS The method implemented in this study was interpretive-descriptive quali- tative research. While qualitative research consists of interpretative material practices to describe a phenomenon (Denzin & Lin- coln, 1998), and interpretative study aims to discover and understand the pheno- menon of the people involved in a certain community (Merriam, et al. 2002). The ap- proach used social culture to analyze the perspectives. The study was conducted in Pura Mangkunagaran Surakarta with re- search subjects comprising individuals as interviewees who know about the Mang- kunagaran-style dance history and its in- fluence on the wider community. The focus of the research was the non-aesthetic aspect of the dance compri- sing the social function of it. In collecting the data, researchers used observation, in- terview, and documentation study. The data validity technique emplo- yed in this research was triangulation to match and compare data resulting from observation, interview, and documentati- on study. Here, the most important aspect is the interviewees. Interviewees in this study are the ones having a background in knowing the reality of Mangkunagaran- Harmonia: Journal of Arts Research and Education 20 (2) (2020): 144-152146 style dance in Mangkunagaran commu- nity. The validity here attempts to cross- check the information of interviewees with the data of observation and documentati- on study. Thus, information from intervie- wees is key to the success of the study. RESULTS AND DISCUSSION After collecting and analyzing data regarding the use of Mangkunagaran-style dance from the social context perspective, four main social functions of the dance are derived. It is the function of social order for integration, the function of expressi- on, the function of entertainment, and the functions of psychiatric, aesthetic, and eco- nomic activities. In analyzing the Mang- kunagaran-style dance social function, the data are seen from how a society use the Mangkunagaran-style dance in many community activities. In addition to the process of data analysis, the use of dance in many community activities is seen from the custom or cultural system in the Mang- kunagaran society and how this dance has its role in preserving the culture. The Function of Social Order for Integra- tion The function of social order for integ- ration here concerns how dance is used as a means to achieve goals set by Mangku- nagaran as a palace or here we call Pura Mangkunagaran, which is to unite the in- tention, creativity, and taste which must be carried out harmoniously with the sense of togetherness. In this context, togetherness is another word for the form of integration among many elements towards one goal, namely the sense of shared ownership of Kamangkunagaranan. Integration in the context of toget- herness in custom governance concerns the complexity of ideas, values, norms, and regulations, which, according to Ko- entjaraningrat (1984), is a form of culture. Custom governance becomes a guideline or reference in the attitude and action ta- ken by all citizens living in Mangkunaga- ran communities to achieve a shared goal. As a result, integration or togetherness to achieve the aimed shared goal can really be achieved. The complexity of ideas, values, norms, and regulations will act as gui- dance to behave and take action for the Mangkunagaran communities in the form of the social system. The social system will always be linked to the patterned actions of humans. This social system consists of human activities that interact and relate to one another at any time. Related to the existence of the Mang- kunagaran-style dance in the custom order or custom governance in the community of Mangkunagaran, it is related to how the Mangkunagaran-style dance functions in that particular custom order. This Mang- kunagaran- style dance is a work of art. Ac- cording to Budhisantoso (1994), as a work of art, the Mangkunagaran-style dance will not be separated from the statements and thought of the artists creating the artwork, so it can stimulate the sensitivity of com- munity statements and cause emotional responses that can foster a sense of toget- herness for the dance audiences, suppor- ters, and admirers. The social order here can be seen on how custom governance is related to the customary arrangements to achieve integration or togetherness in the community’s shared goals. One of the manifestations of toget- herness in the context of dance performan- ce is to enjoy the performance of dance together. In its relation to the example of the dance performance in Pura Mangku- nagaran is Golek Montro Dance which is used by Pura Mangkunagaran to entertain their guests. This dance tells the story of a growing teenage girl who is about to en- ter adulthood. Therefore, the dance move- ment is reflecting the action of a girl put- ting on some makeup on her face. There is also a certain nuance of excitement that de- picts the girl’s age who reaches adulthood and tends to be cheerful and happy to look charming. This dance by Pura Mangkuna- garan is relatively often being presented to welcome guests at Pura Mangkunagaran as a tribute to humbly honoring the guests Malarsih Malarsih et al., The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study 147 as well as being used to show the beautiful art of a dance which is highly valued and preserved by Mangkunagaran community as one of their cultural heritage. The sense of togetherness is not only reflected in the audience but also from the dance supporters. The term suppor- ter in this context is defined as all peop- le involved in the dance performance for the dance’s success. There are the dancers themselves, costume designers, music/ gamelan players, event organizers, and all other parties supporting the event of dan- ce performance. Besides, the venue where the dance is also performed closely related to the existence of Mangkunegaran-style dance The building of Pura Mangkunaga- ran, especially the building’s architectural design, also supports the dance perfor- mance. It can make the dance feels alive. This, however, is the special rights for the descendants of Pura Mangkunagaran to decide which dance can be performed ar can only be performed at Pura Mang- kunagaran. In other words, each different Mangkunagaran-style dance has its own purpose which then causing the differen- ces in value and resulted in the rule atta- ching to where and when each dance can be performed. Therefore, outside the dan- ce, supporters are facilities and stakehol- ders of Pura Mangkunagaran, which also have their own roles affecting the social or- der function of the Mangkunagaran-style dance. All parties are then integrated and together are being responsible in preser- ving Mangkunagaran-style dance throug- hout the era. Furthermore, from the perspecti- ve of the organizational structure in Pura Mangkunagaran, there are various kinds of structures and sub-structures that all directly or indirectly contribute to the to- getherness in supporting the Mangkuna- garan-style dance culture as an art that is respected and highly valued by the com- munities. The Mangkunagaran communi- ty has Pura Mangkunagaran organizatio- nal structure which is grouped into four different sections. The four are the Secre- tariat, the Mandrapura Regency, the Reksa Budaya Office, and the Satria Kawedanan Office. Each section integratedly supports each other to make sure that Mangkuna- garan culture has a shared goal for preser- ving Mangkunagaran existence. For example, the secretariat is led by a coordinator and assisted by the heads of the technical/ non-technical planning, the head of finance, the head of human resour- ce division, and the head of public rela- tions/ protocol. The secretariat, in its daily duties, is responsible for reporting all dai- ly activities to Sri Paduka Mangkoenagoro IX. The main duty of the secretariate is to create an official letter, save the archives and manage all the official documents of Sri Paduka Mangkoenagoro IX, besides also to prepare and record all decree archi- ves. The coordinator acts as a liaison bet- ween Sri Paduka Mangkoenagoro IX with all parties. Even though the secretariat duties are described as an official task and do not seem related directly to the Mangkunaga- ran-style dance, the secretariat is part of a bigger Mangkunagaran community also has its own role in preserving the Mangku- nagaran-style dance. Therefore, the secre- tariat also belongs to the supporting aspect of dance preservation. As a communicator between the King and all parties in Pura Mangkunagaran, the stake holders inside the secretariat also employs the sense of belonging when they have to deal with Mangkunagaran-style dance; for example, by giving the stage for Mangkunagaran- style dance to be performed in welcoming the King’s guests instead of using other dances. Therefore, each Mangkunagaran style dance performance’s success is al- ways fully supported by participation of all stakeholders, which has successfully built a sense of togetherness for the sake of Mangkunagaran-style dance to be known and recognized by larger community out- side Pura Mangkunagaran. The Function of Expressions The existence of Mangkunagaran- style dance as an art that exists and held Harmonia: Journal of Arts Research and Education 20 (2) (2020): 144-152148 highly by the Mangkunagaran community is also used as a medium for expression by the community. Expressions can be related to secular or wordly purposes but can also be related to religious purposes. For the Mangkunagaran-style dance, the expressi- on is more cultural. As mentioned by Kim and Lausberg (2019), different dance styles have been developed in different cultures to provide emotional as well as aesthetic expressions. In other words, for Mang- kunagaran-style dance, the expressions inserted in its practice of arts are more to the cultural expressions or worldly expres- sions in nature. Gambyong, Golek, Retna Pramudya, Mandra Rini, Mandra Retna, and Menak Koncar dances are examples of worldly dance types. Meanwhile, Bedaya and Srimpi dances are an example of sac- red dances in Pura Mangkunagaran which contains expressions of religion. Whether people are aware or not, dancing is related to the sharing expres- sions, even though the people are actively performed as a dancer or passively enjo- yed the dance as the audience. It is no mat- ter whether the dance itself is a worldly or religious type one; both the dancers and audiences are using the dance as their me- dium of expression. Even during the re- hearsal, the act of dancers trying to live in the dance of the audience’s attempt in un- derstanding the dance is the manifestation of expression itself. Expression of art in the form of dance does play an important role since the first establishment of Mangkunagaran govern- ment until now. The nuances of conflict or war and every single event and incident in the history of Pura Mangkunagaran are drawn beautifully and reflected nicely in the dance so it can be felt and learned by the dancers and audiences. The atmosphe- re of the situation is all built and nicely composed in the dance movements as it is expressed by the dancers. Specifically, for Mangkunagaran-style dance, the dance is used as a medium to express and reflect the incidents that occurred during the war and conflicts in the old era of Mangkuna- garan when friction happened between Mangkunagaran and Kasunanan Surakar- ta (The Palace of Surakarta). In addition, it is not only the conflict and the feeling of sadness and restlessness which are expres- sed through the dance, but also the hope of the society reflected in the dance. The Function of Entertainment Mangkunagaran-style dance of Pura Mangkunagaran is also used for entertain- ment and recreation. This can be seen from how the entire community, especially the Mangkunagaran community living in and around Pura Mangkunagaran, also sup- porters and audiences always welcome every dance performance in Pura Mangku- nagaran in excitement and happiness. Shinozaki, et al. (2006) said that en- tertainment could be classified into two categories, a real-time and non-real-time type. The real-time type is when the audi- ences see and enjoy the performance face to face. All audiences of Mangkunagaran and outside community seem to enjoy the dance rehearsal and performance in Pura Mangkunagaran. They appreciate the per- formance even though they realize that what they see is actually the dance training only and not the actual performance. In seeing the dancers practice, the audiences seemed to like, appreciate, and enjoy the dance. Many visitors come to Pura Mangku- nagaran each day to see how the building looks and how history has brought all cul- tures together. With the dances performed to welcome the visitors, the feeling of hap- piness and joy is felt by the visitors. They are entertained by seeing the dances. Even for formal occasions, the guests feel wel- comed and relax when enjoying the dance performance usually performed before the formal event started. Mangkunagaran-sty- le dance becomes a medium that can bring a very special atmosphere in the heart of the visitors. The visitors can consciously or sub- consciously felt the feeling of being enter- tained. When visitors have a chance to see the performance, their gestures will show how the dances have been successfully en- Malarsih Malarsih et al., The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study 149 tertained them. The gestures are clapping hands, nodding, smiling, even taking or recording pictures. The Functions of Psychiatric, Aesthetic, and Economic The Mangkunagaran-style dance role in Pura Mangkunagaran can be seen from previous explanations (number 1 until 3 in the Findings and Discussion section). Even so, there are still a few more functions of the dance, i.e., the function of the psychia- tric, aesthetic, and economical. Mangku- nagaran is an institution that maintains and develops institutional life, which is expected to be useful for the resilience and development of past cultures for present and future life. The economic activities are rela- ted closely to the tourism activities in and around Pura Mangkunagaran. In fact, tourism activity by Mangkunaga- ran has become the main concern of Pura Mangkunagaran’s management. The rea- son is that this tourism activity when it is viewed from the economic aspect is far more profitable when compared to the ot- her sectors. In other words, the existence of Mangkunagaran-style dance is related to many factors. The dance still survives and touches the economic aspects that cannot be separated from the world of tourism. The survival of Mangkunagaran- style dance is due to many factors related to the functions, as stated earlier. Besides economic function, this dance is also used for many parties’ psychiatric and aesthetic activities inside and outside the Mangku- nagaran community. Even parties outside the Mangkunagaran community usually have a big hand in terms of Mangkunaga- ran-style dance preservation. According to Jazuli (2008; 1993), when people outside the community are inseparable from the wider community’s appreciation and cre- ation activities. The ability of Mangkunagaran party to save the existence of the Mangkunaga- ran style dance is limited to the continui- ty of the dance through the learning and training process. However, it is the people outside Mangkunagaran who give appre- ciation by enjoying the performance in re- lation to the existence of this dance. Thus, there is reciprocity from both parties, na- mely the Mangkunagaran itself as the ow- ner of the arts and the outside community as supporters. Structurally, the Mangkunagaran- style dance’s survival to this day because it has been preserved mainly through the Langen Praja sub-organization under the Reksa Budaya organization. Reksa Buda- ya is in charge with Mangkunagaran-style dance. Reksa Budaya is led by an advisor, assisted by a representative, expert staff, treasurer, and secretary. In carrying out their daily duties, Reksa Budaya is directly responsible for Sri Paduka Mangkoenago- ro IX. The main task of the Reksa Budaya Office is to make sure that Pura Mangku- agaran can become the center of Mangku- nagaran culture development. In carrying out their daily tasks, they are assisted by Reksa Pustaka, Langen Praja, and Bara- wiyata. In detail, the tasks of each section are first, the Reksa Pustaka. The Reksa Pustaka’s main task is to explore, develop, inventory, translate, maintain the library books, and organize the archive of letters. Secondly, to organize and manage the sub- part of Reksa Budaya, which is the dance community inside Pura Mangkunagaran, namely Langen Praja. The main task of Langen Praja is to carry out dance rehear- sal, dance performance, gamelan perfor- mance, and be responsible for the regene- ration of dancers and other cultural actors. People, in general, see that the Lan- gen Praja is inseparable from the existence of Mangkunagaran-style dance. Therefore, Langen Praja carries out all of these tasks as well as possible since the Mangkunaga- ran-style dance is the palace’s icon. Furt- hermore, another section related to the existence of Mangkunagaran-style dance is Barawiyata. Barawiyata must maintain and strive for educational institutions’ life, both general education and special edu- cation, related to arts and culture in Pura Mangkunagaran. Therefore, both sections’ Harmonia: Journal of Arts Research and Education 20 (2) (2020): 144-152150 tasks are closely related and inseparab- le since the implementation of education and learning in the context of inheritance and regeneration for the continuation of the Mangkunagaran-style dance is indeed possible to be successful if it is carried out together and complement each other. Malarsih (2005) mentions that preserving Mangkunagaran-style dance was made by Pura Mangkunagaran by making sure that each section is responsible for their own duties in relation to Mangkunagaran-style dance, i.e., dance rehearsal by Langen Pra- ja and performance documentation by the secretariat and Reksa Pustaka. Another section that is responsible with the existence of Mangkunagaran-sty- le dance is Kawedanan Satria section. In its daily tasks, the Kawedanan Satria section is led by an advisor who is assisted by a deputy pengageng, treasurer, and secre- tary. In carrying the tasks, this section is responsible directly to Sri Paduka Mang- koenagoro IX. The task of Satria Kaweda- nan Office is exploring and maintain the procedures of dress code, ceremony, and custom of Mangkunagaran stakeholders in general and Pura Mangkunagaran official member and family in particular. Therefo- re, all sections are interrelated and can not be separated in carrying out the tasks and duties, especially when all of these sections are directly responsible with the continua- tion of Mangkunagaran-style dance, the pride of Pura Mangkunagaran. The entire description of each section’s various functions in suppor- ting Mangkunagaran-style dance in Pura Mangkunagaran can be seen from Radclif- fe-Brown functionalism theory as used by Hinkle, et al. (1981) about analyzing social life and organic life. Basically, the theory of functionalism from Radcliffe-Brown desc- ribes the equivalence between social and organic life. The main difference between social and organic life, as stated by Hinkle, et al. is that in organic life, there is the pos- sibility of observing the organic structure to some degree regardless of its function. Whereas in human society, social structure as a whole can only be observed from the perspective of its function. This condition can be used precisely to see the existence of the Mangkunagaran-style dance in Mang- kunagaran in terms of its function, which is one of its principal functions is to show the existence of Mangkunagaran. In a firmer understanding, it can be understood that even though the life of social structure and organic life in many respects has many elements in common, there are still differences when looking at the functional side of a system that exists in the life of social structure and organic life. Strictly speaking, social structure can always be seen and understood by refer- ring to the real interaction process where individuals are involved and form social relationships. Therefore, the concept of function is actually related to the cont- ribution made by a partial activity to the whole activity, which becomes the main part of the partial activity. If you look at the functions of Mang- kunagaran-style dance in the custom order of Pura Mangkunagaran, it proves that the Mangkunagaran-style dance has a real contribution. The real contribution here is a tangible contribution that can be seen to fulfill the need for an important condition for the existence of the whole society that must be fulfilled by social activity. The most important condition, according to Radcliffe-Brown, is the integration of all activities towards the desired goal. Related to the existence of the Mangkunagaran- style dance in the customary arrangement of Pura Mangkunagaran, all activities are carried out in the Pura Mangkunaga- ran are in a form of joint activity with the same purpose to maintain the existence of the Mangkunagaran-style dance that still exists which is seen from its functional side as a solid support for the existence of Mangkunagaran. CONCLUSION Every dance can be analyzed from its textual and contextual aspects. This study attempts to focus the analysis on the non- aesthetic or contextual aspect of the dan- Malarsih Malarsih et al., The Non-Aesthetic Aspect of Mangkunagaran-Style Dance: Study 151 ce from the perspective of social contexts. Using interviews, observation, and stu- dy documentation to collect the data, the study’s findings found out four important social use or social function of the dance for the Pura Mangkunagaran and wider com- munity involved. There are the functions of social order for integration which is related to how dance is used to unite the intention, and creativity in the sense of togetherness, function of expressions which is related to how Mangkunagaran-style dance used as a means to express cultural feelings of its supporters, function of entertainment which is related to how Mangkunagaran- style dance gives happiness to the audi- ence inside and outside Mangkunagaran community, and the function of psychiat- ric, aesthetic, and economical which dea- ls with how Mangkunagaran-style dance gives lives to its supporters and how the relations between each section in Pura Mangkunagaran matters. All four social functions are linked one to another and the cohesiveness makes Mangkunagaran-style dance an important part of preserving the culture of Pura Mangkunagaran. REFERENCES Budhisantoso. (1994). Kesenian dan Kebu- dayaan. Jurnal Seni Wiled, 2(1), 79-99. Denzin, N. K., & Lincoln, Y. S. (2005). 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