Conserving the traditional Indonesian performance art “langen tayub” through “waranggana” creativities

Abstract

Langen Tayub is a traditional performing art commonly found in agrarian society in Indonesia. It is a form of cultural heritage that should be protected and preserved. This study aims to determine the conservation method of langen tayub through the creativities done by waranggana (langen tayub dancers). This study employs a descriptive qualitative approach with data collection techniques used were observation, interview, and documentation. The study found that waranggana’s creativity covers all facets of the performance from dressing, singing, dancing, and engaging the audience. The development of langen tayub through waranggana’s creativity provides a vantage point from which to assess two broader currents in traditional and modern Javanese culture; the customs, rituals, and social structures that have been passed down through generations that coexist and interact with contemporary influences. This creativity has not only contributed significantly to the continuation and preservation of langen tayub performing art, but further preserves rural community life which is full of gratitude, togetherness, and harmony among the community and nature.

Keywords:

• langen tayub
• performing arts
• preservation
• waranggana

1. Introduction

Langen Tayub is one of the traditional performing arts in the rural area of Indonesia. langen tayub has its roots in an agrarian community and is esteemed by nearly all agrarian citizens. This performing art generally performs for special occasions, such as harvesting, wedding, or other special events in the community (Purwadi, 2018). Although langen tayub performance art has a long history and is considered as national intangible heritage, its existence becomes gradually declining and no longer highlighted by the society (Karyati, 2015). Nowadays, langen tayub performing art is on the verge of extinction as more people, particularly the younger generation, are staying far away and are unfamiliar with this form of art. Also, many people have misconceptions about the presence of this performing art, associating it with inebriated people, flirtatious behavior, and immoral actions because performers frequently provide guests with arak (local liqueurs) and engage in conversation with them (who generally males) (Prihantoro, 2018)., This practice is generally discouraged today and the dance is returned to its original function as the spirit shrine ritual and fertility rites. Recently, langen tayub has also performed as an entertainment form. The decline of interest in the traditional performing arts is not only limited to langen tayub; several traditional arts from Indonesia, including ludruk, ketoprak (classes of traditional theater), shadow puppetry, and the Reog Ambit art in Sumedang (Karyati, 2015), are all losing popularity and becoming extinct Kompas in (Ariana, 2016). This situation encourages the maintenance and preservation of traditional arts because they are intangible cultural legacies for the next generation.

The efforts of preserving langen tayub traditional art must be carried out on two sides, namely internal and external. A successful langen tayub has good management, both for the group as a whole and for the individuals who are fully committed to developing langen tayub (Hidajat, 2014b). There are conditions where langen tayub faces various problems causing its decline. These problems are not only caused by external factors (such as: the ignorance of young generation, social and cultural shifting, as well as religious values) but also internal ones, including the performers dedications, motivation, and efforts in improving themselves in which, further, resulting in the declining of langen tayub in Indonesia (Purwadi, 2018). According to (Permana, 2010), folk performing arts are usually characterized as simple and spontaneous in which they cannot be separated from people’s lives and become part of the community. Therefore, the folk performance art of langen tayub has a tight relationship with the traditions of rural and agrarian life. Langen tayub plays a significant function as a key component of the village’s ritual purification, in addition to serving as a kind of social entertainment. During langen tayub performances everyone from various ages and backgrounds are gathered. The appearance of tayub performances can be used as a way to strengthen local community ties. This is in accordance with the meaning of tayub itself which comes from the word “ditata ben guyub” which means that the dance is arranged in such a way as to create an atmosphere of harmony among the audience.

According to Javanese terms, Langen Tayub derives from the words “langen” (klangenan; pleasure), and “tayub” (tayub/ta: arranged, yub: guyub/get along means arranged to unite or get along). Langen tayub alludes to the expression of happiness and togetherness during the dance performances. Langen tayub is a part of Tayub dance or usually called “Tayuban”. Tayub in the dictionary of ‘bausastra jawa-indonesia written by Prawira Atmaja means having fun by ngibing (dancing) with dancers/performers. According to Poerbatjaraka, in (Suharto, 1999), the word nayub does not come from the word tayub but from the word sayub, which means food that is almost stale or becomes tape (fermented cassava), which is then processed into arak (traditional liquor from fermented cassava). This condition creates misinterpretation of langen tayub as negative entertainment which is associated with drunkards. According to historical records, Tayuban art has been known since the days of the Kingdom (1222) in East Java and developed rapidly in the Kediri Kingdom (1222) and Majapahit kingdom (1293) where this art was used as a royal dance (official performance) and was intended to welcome the royal guests. In the XII century, Tayuban was performed during the Kings of Jenggala coronation ceremony (1045). Jenggala kingdom is a fraction of Mataram kingdom (later unified as Kediri kingdom) which controls the northeastern part of Java. The Kings of Jenggala ordered their queens to perform (dance) Tayuban at the celebration party after the coronation at the Pringitan (Pringgitan is the area of a joglo-style house that is frequently used as performance space). Along with the time changes, langen tayub has been swifted its function from official and royal performances (during tribute, ceremonial, and other royal events) into entertainment performance which is performed in celebration events, such as welcoming guests, harvesting celebration, wedding, etc. So far, many Tayuban performances are now recognized as popular social arts that uphold their spiritual principles while still being entertaining.

As part of performing arts, Langen Tayub has several elements, one of which is waranggana (langen tayub dancers). The term waranggana is generally equated with Sinden (a term for women who sing to accompany a gamelan orchestra and to the pieces that are presented in a shadow puppet show). While sinden is only singing the accompaniment songs for the show, waranggana does singing, dancing, and entertaining the guests during the performance. Although waranggana is only a performer, she has the main position in a show and determines the success of the performance. The majority of waranggana (langen tayub dancers) are young women under the age of 30. The woman as a waranggana ideally has a sweet voice, slim bright body, and beautiful face. Typically, women under the age of 30 meet these ideal qualities. These features are essential as langen tayub dancers (waranggana) are the focal point of this performing art. In fact, waranggana is actually a representative of langen tayub, as many people associated waranggana with langen tayub performing art. People view waranggana as irreplaceable things of langen tayub, there is no langen tayub without waranggana. In other areas, waranggana is also called ledek or tandhak and many others (Prihantoro, 2018). In the past, the woman as a waranggana was accused of being a “prostitute” as her body spoils many men’s eyes and she sings erotic song lyrics, with passionate dancing. Therefore, since the 1990s, waranggana has received professional training, including ethics and arts (Noordiana et al., 2017). This is in order to decrease the negative perception of waranggana or used to be called ledhek/tandhak who was associated with female entertainers (Tangguh et al., 2021).

As langen tayub is aligned with female performers, they become the image or representative of the performance itself (Endang & Malarsih, 2005). Thus, both the performing art and female performers are tied together. There are many issues aligned with female performers and mostly are negative. Thus, it creates a negative effect on langen tayub Surur, in (Prihatiningsih, 2019). In order to preserve the performers’ images, government imposes regulations pertaining to the performance (Avianti et al., 2014), including: performance time; stage performance [interaction between the performers (waranggana) and the guests (penayub)]; liqueurs prohibition; and impolite behavior prohibition (especially penayub). In addition, to avoid any negative perceptions, the performers should carefully select the proper wardrobes (costumes) and maintain the interaction with the guests politely. Situations where female performers are sexually violated and abused as well as obtain injustice treatments are commonly found in many art performances (Prihatiningsih, 2019). Although these are considered as gender inequality and oppression, people still accept it and view it as commonly seen in the artistic world (Pujar, 2016). Therefore, by improving the image of female performers, it possibly improves women empowerment as well as develops the national culture (Kimani & Orchardson-Marzui, 2017) Thus, this study aims to determine the way to conserve langen tayub art through waranggana creativity. Since waranggana represents langen tayub performance art, improving waranggana creativity will greatly increase the possibility of making this art accessible to the general public. The development of langen tayub through waranggana creativity provides a vantage point from which to assess two broader currents in traditional and modern Javanese culture. Langen tayub is part of local wisdom inherited from ancestors that need to be protected. Its existence is important for the recognition of national culture.

Having provided an introduction, the rest of the article is divided into four sections: The first section examines theoretical discourses on waranggana’s creativity and cultural heritage to provide a framework for the research. This is followed by a methodology which describes how the research was conducted and this is followed by results and discussion. The concluding section reflects on the implications of the findings for the creative processes of waranggana in langen tayub dance as a way to protect the existence of the performing art.

2. Literature review

2.1. Theoretical perspectives of creativity in langen tayub dance

Creativity in Langen Tayub is essential to maintain this traditional performing art in the present period. Since the waranggana’s dance and performance are the main focus of this art, the waranggana’s creativity is essential to the langen tayub performance. Dance creativity is the process of creating works of art using the trove of preexisting, traditional movements or by seeking out and creating new, unpatternable motions for a dance. Creativity in an individual setting of an artist refers to the finding new methods in the art field, including in creating art works (Osborne, 1979; Runco & Jaeger, 2012; Walia, 2019); Hawkins, in (Landry et al., 2022) states that the main element in dance is the urge to create. Creative people present themselves or their work according to their abilities without any direction or rules from others (Runco & Jaeger, 2012). Creative ideas developed by an artist can produce a work of dance (Walia, 2019). For artists, especially dancers, the creative process is a demand that must be done to produce quality dance works that can be enjoyed by the wider community (Anggraeni et al., 2020). This process is understood as the development of each individual in creating a dance work (Osborne, 1979). Waranggana’s creativity covers all facets of the performance from dancing, singing and engaging the audience. Each movement is carefully planned in accordance with the market interest. Moreover, the songs and chants are rearranged by presenting pop songs to make them more entertaining for the general public. Murgianto, in (Hellystia, 2019) mentions that some of the characteristics that can be mentioned from creative people are sensitivity to the environment, always responsive to sensory stimuli, careful observers, always aware of the surroundings. Providing waranggana opportunities to explore further (both skills and images) in response to current needs ensures the existence of langen tayub in future generations, as people (especially younger generation) will be fascinated and keep practicing this performing art.

The development of langen tayub through waranggana creativity provides a vantage point from which to assess two broader currents in traditional and modern Javanese culture; the interplay between tradition and modernity. It sheds light on how traditional art forms can coexist and interact with contemporary influences. Creativity involved in langen tayub requires personal involvement or enthusiasm of the artist (waranggana) to achieve the expected result based on the combination of both tradition and modern approach (Cherry, 2022). Waranggana’s performances nowadays appear in traditional kebaya dress but with a more contemporary cut and style. Dance movement is made as simple as possible with the same pattern and accompanied by gamelan popular chants. In addition, the purpose of the dance is more of a performance for entertainment even though the ritualistic dance steps are still used. This adaptation is necessary in order to maintain the sustainability of traditional langen tayub in the midst of the encroachment of foreign culture and modernization (Setiadi & Aryanto, 2014). In line with this (Herlina & Harianto, 2021), also mention that creativity refers to sensitivity to distinguish things, understanding the relationship of objects, full of curiosity and open-minded; wide perception, as well as attentiveness. Thus, creativity in langen tayub needs to consider the current state of society, the adaptability to the dynamic period of time, as well as the high level of excitement and enthusiasm among waranggana. Furthermore, waranggana must possess powerful imaginations, be aware of their personalities, be very confident, be able to focus, and be willing to work continuously (Montgomey et al., 1993). As (Setiadi & Aryanto, 2014) stated that creative people will not easily be satisfied with cliches, always want clarity of expression and are able to cultivate their medium of expression with wide possibilities. These characteristics are needed to create dances that are timeless and versatile.

The stages carried out in the creative process include the exploration stage, namely conducting assessments and understanding of the process of dance movements and the performance of langen tayub. This starts with an understanding of the tayuban tradition for “bersih desa” ritual and fertility rites connected with the current condition of Indonesian rural communities. Then the simplification of the dance movement and the staging time has been cut down to only a few hours. In the past, langen tayub performances can take all-nights, even days and the activities around are multiple. These days, langen tayub performance is fairly simple and straightforward. Lastly, modification to the used outfit, makeup, and wardrobe. The next stage is improvisation, which entails the coordination of dance steps and dance processions that are rich in ritual traditions adjusted for the present circumstances. Next is the evaluation stage, namely selecting and evaluating movements and adjusting them to the target audiences and the composition stage, which is the stage where a dance’s final movements are created after it has gone through the exploration, improvisation, and evaluation processes.

Waranggana must be able to process intriguing concepts and information obtained from exploration, improvisation, and composition in order to engage in creative endeavors. In addition to being skilled at dancing, Waranggana must also be able to sing and enchant the audience with his voice and motions. Waranggana comes from the word “wara” means woman and “anggana” means space, therefore, waranggana means a woman whose voice reaches a wider area Pranoto, in (Novitasari et al., 2019). It indicates that when warranggana sings her voice can be heard from a far (Novitasari et al., 2019). Therefore, warranggana is normally known to be able to dance and sing. Waranggana, as performer, has the responsibility to dance and sing (both traditional and new arrangements) and interact with the guests. They become the core of the show (Purwadi, 2018). Waranggana is also called sinden as the term “wara” means women or female and “anggana” means alone (https://kbbi.web.id/sinden). In ancient times, waranggana was the only woman on the stage for wayang performances or traditional Javanese orchestra (klenengan). Today, sindén is similar to Javanese popular singers. They (sindén) need to maintain more on their appearances than skills in singing and dancing. However, not all sindén are considered as unskilled artists, some remain true to the arts and keep their skills in both singing and dancing as well as maintain their appearance attractive (Caturwati, 2011b; Endang & Malarsih, 2005; Iye, 2022); and (Yulianeta, 2013). Sindén often becomes a pepasren (decoration) on a puppet show stage. They become the eye-catchers to attract the audiences (Caturwati, 2011a). While sindén is normally named after the puppet show singer, waranggana is a performer (singer and dancer) in langen tayub performance art (Hidajat, 2014a). The key performance in the art of langen tayub is when the dancer invites the audience/guest to dance with them. Waranggana normally drapes a sampur and invites the guest (mainly men) to join her on stage to dance. Langen tayub commences at midday and ends at midnight. In practice, it usually begins at 9 p.m. and would last until midnight.

2.2. Langen tayub as a part of cultural heritage

Langen Tayub is part of local wisdom inherited from ancestors and belongs to national culture. As part of national culture, this traditional performance art needs to be preserved in order to prevent the loss of national identity due to the entrance of foreign cultures and modernization. Cultural heritage is extremely important to communities. It allows individuals to reminisce about their history in a way that molds their current identity. Cultural legacy conservation entails preserving and restoring the property/art products to its original state using any effective method (Mcpherson, 2019). Although cultural heritage protection is frequently affiliated with art artifacts and museums that require physical contact, it also encompasses abstract concerns such as philosophy and art performances (Hanna M. Szczepanowska, 2012) (Morera et al., 2019)., According to (Sedyawati, 1938) Cultural Preservation, cultural conservation is an effort to maintain culture as a defense of national identity (Sedyawati, 2007). While Cesare Brandi in Theory of Restoration states that ethics for preservation includes all activities and actions to maintain and/or maintain culture by using appropriate methods, including, documentation activities, capacity building in the development of the culture concerned, maintaining original designs or designs, and introduce the culture concerned to the next generation (Morera et al., 2019).

The idea of cultural heritage offers a perspective on understanding and appreciating culture. This concept views culture as a transmission of human civilization down the generations. The art of langen tayub is a cultural heritage that is rich in rituals and traditional values. It is essential to explore how both global and local perspectives enlighten the development of langen tayub performance art. Global perspective concerns the involvement of modernity and foreign influence to langen tayub dance. The use of arak and Saweran: (the act of giving money to waranggana (tayub dancers) in the middle of the scarf fold) s is an example of how the Dutch perspective was incorporated into langen tayub performance. Traditions and rituals found in langen tayub, such as faith in God, reverence for and submission to ancestors, thankfulness to “Dewi Sri” for crop harvesting, and fundamental beliefs on human origins, are forms of culture which are valuable assets for Indonesia. Langen tayub is not just a dance performance but also a cultural tradition whose existence is recognized and owned by rural communities. This performance art is a valuable cultural resource that has to be properly protected and maintained. Through the creativity of waranggana which is the central point in the langen tayub performance, it is hoped that this cultural heritage can be preserved and passed down to the next generation in the future.

3. Methodology

This study employs qualitative descriptive methods with researchers serving as the primary research instrument. The following data gathering methods were used in this study: observation, interviews, and documentation study. This research has obtained the approval of the relevant parties involved in the data collection process. The researchers used a simple probability sampling technique to select respondents based on their level of understanding and relevance to the topic of preserving langen tayub through Waranggana’s creativity. This method ensured that each individual within the population had an equal chance of being chosen as a respondent. By employing this approach, the researchers aimed to identify individuals with a comprehensive and profound understanding of langen tayub, its cultural significance, and its preservation through Waranggana’s innovative contributions. This approach was considered suitable as it allowed the research to obtain valuable and in-depth insights into the specific context of preserving langen tayub through Waranggana’s creativity, providing a detailed understanding of the experiences and perspectives of the selected respondents. Observations were made during a dance performance by directly watching waranggana practices in relation to artistic creativity. Independent and dependent interviews were used to conduct the interview. Interviewees include langen tayub dancers (waranggana), langen tayub performers (pengrawit, pramugari, pengibing), selected audiences, and the artists’ neighborhood. To obtain the data, the researcher focused the interviews on certain topics, namely: how warangganas improve their creativity, what kinds of creativities are developed by warangganas, how warangganas maintains their existences, and what effects do warangganas have in maintaining popularity of langen tayub. Photographs, notes, and recordings were used to document the performance of the langen tayub dance. The data triangulation approach was used in this study to ensure data validity. The data from observation, interviews, and documentation were employed in this study. Another method for gathering data for triangulation is to conduct interviews with various respondents at different times while asking the same questions. This is done to ensure the uniformity of the interviewees’ answers or details. The next phase in the triangulation data technique is to cross-check one interviewee against another (Maxwell & Reybold, 2015). Text analysis in the context of choreography (Slametrianto, 2004) and context analysis in interactive form (Miles & Huberman, 2009; Rohendi, 2014); were employed in this study, with the following steps: 1) data collection, 2) data reduction, 3) data display, and 4) conclusion/verification formation. The initial set of data was gathered in relation to waranggana originality in the form of dance movement aspects. The next stage is to review the song and gamelan arrangement options for the langen tayub performance. In addition to the significance of langen tayub folk dance in custom and tradition, the researchers had to examine the importance of custom and outfit in langen tayub dance that are employed as preservation strategies. Eventually, all acquired data was minimized or chosen to determine whether data was relevant to the study issue being investigated. The data was then displayed in narrative format, and a brief explanation in the form of a conclusion was prepared.

4. Result and discussion

In this study, the research results are presented along with the discussion. It is not presented separately. Results of the research are explained using relevant concepts and theories. An important focus of this research lies in the creative processes of the waranggana (langen tayub dancer) to maintain and preserve the art of langen tayub.

4.1. Waranggana creativities in preserving langen tayub

In the langen tayub performing arts, the central point of the show is the dancer or usually known as waranggana. The characteristic or specification of singing and movement of waranggana determines the success of the dance performance. Thus, it is not oversimplifying things to state that the creativity of the waranggana is a key element in the survival of this art. Even so, a successful langen tayub performing art needs other elements to be carried out professionally (Noordiana et al., 2017). Waranggana creativity cannot be separated from the existence of pengrawit (in terms of singing and dancing) as well as management of langen tayub performing group (in terms of managing the costumes). In the langen tayub performance, waranggana’s creativity is reflected in the three primary areas: sing, dance, and custom. Since these three items are the primary components of this dance, they are also strongly tied to the process of maintaining langen tayub performing art.

4.1.1. Singing

One of the roles of waranggana in langen tayub performance is to sing Javanese songs. Singing is a mandatory skill for waranggana (Noordiana et al., 2017). To be waranggana, learners (candidates) need to study (informally) at the tayuban group and at professional studio (Ariana, 2016). After completing their training, waranggana has to sing 10 compulsory songs (traditional Javanese songs), namely: 1) Eling-Eling, 2) Golekan, 3) Bandungan, 4) Teplek, 5) Gangga Mina, 6) Astrakara, 7) Ono-Ini, 8) Gandariya, 9) Ijo-Ijo, and 10) Kembang Jeruk as the pre-condition for being graduated (Juwariyah, 2015). These songs have Javanese lyrics and are accompanied by Javanese instruments (Gamelan). These ten songs are important because they contain the basic philosophy and characteristics of Javanese culture. It is believed that through exposing young generations to the music performed during langen tayub dance, they will become familiar with and knowledgeable about their own culture. In order to make this performing art develop and survive, waranggana needs to master other popular songs. Waranggana has to adapt with contemporary circumstances and be able to meet the demands of the market (Hidajat, 2014a). Noordiana et al. (2017) mentioned that aside from traditional Javanese songs, waranggana needs to know other Javanese and popular songs. Waranggana has to be adaptable with any situation during the show, such as by rearranging popular songs into Javanese traditional theme music (gendhing) or combining both traditional Javanese song and popular song. This is due to the rarity of people who actually understand or know about traditional songs. Therefore, waranggana needs to be adaptable in any situation to create entertaining situations and ensure the success of the langen tayub performance. The Javanese songs played throughout the dance subtly promoted the local cultural values and customs. Similarly, pop songs that are played alongside Javanese songs encourage younger generations to get familiar with and understand the words of traditional Javanese songs, which are rich with the nation’s noble ideals. The way waranggana remains true to traditional Javanese songs becomes a means to conserve traditional art (Luo & Chen, 2016). Cultural preservation is aided by the usage of Javanese songs, which are rich in values and customs. Despite the fact that few people may be familiar with the songs, singing them and encouraging audiences to do the same becomes one of the strategies to persuade individuals to embrace and appreciate the culture (Novitasari et al., 2019).

4.1.2. Dancing

Dancing is a necessary talent for waranggana. Together with singing, dancing is an essential skill for waranggana (Hidajat, 2014a; Suharto, 1999). A professional waranggana should be able to sing and dance skillfully, as well as possess strong vocal abilities and a wide range of communication skills. Waranggana must master traditional Javanese dances, especially Gambyong (Suryani & Indriyanto, 2014). Gambyong is a dance usually performed at the beginning of the show including in Langen Tayub (see Figure 1). Waranggana must acquire professional knowledge in order to master Gambyong dance, for example, by enrolling in instruction provided by qualified dance teachers or trainers (Noordiana et al., 2017). According to (Sedyawati, 2007), this training is aimed to improve the waranggana skills which lead to their ability to remain active in conserving the traditional art of langen tayub.

Figure 1. Gambyong performed by waranggana in opening langen tayub performance.

Photo by Anik Juwariyah

Langen tayub as a traditional art form, has a rich tradition grounded in Javanese society, with the form, process, and arrangement of the motions being strongly tied to Javanese culture (Noordiana et al., 2017). Langen tayub dance is a ritual prior to the plowing season (Kayam, 1981). It is a form of homage to the goddess of Sri (goddess of prosperity) for the blessing of harvest. Therefore, prior to the dancing, waranggana need to perform certain rituals in the interest of guaranteeing the show’s continued success (Noordiana et al., 2017). Warangganas, depict the female workers who are associated as the followers of the goddess (Dwiningtyas et al. 2014) (Suharto, 1999).; The movement of the dance is simple, spontaneous, and appealing as it belongs to the folk dance (Leoni & Indrayatti, 2018; Sudikan, 2013). Langen tayub is also considered as a social dance and performed for fertility ceremonies. The dance movement of waranggana (female dancer) with pengibing (ordinary people who dance) in intimate gestures represent the symbol of “women impregnation” affecting the farm soil fertility, thus the performing of langen tayub is referred to as a fertility rite (Suharto, 1999). This dance is based on a spiritual concept associated with the belief in “Dewi Sri”. She is a legendary goddess who governs food, in this case rice, a Javanese staple. Since “Dewi Sri” appreciates all ancient arts, langen tayub dance is an expressive statement offered by farmers in order to remain free from various calamities. Often, the female dancers will be the main focal point on stage, and they will ask the male audience to join them in dancing. This dancing is complemented by gamelan, which sings a composition of a Javanese song. The dancing movement is repetitious and simple to imitate. As a result, those who are viewing can participate and join the dance. Usually the dancer who danced (ngibing) first along with the waranggana was the village elders or someone who was respected. After that, common people (male dancers) can participate in dancing. Based on this construction, the langen tayub art performance is a form of interaction among people to understand each other, protect each other and create a sense of togetherness among people. According to the Javanese term langen tayub which means langen (klangenan; pleasure), tayub (ta yub/ta: arranged, yub: guyub/together so tayub means arranged to be united or harmonious). Langen tayub performance has a ritual function (related to fertility) but also as a place to socialize and gather with the local community (as entertainment). The performance of langen tayub as a ceremony of thankfulness to God as well as social togetherness within the community is an example of indigenous cultural wisdom that must be preserved.

Waranggana’s creativity in maintaining the existence of langen tayub in today’s modern era includes strengthening dance skills and learning various contemporary dances/modern dances. This effort is required so that Waranggana can learn new dances and create better arrangements with pengibing. By having qualified dance knowledge, waranggana can appeal to the audience so that this dance is not easily abandoned. The next breakthrough is the central scene of the dance, which is executed by binding the visitors with a shawl and performing a pair dance that can be performed spontaneously by randomly selecting dancers from the audience. Pramugari ranked persons who could dance based on their wealth and position. As a result, not everyone has the opportunity to dance and participate in the langen tayub show. Everyone from all kinds of backgrounds has the same opportunity to perform and participate in the dance. As a result, langen tayub can reach more people from different social classes, ages, and races. In addition, the ability of the waranggana to perform various kinds of dances and adapt them to the abilities of the accompanying members has a favorable effect on the development of langen tayub in the society. The audience-performer communication interaction has an aesthetic, social, and economic impact, which has contributed to the development of langen tayub performances in Indonesia. Meanwhile, dance conservation can be gained by the consistency of dance patterns that focus on dancing movements between waranggana and pengibing who are facing each other and are joined by a shawl. One of the attempts to illustrate the notion of holiness of the dance is the uniformity of this pattern. This movement serves as a symbol of the basic philosophy of Javanese people whose center of life is divinity and togetherness. It is believed that the prevalence of ordered ritual structures is crucial to the viability of langen tayub dance preservation.

4.1.3. Costume/wardrobe

Costumes or wardrobes worn by waranggana are not only as part of Langen Tayub performing art, but also representation of national identity (Filippos et al., 2003; Zhang, 2015). Costumes and their accessories are used to represent cultural images that are mimicked in fashion. In the langen tayub show, waranggana wears a kebaya (Javanese blouse) and jarit (clothes used as skirt) suits. The combination of kebaya and jarit is a traditional Javanese clothing that is rarely worn today unless there is a formal or ceremonial event. In the past, Javanese women usually wore ‘Kemben (is a wrapping piece of clothes covering the chest wrapped around the woman’s torso) and jarit. In langen tayub performances, “kemben” are frequently covered with a long shawl that is used for dancing or throwing sampur. In its development, “kemben” then made into an inner kebaya or modified into a traditional kebaya that covers the shoulders and arms. The use of kebaya and jarit is also closely related to the sanggul (a type of Javanese hairdo). Someone who wears a kebaya should also have their hair tied in a bun and should not be left untidy. The hair is attached to the back of the head to make a bun. Apart from the waranggana, the musicians, pramugari, and audiences usually also wear traditional Javanese clothes such as beskap (Javanese jacket) and blangkon (Javanese male hat) when attending this show. The host and attendees were men and dressed like traditional Javanese as like wearing a beskap with long pants, and batik cotton. They wore blangkon, a Javanese male hat, and their faces were painted to resemble just like characters. Occasionally, welcoming guests may dress up as Petruk, a figure in a Javanese puppet. They also dress up as “Buto” (a character from Javanese legend) and the gamelan musicians may wear a uniform (beskap). Through the use of costumes and wardrobes related to Javanese customs, younger generation and community in general could learn the tradition and local culture within the dance performance.

There are several types of waranggana costumes (see Figure 2). These costumes originally come from the traditional clothes of ancient performers (from Singasari kingdom, Kediri kingdom, and Majapahit kingdom) which normally wore long cloths to cover their body and adored with accessories (jewelries) from necklaces, earings, headdress, bracelets, and etc. (see Figure 2(a)). Along with the cultural changes, the way the dress is followed (see Figure 2(b,c)). The kebaya that is now being worn is a modern kebaya that is shaped like a blouse. Hence, the kebaya is no longer complicated to wear (due to the kemben, jarit, and safety pins), but has been redesigned to look like a T-shirt with a kebaya cut model. The use of Javanese sanggul (bun) is also simple and modern with variations of hair shapes and colors. Musicians and drummers can also now wear formal Javanese clothing or just a daily fashion. The movement and development of traditional costumes adapted to times allow waranggana to continue to introduce Javanese cultural traditions in today’s modern world. By dressing in these traditional dresses, waranggana can promote the local culture and act as cultural ambassadors. This is in line with the idea that performers can serve as ambassadors for their country and serve as a platform for showcasing national identity (Zhang, 2015) (Hanna M. Szczepanowska, 2012); (Filippos et al., 2003); & (Stefanikova, 1993).;

Figure 2. Costumes wardrobes of waranggana in langen tayub performances. 1.

Doc.Cultural department Gunung Kidul Regency Photo by Anik Juwariyah

From a data interview, one of respondents from the Sambirejo Langen Tayub performing group mentions that she normally prepares more than one type of costumes before performing as considering the situation and location of the show. Sometimes she is required to wear a more traditional costume (such as in Figure 2(a)) and other times she has to wear more conservative costumes (such as in Figure 2(b,c)). If the performance has more than two warangganas, the group usually asks them to dress similarly (whether in pairs or with similar design and color) in order to look more attractive. Waranggana‘s creativity in dressing is a binding attraction for the wider community to attend langen tayub shows. Waranggana needs to update their knowledge on stage costumes and make-up in order to avoid any mistake and inappropriateness during the show. Moreover, they need to improve their skills professionally by joining the training or learning through books and other means (2016), so they can keep with the changes and remain as the representative of culture. Traditional custom clothing that has been changed to fit the times is not only beautiful to look at but also comfortable for young waranggana to wear. As a result, traditional Javanese dress can still be worn during performances to maintain the continuity of the performing arts alongside the entirety of the culture embodied within it (See Figure 3).

Figure 3. Costumes wardrobes of waranggana in langen tayub performances

Doc.Cultural department Gunung Kidul Regency Photo by Anik Juwariyah

Waranggana’s creativity in three basic elements of the langen tayub performance, including songs, dance, and costumes, has contributed significantly to the continuation and preservation of this art form. Traditional components of Javanese songs can be preserved by modifying and combining them with more modern compositions. In this way, the younger generation may still enjoy Javanese songs in genres more relevant to their age. Likewise, costumes and accessories that have been updated to reflect the times. Traditional kebaya and sanggul which are more difficult to wear, are being replaced by modern kebaya and artificial sanggul which are more practical yet retaining traditional styles in a more contemporary taste. The adjustments made by waranggana by incorporating elements of creativity in dance, songs and clothes in the langen tayub performance are what have allowed langen tayub performance to survive and be loved by the public to this day (See Figure 4).

Figure 4. Costumes wardrobes of waranggana in langen tayub performances, 3.

Doc.Cultural department Gunung Kidul Regency Photo by Anik Juwariyah

This great dedication by waranggana comes from internal and external motivation. Internal motivation comes from their love and enthusiasm for this art, the desire from themselves to maintain this culture, considering that this dance has been introduced to them for generations, the desire to protect the culture of our ancestors which is still rooted in the hearts of waranggana and so do the various parties involved in this performance. External motivation comes from the need to fulfill the necessities of life as (Rochmat, 2013) said that motivation can be built as a reflexive action facing the challenges in order to survive. Impulse for this motivation is normally triggered by the self-defense mechanism as physiological responses of individual needs (Maslov, 1994). These two motivations that make waranggana continue to work on their creativity to ensure the continuity of langen tayub in this competitive era. The motivation of waranggana to remain in the society, although coming from their survival instinct, serves as a significant factor in conserving langen tayub traditional performing art.

5. Conclusion

According to the findings, waranggana in langen tayub performance art has a significant impact on the preservation of this traditional art. The songs that are sung, the dances that are performed, and the clothes that are worn all contain cultural values and local wisdom. As a part of tradition in agricultural society, langen tayub carries the values, tradition, myth and belief of Javanese civilization. Therefore, this traditional art must be maintained and preserved. Through the creativity carried out by waranggana, the existence of langen tayub was successfully ensured. This creativity, among other things, appears in the form of the selection of songs used in langen tayub. Javanese songs are rearranged with more contemporary melodies to make the songs more relevant to the demands of today’s society. There is also a mix of Javanese and pop music, which are currently quite popular with the audience. With this approach, langen tayub can continue to exist and become a widely recognized form of art. Furthermore, waranggana creativity can be seen in the form of dancing, which has been made more flexible so that pengibing can follow the dance movements in accordance with the sound being played. The expansion of the audience or invited guests also makes this art increasingly known by the public. The next factor that contributes to the survival of this dance in modern society is its costumes. By adapting costumes to current fashion trends, langen tayub show feels more modern while still retaining a touch of traditional Javanese attire. Creativity, as shown through dance songs and costumes, is a key element of the langen tayub dance. This is due to the fact that langen tayub performances are linked to village clean ceremonies, which include dance, songs and costumes that reinforce Javanese cultural practices. The creativity of waranggana in langen tayub does not merely maintain the performance of the tayub art but further preserves rural life which is full of gratitude, togetherness, harmonic situation with the environment. Therefore, to conserve langen tayub as well as local the best approach is by developing and improving the skills of waranggana, including in singing (voice practices, song arrangement, and musical knowledge); dancing (new arrangement, stage performances); wardrobing (costumes); and maintaining professionalism. For further study, it is necessary to conduct research on how to develop this traditional art through other areas, such as from company (art group) management, marketing, as well as training (education) because, in order to conserve art and culture, holistic approaches and actions are necessarily done.

Acknowledgments

Best gratitude is delivered to all respondents (Langen Tayub groups) who provide the data needed for the research. In addition, my gratefulness to Universitas Negeri Surabaya Community Service, Research, and Development Board as well as other parties for their assistance in finishing this research.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Anik Juwariyah

Anik Juwariyah is an experienced researcher and lecturer at Dance and Music Education Study Program at Universitas Negeri Surabaya, Indonesia. She has published numerous articles on traditional performing arts, dance teaching methods, and ethnochoreology. She has extensively involved in a project on traditional performing arts and dance conservation programs in Indonesia. She is willing to collaborate on research projects within her area of research interest.

Trisakti Trisakti

Trisakti is the Director of Art and Cultural Department at Universitas Negeri Surabaya, Indonesia. Her research interests are in cultural studies and dance anthropology. She has published extensively on an ethnic group of Javanese in eastern Java. Her recent article was published in the National and International Journal of Cultural and Humanities subject. She is open to research collaboration at any level within her area of research interest.

Fithriyah Inda Nur Abida

Fithriyah Inda Nur Abida is a Lecturer at Faculty of Languages and Arts, Universitas Negeri Surabaya. She has twelve years of teaching experience and has keen interest in Indonesian and Javanese studies. She is willing to collaborate with people who have interest in the areas of South East Asian Studies, particularly related with language and culture, language and society and local languages in Indonesia.