56 REVITALIZATION AND SOCIALIZATION OF DAENG DANCE IN PURBALINGGA, INDONESIA Dinar Anggraeni A Practitioner of the Art, Stay in Purbalingga, Indonesia E-mail: dinaranggraeni65@yahoo.com Received: April 22, 2015. Revised: May 5, 2015. Accepted: June 13, 2015 Abstract The purpose of the study is to know and depict the revitalization and socialization of Daeng dance in purbalingga, Indonesia. This study used a qualitative method. The relevant techniques of data collection to the method are observation, interview, and documentation. The data obtained are analyzedusing three ways; they are data reduction, data display, conclusion and verification. The results showed that revitalizing Daeng dance occurred in its earliest performances, by means of innovating the foregoing Daeng dance without leaving its characteristics. The revitalization was done toward the dance’s motion, accompaniment, makeup, wardrobe, stage, sounds, lighting, and floor patterns, as well as there is a change in its function; as the media of spreading Islam in the past to nowadays just being an entertainment. After the process of revitalization, Daeng dance is then socialized through two ways of deployment; they are formal and informal process- es. This dance’s socialization in this study occurs through direct performance and mass media. Keywords: Daeng Dance; Purbalingga; revitalization How to Cite: Anggraeni, D. (2015). Revitalization and Socialization of Daeng Dance in Purbalingga, Indonesia. Harmonia: Journal of Arts Research And Education, 15(1), 56-61. doi:http://dx.doi.org/10.15294/harmonia.v15i1.3755 HARMONIA : Journal of Arts Research and Education 15 (1) (2015), 56-61 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v15i1.3755 p-ISSN 1411-5115 e-ISSN 2355-3820 less demand from the audience toward the dance since it is very monotonous either from the aspects of its performance or its parts of motion (Hadi, 2005, p. 37). Simi- larly, in the area of Purbalingga, there is an art that is abandoned since it is considered outdated and unable to compete with the new cultures. However, some institutions are still going to make many efforts to lift it, like Dinbudparpora (Department of Culture, Tourism, and Sports) which play a major role in revitalizing the art that be- came locally extinct so as to be presented again with a new style and artistry that can provide the interest of the community. One of the revitalized dances is Da- eng dance. It is one of the traditional dan- ces that thrive in the Purbalingga. It is ex- periencing a process of revitalization in Senior High School 1Bobotsari. INTRODUCTION Each area has an art performance, whose condition looks advance or less. Ac- cording to Soedarsono (1998, p. 1), there are many things that cause the extinction of an art performance in an area. Someti- mes, changes that occur in politics and an inability to compete with other forms of performance are the causes of the extincti- on. Similarly, the community is going to be interested in things that are more popular than traditional art performances, so it will require a change in the community’s point of view. If there is a change in one part, it will affect other parts that ultimately affect the overall social system’s condition. A dan- ce will always face changes from time to time. Sometimes, it is under the reason of Dinar Anggraeni, Revitalization and Socialization of Daeng Dance in Purbalingga ... 57 A revitalization is an effort to return once the essential so as to undergo degra- dation. It is oriented not only on solving the sheer physical beauty, but also for co- ming with the improvement of its commu- nity as well as the introduction of the exis- ting cultures (Alfita, 2012). Some arts revitalization have been much done by some institutions who are paying attention to that issue. Some forms of revitalizing the art as revealed by Su- panggah (2008) include reconstruction, refunction, representation, reformation, reinterpretation, reorientation, and recre- ation. The arts of dance, whose presence surely cannot be separated from the com- munity supporters, comprise the danceso- fprimitive culture, traditional dances that developed in castles, the dances among rural communities, growing urban dances, and modern dances (Hadi, 2005, p. 13). The presence of dance forms will appear in the design of motion, the pattern of motion continuity, and the supporting elements of the appearance of the dance, as well as its compliance with the intention and purpo- se of the dance (Jazuli, 1994, p. 4). A motion is essential in a dance. It is a sign of life, the first and last human’s reaction towards life, the situations, and the activities of others. The feelings of dis- satisfaction, disappointment, love, fear, and hurt are always experienced through subtle changes of body movement. Living means moving and a motion is the raw ma- terial of dance (Murgiyanto, 1983, p. 20). There is a close relation between mu- sic and dance. Both are derived from the same source; that is the urge or rhythmic human instincts. Music is a pair of dance, as it is not a mere accompaniment, but it is an inseparable part of the dance (Murgiy- anto, 1983, p. 43). Indonesia is known with some forms of venue, such as the open field or arena, pendapa (an open veranda), and staging. There are various forms of staging, or of- ten referred to forms of performance. For example, the proscenium form in which the audience can only see from the front side only, the horseshoe shaped stage in which the audience can see from three sides, and the horseshoe form of pendapa (an open veranda) with its higher building than horseshoe shaped stage (Jazuli, 1994, p. 20). There are three types of makeup, na- mely corrective makeup, fantasy dressing, and character dressing. A corrective ma- keup is the makeup for the purpose of re- pairing parts of the face that is not perfect, like repairing the shape of eyebrows, the shape of nose, and lips. A fantasy dressing is the makeup as a result imagination. A character’s makeup is the makeup for the purpose of clarifying the character, or dan- ce characters (Pekerti, 2008, p. 36). Fashion is also very supportive in a dance. There is no need for a dance clothing to look glamorous and glitzy, but it should be able to provide unhampered motions of the dancers and also a great interest for the audience as well as it helps strengthen the expression of motion. In a traditional dan- ce, a dance clothing often reflects the iden- tity of an area that at once represents to the origin of the dance (Jazuli, 1994, p. 6). A sound system is a set of sound instruments that has the purpose to set up the music and dance accompaniment. The sound instruments will help to clarify the voice or sound of music accompaniment; thus,the dance performance becomes more alive (Pekerti, 2008, p. 39). A lighting is a set of lights on the sta- ge. It is not only for the purpose of lighting in a show, but also serves to strengthen an atmosphere of dance. The lighting setup is not only for a mere lighting, but also serves to create a dramatic effect and gives vitali- ty to a dance performance, either directly or indirectly (Jazuli, 1994, p. 25). A floor pattern or design is floor stripestraversed by a dancer or by the for- mation of a group of dancers. There are two sorts of line; straight and curved lines (Murgiyanto in Sedyawati, 1986, p. 106). The dances often have a function at each event in life, as revealed by Jazuli (1994, p. 43) that the functions of dance are for the purposes of ritual, entertainment, HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 56-6158 performance art, and education media. A socialization according to the ex- perts, such as Bruce J. Cohen, is the pro- cess which human beings learn how to live in the society, to gain the personality, and to establish the capacity to have functions, both as individuals and community mem- bers. According to David Gaslin, a socia- lization is one’s process of learning to ac- quire knowledge of values and norms, so that he may participate as a member of a community (Damanik, 2010, p. 79). Based on its type, the process of so- cialization that takes place within the com- munity can be distinguished into two. The first is a formal socialization that occurs through the authorized institutions under the provisions in the state, such as formal education in the school. The second is an informal socialization that takes place in the community or in groups of friends or best friends (Damanik, 2010, p. 83). METHOD This research examines about revita- lization and socialization of Daeng dance in Purbalingga; therefore, the appropriate research method for this kind of examina- tion is a qualitative method. As Bogdan Taylor (as quoted by Moleong 2007, p. 4) defined a qualitative method also the rese- arch procedure that generatesdescriptive data about the observed behaviours. This means that the issues that will be discussed in this study does not deal with a numeral, but rather the description of an overview of the results which contains a discussion of the problems examined. The problems discussed in this rese- arch aims to find out how the revitalization and socialization of Daeng dance in Purba- lingga. The data collection techniques are observation, interview, and documentati- on. The analysis of research data began with a data collection through the techni- ques of interview, observation, and docu- mentation. The collected data are further processed before it is ready to use. The data analysis continues to use words that are compiled into the text, otherwise cal- led descriptive data. The data analysis is divided into three stages; they are data reduction, data display, and conclusion. A source triangulation is used to get the data validity. RESULTS AND DISCUSSION The location of the research is in Pur- balingga Regency. It is one of the regencies in Central Java, in the area of Banyumas district. Purbalingga is a place of sociali- zation and development of Daeng dance, while its revitalization is in Senior High School 1 Bobotsari. This high school is a favourite school in Purbalingga. It is located in Bobotsari sub-district, precisely in the area of Maja- pura. Senior High School 1 Bobotsari is a state high school approximately located 11 km to the north of Purbalingga. The loca- tion is not so far from the main street. The entire land area is approximately 27,806 m2 consisting of main buildings and cour- tyard about 12,499 m2 and a front yard 15,357 m2. This school is a place to the onset of the process of revitalizing Daeng dance where the revitalization is occurring under the provision of Dinbudparpora (Depart- ment of Culture, Tourism, and Sports) to redevelop the dance who began to suffer extinction. The results and discussion of the re- search focused on the revitalization and socialization of Daeng dance in Purbaling- ga, which contain a brief history of Dance, dance, the revitalization process, the shape of the show after revitalization and socia- lization. Revitalization Process of Daeng Dance The revitalization took place on Oc- tober 13, 2013 toward the dance’s motion, accompaniment, makeup, wardrobe, sta- ging, sounds, lighting, and floor patterns. The revitalization process occurs by means of innovating the foregoingto- develop both in terms of motion, accom- paniment, staging, wardrobe, makeup, Dinar Anggraeni, Revitalization and Socialization of Daeng Dance in Purbalingga ... 59 lighting, sounds, and floor patterns. This development is intended to increase the acceptance toward Daeng dance. A Brief History of Daeng Dance Daeng dance is one of a variety of traditional arts and folk performance that live and thrive in Purbalingga. This dance was once performed by men as there were silat movements that became the characteristics of the dance. There are steps to do, like initially the dan- cers line up, then they pit one by one, two by two, until at the end of the show, there are attractions, such as playing a machete, consuming beling (glass), and playing a whip. This dance is usually performed by ten male dancers. Before the performance, there is usually a ritual from the leader of the arts group so as to have inner power in time of attractions when the dance is per- formed. The Daeng dance continually started to remove and had lack attention anymo- re, though it was not totally disappeared, but the audience was rare when there was a performance. The audience was only the people around. Soon, no more people in- vited the group to perform anymore. The dance is going to get the atten- tion of government through Dinbudparpo- ra (Department of Culture, Tourism, and Sports) by means of revitalizing the dance, innovating the form of dance performan- ces, and performing it in senior high school 1 Bobotsari on October 13, 2013. Form of Daeng Dance Performances The form of Daengdance perfor- mance to explain here is the form after re- vitalization. The forms of the show include motion, accompaniment, stage, fashion, makeup, lighting, sounds, and floor pat- tern which have all undergone innova- tions. Motion Motion is the most essential element in the dance. The revitalization in moti- on is the innovation toward the foregoing dance motions, but it is not leaving its cha- racteristics, such as silat movements. The innovated dance motions are slightly easier so as to be easy to follow, though there are no longer attractions in this dance since the dancers are all fema- le, but the characteristics of silat movement still exists. The development in dance mo- tions is aimed to make it look much more interesting and can be easily accepted by the public. Accompaniment The accompaniment of the dance used the music instruments of Islam since it was used as the media to spread Islam. The accompaniment used six tambourines, akendang (a small drum covered with leat- her at each end), and abedug (large drum suspended horizontally at the mosque). The dance is also accompanied by the song which the musicians sing. The song is sung at the beginning and the middle of the dance. It also adds the characteristics of the dance due to the strangeness of the song’s lyric so as to make the dance more interesting. Staging There is no specific place or the stage to perform the dance. It can be staged on the closed stage, open stage, in a field, or on the streets. Wardrobe A wardrobe is a proponent in the dance presentation, as a good makeup will make the dancers’ appearance look more attractive. The dancers use a corrective makeup that only thickens some parts of the face to make it look more beautiful. The hair is hung loosely and simply com- bed only. Clothing The dancers of Daeng dance wear along plain red sleeve shirt with gold studs in front of the chest and three-fourth red trousers with a silver lace on the tip of the pants. The dancers wear the accessories, like a golden colored irah-irahan adorned HARMONIA : Journal of Arts Research and Education 15 (1) (2015): 56-6160 made very interesting. It can be seen when the dancers form an upside-down triangle. Then, the dancers move and see others face to face. They move slanting, forming the V letter. They form a sequence of straight. It is done to make the dance not monotono- us at one spot only. Someone should direct the dancers when they move. Functions of Daeng Dance Initially, the function on Daeng dan- ce was one of the art media to spread Is- lam. This could be seenfromthe use of tam- bourine as the instrument that was used in the dance. This dance was also usually performed at religious events. But as time goes by, there has been a shift of function. After a revitalization, this dance is no lon- ger used as the media to spread Islam. It is only used as entertainment only. Socialization of Daeng Dance Daeng dance is socialized through two sets of deployment, a formal sociali- zation that occurs through the authorized institutions under the provisions in the sta- te, such as formal education in the school where the process of revitalization occurs. The second is the informal socialization that takes place in the community or in groups of friends or best friends as well as the mass media. The socialization of the dance is done through a performance. The dance is usu- ally performed at school events, or events organized by the Department of Tourism in Purbalingga. Those are the right time the dance is experiencing a process of revi- talization. Senior High School 1 Bobotsari is a school in which the process of revitali- zation occurs. The socialization of Daengdance can be disseminated through a performance and the mass media. It is aimed to let the wider community (areas out of Purbaling- ga) know the revitalized dance. CONCLUSION Daeng dance is one of the traditional dances. It was once performed by men and with red, green, blue, and orange mutes, a gold sumping is adorned with a length wise mute, a golden kace or nated with a golden lace and a golden flower, a pair of green bracelets with golden lace ornaments,long white socks,and the last,a pair of green anklet ornated with golden lace. The dan- cers also wear black-colored glasses. Besides using some accessories, the dancers also use some propeties, like gol- den-colored sampur (a long scarf) tighte- ned on the left and right side of the waist, a golden slepe (a belt), and a yellow golden rampek, The moccasins are only used to protect the dancers’ feet from sharp objects when dancing in a field, in the lawn, and in the streets. Sounds A sound system is a set of sound instruments for organizing music sound as a dance accompaniment. The music players play live music, so they only need a microphone connected to an amplifier and forwarded to a speaker. It has a pur- pose for the dancers to be able to hear the accompaniment performed, if this dance is performed either in the closed room or in the open space. Lighting The dance can be performed during the day or night. Necessary lights are nee- ded to support the dance performance at night, but it is not necessary to use lights during the day in the courtyard or on the street as the only light used is the sunlight. It is aimed to make the dance more noti- ceable by the audience. Floor Pattern Floor patterns are used to make the appearance more interesting. The use of floor patterns is also intended to make the performance, impressive, not monotonous as floor patterns give the impression to the audience, and it gives space for the dan- cers to move free not only in one spot, but also around the spot according to the spe- cified pattern. The revitalization in floor patterns is Dinar Anggraeni, Revitalization and Socialization of Daeng Dance in Purbalingga ... 61 now it is performed by women. This dance was usually performed in big events, but day after day it began to suffer extinction and was abandoned without any succes- sors. Therefore, Dinbudparpora (Depart- ment of Culture, Tourism, and Sports) or- ganizes the revitalization of this dance in Senior High School 1 Bobotsari. Revitalization is done by means of renovating the form of performance, in- cluding motion, accompaniment, makeup, clothing, lighting, staging, and the floor pattern, so that the dance looks more inte- resting and attractive. The next process is socialization, through two sorts of deployment, a formal socialization that occurs through the aut- horized institutions under the provisions in the state, such as formal education in the school where the process of revitaliza- tionoccurs. The second is the informal so- cialization that takes place in the commu- nity or in groups of friends or best friends as well as the mass media. REFERENCES Damanik, F.H.S. (2010). Seribu pena Sosi- ologi untuk SMA/MA Kelas X. Jakarta: Penerbit Erlangga. Hadi, S. (2005). Sosiologi Tari. Yogyakarta: Penerbit Pustaka Hartono. (2000). Seni Tari dalam Persepsi Masyarakat Jawa. Harmonia Journal of Arts Research and Education. 1(2), 123-130. Jazuli, M. (1994). Telaah Teoretis Seni Tari. 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