BEKSAN TRUNAJAYA IN THE CONTEXT OF CULTURAL RELATIONS AND POWER OF KERATON YOGYAKARTA IN HABITUS PIERRE FELIX BOURDIEU PERSPECTIVE

Authors

  • Mela Dina Arumsari Universitas Negeri Yogyakarta
  • Kuswarsantyo Universitas Negeri Yogyakarta
  • Moh. Rusnoto Susanto Universitas Sarjanawiyata Tamansiswa Yogyakarta

DOI:

https://doi.org/10.53067/ijomral.v3i6.254

Keywords:

Beksan Trunajaya, Power Relations, Habitus, Pierre Felix Bourdieu

Abstract

Sri Sultan Hamengku Buwana, I historically created Beksan Trunajaya as a ballet performance for the Trunajaya team, which was part of the Nyutra troops (soldiers). This Beksan is based on the name of the Tarunajaya courtier group (Taruna means young, and jaya means winning), by the nature of the dance that uses lawung weapons (a kind of spear), which suggests war training. Sultan Hamengku Buwana, I took the name Beksan Trunajaya to instill a heroic spirit through ideals to continue Sultan Agung's struggle to defend his homeland against the Dutch. Research objectives: (1) to describe the review of cultural and power relations in the performing arts of Beksan Trunajaya from the perspective of Pierre Felix Bourdieu's Habitus. (2) to describe the contextual sociological dimensions of cultural and power relations of the Yogyakarta Palace (spiritual, social, and preservation of the natural environment) in the performing arts of Beksan Trunajaya from the perspective of Pierre Felix Bourdieu's Habitus. The type of research used is qualitative research with a semiotic approach dissected with the Roland Barthes semiotic theory approach through the basics of Ferdinand de Sausure's semiotic theory. The study conducted qualitatively dissects the sign system in the Beksan Trunajaya performance by re-reading the visual sign system denotatively and connotatively and exploring the interpretation of values from the visual aspect. The study conducted qualitatively dissects the sign system in the performance of Beksan Trunajaya through the process of reading visual signs, movements, narratives, dialogue, and music. Visual signs include dancer characters, make-up, costumes, behaviour, expressions, and other landmarks surrounding the performance. Visual signs include dancer characters, make-up, costumes, motif forms, and several others surrounding the performance. Signs are born naturally as a reflection of daily life, and several philosophical foundations are put forward substantially in the performance. I was presenting its denotative and connotative meanings in a semi-logical process. The philosophical values that emerge and are found in the relationship between signs in the semiological process consciously or unconsciously reflect the values of moral education. The semiotics of education will be more broadly studied when it is associated with extracting educational values contextual to the sociological conditions and cultural roots that develop in society. The expected results of this research are (1) an explanation of the review of cultural and power relations in the performance art of Beksan Trunajaya from the perspective of Pierre Felix Bourdieu's Habitus. (2) Explanation of the results of the analysis of the contextual sociological dimensions of the cultural and power relations of the Yogyakarta Palace (spiritual, social, and preservation of the Aklam environment) in the performing arts of Beksan Trunajaya in the perspective of Pierre Felix Bourdieu's Habitus

Downloads

Download data is not yet available.

Author Biography

Kuswarsantyo, Universitas Negeri Yogyakarta

Professor of Dances Education at Art Education Magister Program UNY

References

Achmad, Zainal Abidin. 2020. “Anatomi Teori Strukturasi dan Ideologi Jalan Ketiga Anthony Giddens.” Translitera : Jurnal Kajian Komunikasi dan Studi Media 9(2):45–62. doi: 10.35457/translitera.v9i2.989.

Bhattacharya, Roma. 2022. “Mendekati Pengetahuan Pendidikan: Pentingnya Model Teoritis Basil Bernstein.”

Dilistone, F. .2002. No Title. Yogyakarta: Kanisius.

Harker, Richard. 2009. “(Habitus Modal ) + Ranah = Praktik ; Pengantar Paling Komprehensif Kepada Pemikiran Pierre Bourdieu.” Jalasutra (9793684275):1–316.

Haryatmoko. 2003a. Etika Politik dan Kekuasaan. Jakarta: Kompas.

Haryatmoko. 2003b. Menyingkap Kepalsuan Budaya Penguasa (Landasan Teoritis Gerakan Sosial Menurut Pierre Bourdieu), Jurnal Basis, Nomor 11-12, Tahun ke 52, November-Desember.

Koentiaraningrat. 1990. “Kebudayaan, Mentalitas, Dan Pembangunan. Jakarta: Gramedia.”

Lubis, Akhyar Yusuf. 2014. Postmodernisme : Teori Dan Metode. Jakarta: Rajawali Pers.

MG, Nuk Sugiyarti. 1997. “‘Perkembangan Beksan Lawung Dan Berbagai Fungsinya Di Keraton Yogyakarta.’”

Nahak, H. M. (2019). Upaya Melestarikan Budaya Indonesia di Era Globalisasi. Jurnal Sosiologi Nusantara, 5(1), 65–76. https://doi.org/10.33369/jsn.5.1.65-76

Nugroho, Ari Cahyo. 2021. “TEORI UTAMA SOSIOLOGI KOMUNIKASI (FUNGSIONALISME STRUKTURAL, TEORI KONFLIK, INTERAKSI SIMBOLIK).”

Majalah Ilmiah Semi Populer Komunikasi Massa 2.

Rabiah, Dede Syarif Madihatur. 2021. “Pierre Bourdieu: Habitus Dan Arena.” Ritzer, George, and Douglas J. Goodman. 2008. “Teori Sosiologi.”

Tinarsidharta, R. .. Kusmahardika. 2015. “Perubahan Bentuk Dan Fungsi Beksan Lawung Ageng

Dalam Upacara Pernikahan Agung Kraton Yogyakarta.’” 151:10–17.

Tim Humas Pemda DIY. (2024). Epic, Tari Beksan Trunajaya Meriahkan Pembukaan Pameran Abhimantrana, diunggah pada 9 Maret 2024 melalui laman resmi Pemda DIY: https://jogjaprov.go.id/berita/epic-tari-beksan-trunajaya-meriahkan-pembukaan-pameran- abhimantrana

Tim Admin Dinas Kebudayaan Yogyakarta. (2014). Beksan Trunajaya. Yang diunggah pada 04 Maret 2014 di laman resmi DKY: Umanairo, Muhammad Chairul Basrun. 2021. “Pemikiran Max Weber, Artikel Ilmiah Universitas Iqra Buru.”

Downloads

Published

2024-11-11

How to Cite

Dina Arumsari, M., Kuswarsantyo, K., & Susanto, M. R. (2024). BEKSAN TRUNAJAYA IN THE CONTEXT OF CULTURAL RELATIONS AND POWER OF KERATON YOGYAKARTA IN HABITUS PIERRE FELIX BOURDIEU PERSPECTIVE. International Journal of Multidisciplinary Research and Literature, 3(6), 709–723. https://doi.org/10.53067/ijomral.v3i6.254