International Journal of Education and Research Vol. 2 No.

5 May 2014

NON-FORMAL EDUCATION AS CULTURE TRANSFORMATION AGENT TOWARDS

THE DEVELOPMENT OF CLASICAL COURT DANCE IN YOGYAKARTA, INDONESIA

Muhammad Fazli Taib bin Saearani

Ph.D Candidate of Performing Arts, and Visual Arts Studies,
Gadjah Mada University, Indonesia
[email protected]

Gabriel Lono Lastoro Simatupang

Head of Performing Arts, and Visual Arts Studies Department,
Gadjah Mada University, Indonesia

R.M. Soedarsono
Professor of Performing Arts Studies, Gadjah Mada University, Indonesia

A.M. Hermien Kusmayati

Professor of Performing Arts, Institute of Arts Yogyakarta, Indonesia

Abstract

The discourse of arts inheritance is an authorization generated by the palace in Yogyakarta as the
dominant part in society of Yogyakarta, Indonesia. As time pass by, the deployment strategy of
Yogyakarta Classical Dance Style out of the palace generates an art that becomes a collective
memory of the community to express its identity. The inheritance must be done even though there is
pressure from other discourse that keeps growing in the community. In order to implement the
inheritance of the artistic heritage of the Palace, the agents of cultural transformation plays a very
important in the inheritance process. At present, the agent of cultural transformation in Yogyakarta
is a non-formal educational institution that supports the palace by providing a very effective
teaching and learning process outside the palace. This paper will discuss how the history of non-
formal art education institutions began and the basic aspects of teaching and learning process that is
governed by the agent.

Keywords: Non-Formal Education, Culture Transformation, Classical Dance of Yogyakarta Style,

Indonesia

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(1) Introduction
The term transformation means change in form, appearance, nature, or character. If the definition of
"transformation" has a universal meaning in human life activity, hence the sense of transformation
can be applied to the study of transformation of dance as art in Indonesia, which involves changes
in form, appearance, situation and character (Hersapandi, 2005). The discussion about
transformation in life’s tradition poses various questions concerning the tradition values that are
believed to be the truth. In life, custom or traditional arts it can be seen from two different
perspectives. The first perspective, art is understood as an art tradition that exists and continuously
presented as customs. In this case, tradition is the main thing, while art is the supporting tool or can
be a tool to reinforce the tradition. The second perception, traditional art can be understood as forms
of art that has a tradition in the sense of norms and rules of fixed arrangement. In this case, the art
itself is the subject of, or a dance that has a tradition as an independent activity. Both perceptions of
traditional dance take different logical consequence. For example, art tradition is developed as an
art that can preserve tradition with the main purpose to create and encourage a sense of togetherness
among the residents of a community. While traditional art that has a number of norms and rules are
still aiming to develop sense of beauty by creating effective motion techniques.
Based on these two perspectives, the phenomenon of transformation agents’ existence in the
art of dance will be looked into. The dance created essentially according to the level of intellectual
ability and creativity of the artists and supporters by considering the potential and quality of
traditional values that evolves and reflects from time to time. These values carry a development that
dance is a media of delivery that has philosophy and high moral teachings from a historical
phenomenon (historical history). This problem may be traced back to the phenomenon of history
itself, how the dance changed, why it changed, what or who was the agent of change (R.M.
Soedarsono, 2000).
The presence of a dance art form is a medium to deliver the emotive human feeling which is
closely related to the arrangement of aesthetic and symbolic expression. It’s individual and
collective characteristics relates to the importance of the community that supports it. The existence
of art in Yogyakarta is undergoing a deployment process that appears in environmental and time
conditions by taking into consideration the concept of main idea in the construction of the art
works. This includes the learning aspects along with the overall refine results and the creation of the
works by showing the relationship between the existences of the art with the aspects the influence
the dissemination of an element of culture.
By understanding the learning aspects and for the purpose of analysis on the concept of
culture, the elements of culture must be addressed universally as well as the contents of all the
cultures that exist in the world, which are: (1) religious system and ritual ceremony, (2) systems and
community organizations, (3) knowledge system, (4) language, (5) arts, (6) economic system, (7)
technology system. The seven universal elements can be divided into its sub elements. This existed
in the discussion about the culture of the classical dance art form in Java, especially Yogyakarta.
The elements related to culture mentioned earlier such as education, the arts, communications, and
commercial art as art products developed for tourism (in the context of the economy), and political
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aspects that are absorbed in character building and national integration occur in the development of
the art of Yogyakarta classical dance style.

Plate 1. Yogyakarta Classical Dance Style (photo by the author, October 2013)

By tracing the history of Javanese dance before independence, two dance traditions are
identified, namely (1) classical dance and, (2) folk dance (Tati Narawati, 2009:70). The tradition of
classical dance developed well in the Yogyakarta palace and Surakarta palace. In the historical
aspect, the division of the Javanese palace culture has also divided the classical dance tradition into
two styles, the Yogyakarta style and the Surakarta style. Both are separated since the Giyanti’s
agreement initiated in 1755 and has divided the kingdom into Kasunan Mataran Islam and the
Sultanate of Surakarta Hadingirat Ngayogyakarta Hadinigrat (R.M. Soedarsono, 2000: 35).
Court Dance, also known as “adi luhung” art was initially enjoyed by the aristocrats, then,
evolved outside of the palace so that the public can also enjoy and learn it. Sultan Hamengku
Buwono VII permitted people outside the palace to learn the palace dance, but these activities were
conducted outside the palace. In 1918, the Krida Beksa Wirama dance organization was established
and pioneered by two princes, named Pengeran Tedjokusuma and Pengeran Suryodinigrat (Fred
Wibowo, 1982). During the war of independence, the arts activities in the Yogyakarta palace came
to a halt. In order to develop the palace art, the Sultan relocated the art activities to Ndalem
Purwadiningratan in 1951. This is to enable dance and kerawitan enthusiasts outside the palace to
learn the art.

(2) The Existence of Non-formal Education in Sanggar Tari (Dance studio/Community)

Non-formal education in Yogyakarta is always associated to the development of a sanggar
tari (dance studio) or dance organization. Sanggar means a group of dancers gathering as a unit to
execute or organize an agenda, or arts events such as dance training, performance or other art
events. Dance studios that still exist in Yogyakarta include: Irama Tjitra established in (1949),
Panguyuban Siswa Among Beksan established in (1952), Mardawa Budaya established in (1962)
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and Pemulangan Beksan Ngayogyakarta established in (1976), then in 1992 both the latter
organizations merged to become Yayasan Pemulangan Beksa Sasmita Mardawa (YBPSM) dan
Paguyuban Kesenian Surya Kencana (1979). However, there are only five that are still
acknowledged by the Department of Culture of Yogyakarta and they are: (1) Yayasan Beksa
Sasmita Mardawa led by Mother Sutiyah, S. Sn., (2) Yayasan Siswa Among Beksa, led by Mr. RM
Dinusatomo, BA ( KRT Pujaningrat ), (3) Panguyuban Kesenian Surya Kencana led by Mr. RM
Yuanjono, (4) Irama Tjitra, led by Drs . Sunardi, and (5) Retno Aji Mataram led by Mr Sunaryadi,
S.ST. , M.Sn, .
Considering the time of establishment for all of the sanggar (dance studios), it can be said
that the sanggar are old and still exist until now. This shows that the presence of the functional
value from various interests must be continued in the preservation of Yogyakarta classical dance
style from one generation to another generation or can be classified in the form of dance
inheritance. We can also see how Yogyakarta classical dance style has undergone a transition from
a performance only to be enjoyed by the royalties to dance teaching and activities outside the palace
walls when Sultan Hamengku Buwono VII has given permission to the public to learn court dance.
This is a political strategy done by the ruler in order for the public to enjoy classical dance forms.
This form of inheritance refers to the mechanisms of cultural transformation agent that can be
seen in internal and external conditions of the community and practitioners to impart their passion
for dance to the next generation. The term inheritance is supported by the ability of the human
resources of both parties (educators) or students ( the next generation) to form a future generation in
understanding the art whilst helping future generations to appreciate the art that is about to be
inherited.
The concept of inheritance has one conclusion and that is the process of acceptance from one
stage to the next. This process is considered as a cultural identity of or art that has been handed
down from one generation to another generation supported in various forms. A dance form can be
inherited through oral tradition, materials, education or documentation process conducted by the
heir of the guardians of the tradition in order to ensure the aspirations of the art of dance withstand
time.
Therefore the educational process is interrelated to the transformation agent towards the
development of Yogyakarta classical dance style which is this case, a non-formal educational
institutions is the dance organization that develops outside the palace through dance studios located
throughout Yogyakarta. The non-formal educational institution aims to provide arts education by
bringing the students nearer to the beautiful characteristics in human life, for in the culture of the
arts, human life is the highest form of living things as compared to any living creature. (Titik
Putraningsih, 2007). The arts education gained benefits from formal education institutions by
producing individuals who have confidence and good character.
The efforts to sustain the Yogyakarta classical dance style has all this while been done by an
expert in the field of Yogyakarta classical dance style named K.R.T Sasmintadipura or more
commonly known as Rama Sas (Titik Putraningsih, 2007). He is creative and productive is his
effort to ensure that the society will always be interested in the Yogyakarta classical dance style.
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Ram Sas is known as a renewal figure in the development of the art of Yogyakarta classical dance
styles for taking risks in the performance by making the dance form in a shorter duration just to
avoid boredom amongst the audience and to make an interesting non-dramatic choreography,
beksan pethilan and Ramayana Ballet Performance specially for a tourist package. However, the
dance forms that do not leave out the paugeran (border) or norm in Yogyakarta classical dance
styles. Besides that, the Yayasan Siswa Among Beksa has also provided benefits to students with
audio-visual learning such as learning the Golek Clunthang, the Batik dance, the Beksan Heroine
Larasati dance, the Beksan Heroine Bhishma dance, the Srimpi Pandelori dance, the Srimpi
Gambirsawit dance, the Bedhaya Sangupati dance, and so on.
The Yogyakarta classical dance style can be used as a source of inspiration for movement that
can be explored to become a piece of dance work. The students are not only expected to gain
benefits merely on the dance technique skills. After receiving guidance from a reliable resource, the
students are expected to acquire educational knowledge about cultural values and insights in a
broader sense from the dance lessons that they have taken.
The non-formal educational institutions in Yogyakarta played an important role by
contributing a very large part to the transformation of Yogyakarta classical dance styles. The
education system in Indonesia clearly states that the national education aims to improve the quality
of Indonesians and that is the man who is faithful to the Almighty God, virtuous , has good
character, independent, advanced, powerful, intelligent, creative, skilled , disciplined , has work
ethic, responsible, professional, and productive, as well as physical and spiritual (Suwardi
Endraswara, 2006). Referring to the aims of the national education, it is agreed that art education is
to be a part of the school’s curriculum. The art education particularly dance revives and expand
under the non-formal educational institutions. After experiencing a fairly rapid growth and benefits
the lives of people, it then developed in formal educational institutions.
The benefit of arts education in non-formal educational institutions is for the profession and
self-improvement. Education through art is very beneficial to character building in accordance with
the national education goals that is to be achieved by the people of Indonesia. Character education
and attitude need not be acquired through formal education (Suwardi Endraswara, 2006). Through
the arts, especially from the dance lessons, ethics and attitude useful for daily life can also be learnt.
Dance Organization or studios that still exist in Yogyakarta are: Yayasan Pamulangan Beksa
Sasmita Mardawa, Yayasan Siswa Among Beksa, Panguyuban Kesenian Surya Kencana, Sanggar
Kesenian Irama Tjitra, and Paguyuban Retno Aji Mataram provide education program that contains
educational Javanese cultural values. Through organizations such as these, basic educational and
spiritual knowledge particularly in the palace of Yogyakarta can be taught or learnt.
Education is associated with attitude or manner in human relationships. During the course of
the dance study, the student is given a set of paugeran (rules) of motion that is trained
systematically and performed in tune with the rhythm of accompaniment. When this is mastered
then their daily interactions, behavior and attitude will be seen as pleasant, organized and do not
pose a rigid and awkward character that can raise ill feelings in the society. The paugeran in the
Yogyakarta classical dance style, is prepared based on research of character of a human body that
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can execute a luwes (flexible) and beautiful motion system; that it will affect the daily life. In a long
and continuous learning process, the character will develop towards a good behaviour ( Joan
Suyenaga, 1999).
After participating in educational programs such as dance training (courses), students are
expected to be skilful and luwes (flexible) while dancing appropriately with the music
accompaniment and the dance character played. Moreover, students are expected to develop, both
as a dancer or dance teacher. The educational program is divided into a number of classes that can
be classified into a male dance and a female dance. The dance lessons are conducted within a three
year course that consist stage as follows; (1) the basic phase, (2) skilled stage, and (3) advanced
stages.

(3) Learning and Teaching Aspect Through Dance Studio

1. Imitation Aspects
Imitation is the most effective preservation method of the Yogyakarta Classical Dance Style in
inheritance. This is because imitation is easy to do and it does not give additional physical and
cognitive load for students through explicit teaching. It is not surprising that imitation is the most
traditional method that has been used in the palace for a long time and also commonly used in non-
formal institutions. Formal institutions such as the Art Institute of Indonesia also rely on imitation
methods for teaching together with theoretical explanations to increase understanding. Imitation,
however, was only possible when practicing the the Yogyakarta classical dance style, not on the
philosophy of the Yogyakarta classical dance style. This is because both have the different cognitive
and social mechanisms. The case is equivalent to the case of learning to say the words against the
case to understand the meaning of the words. However in the aspects of imitation, there might be a
problem with the existence of an imitator. A person who imitates will not be equal or get better
recognition than the person who is being imitated. On the other hand, the imitation method needs
resources because the actual imitator must align themselves with the character that is being imitated,
rather than using the existing resources to produce a new work. Therefore, the Yogyakarta classical
dance style will not be sustainable if it only relies on imitation. The imitator will feel the existence
gradually disappearing and ends up being demotivated to do the imitation.

2. Feeling Aspects
The feeling aspects or the philosophy of the Yogyakarta classical dance style is inherited formally
and dialectically. The Formal Inheritance is done directly through the teaching of philosophical
values of the Yogyakarta classical dance style. This is generally done in formal institutions.
Inheritance occurs dialectically through a dialogue between students and teachers. Interesting
enough, this inheritance is done specifically in non-formal institutions. There are two possible
explanations over these findings. First, the feeling aspects are not taught in non-formal institutions
until there is a need from the student to question the matter. This is in contrast with the formal
institutions that already have a curriculum for it until the students have sufficient references from
the existing text. Second, students in formal institutions are pressured by the academician’s
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responsibility to ensure that the students complete the study with good grades in order to suppress
critical thinking. Traditionally, critical thinking skills are often associated with disobedience and
thereby decrease or destroy the achievements. This is even worse if the teacher is sensitive towards
criticism and sees that critical thinking is an attempt to question his authority.
The effects may be worsening if the teacher does not know how to explain when requested
by the student. This Psychological distress does not appear amongst students in the studio. They pay
their fees and do not have a deadline for when to finish studying. As long as they pay their fees, the
studio will provide any needs related to the Yogyakarta classical dance style. This allows the
students to question the faculty members regarding the philosophical aspects of the Yogyakarta
classical dance style at the studio. This often happens especially if the teachers who teach at the
studio have a great reputation as a court dancer. The emergence of philosophical values of the
Yogyakarta classical dance style in the studio indicates a positive thing for there is a mechanism
such as institutions that emphasize on the practical aspects of the Yogyakarta classical dance style
also allows the philosophical aspects to emerge and evolve.

4. Aspects of Cultural Identity

As described in the model of the Yogyakarta classical dance style developed by the author, the
important aspect of inheritance for the Yogyakarta classical dance style is its’ sense of belonging. It
is due to this aspect a good model of inheritance should also encourage the inheritance agents’ to
experience positive growth in this sense of belonging. A sense of belonging relates to a broader
entity and that is cultural identity. Cultural identity is the way in which individuals expressed
him/her in relation to the group where he/she is in. In other words, cultural identity relates to how
far a person can be considered as a Javanese. This identification is not unlimited. Individuals can
identify themselves as long as it is within the possible norms made agreeable by the group. If the
group assesses that the individual norms do not conform to the norms of the group, although the
individuals identify themselves as members of a group, it is not acceptable and their identity remain
as a non-member of the group. This cultural identity can be seen in an individual’s collectivism
spirit (whether horizontal or vertical), interdependency with society, orientation on cultural
practices, familiarity, ethnic identity exploration, and ethnic identity affirmation. There are four
types of cultural identity; subtractive identity, additive identity, affirmative identity, and
intercultural identity. Subtractive identity is an individual whose cultural identity is gradually
decaying. Additive identity in contrast, is an individual whose experience in cultural identity is
gradually increasing. Affirmative identity is the identity of an individual who is unique and this
individual feels that cultural identity is he/she and does not belong to any group. Intercultural
identity refers to an individual whose identity is so great that he sees himself as a world citizen, and
not a member of a particular culture. Subtractive and additive identity is a plural identity because
the individual may have both identities at once or one might emerge when the other is dormant.
To achieve a certain cultural identity, an individual goes through five stages of identity
development that is the conformity stage, the stage of dissonance, resistance and immersion stage,
the stage of introspection, and the integration phase. These stages require the development of an
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identity crisis condition in which a person doubts his/her membership in a society and finally
decices on whether to let go or strenghten the bond with a new awareness. The study reveals that if
an individual has high cultural identity and shows signs of inheritance, this individual tends to have
higher academic achievement than the individual student who does not have the awareness of the
inheritance.
The Yogyakarta classical dance style as an indicator of cultural identity has a clear rule and
therefore it is easy to see whether or not the individual is dancing the Yogyakarta classical dance
style. The Institutions must stick to the standard rule in order to identify themselves as part of the
Yogyakarta classical dance style. The presence of formal institutions and certain non-formal in the
palace are evidence that these institutions have a cultural identity that is attached to the royal
institution.
However, the stature of cultural identity of the dancers of the Yogyakarta classical dance
style may vary from each other. There are many personal reasons to dance the Yogyakarta classical
dance style but these reasons are not based on cultural identity but rather on individual interest or at
least on affirmative identity. This kind of identity can be regarded as a subtractive identity for the
dancers from Yogyakarta while it becomes additive identity for the Yogyakarta classical dance style
dancers who come from outside Yogyakarta. It is hoped that this is a temporary condition for the
Yogyakarta classical dance style dancers for it is still in the dissonance process. Eventually, one day
a few of them may reach the stage of introspection and integration and finally become dancers of
the Yogyakarta classical dance style who has the Yogyakarta classical dance style as cultural
identity for them. As discovered in the earlier part of this research, matters such as this encourages
the individual’s learning performance, at least when learning intercultural outside Yogyakarta.

(4) Conclusion
The Non-formal education as an agent of cultural transformation for the development of the
Yogyakarta classical dance style is a continuous change as part of the Yogyakarta classical dance
style preservation process that is also the actual embodiment of a preservation agent. The
preservation agent is a changing machine that always gives encouragement and motivation to run
cultural shows and performances. A community of art preservation agents believes that the arts will
continue to live on and is meaningful to the society in each generation of its era.
As a result of socio-cultural change, the agent and transformation channel for the Yogyakarta
classical dance style is very determined by internal and external influences. This change in direction
is very determined by intellectual competency in understanding how important it is to uphold and
preserve the art of classical dance. It is through this framework, each generation will try to preserve
the identity of arts and culture including the Yogyakarta classical dance style. The agents who play
an important role as non -formal Education Institutions become advocates in making the
Yogyakarta classical dance style well-known amongst the public. These agencies provide channels
through the aspects of dance, dance lessons, dance performances and promotion that depicts a
preservation process requires the assistance of these agencies especially to ensure that the
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inheritance strategy of the Yogyakarta classical dance style occurs within the surrounding
communities.

(5) Acknowledgements
I would like to express my sincere gratitude to my advisor Dr. GR. Lono Lastoro Simatupang, my
2nd advisor Prof. Dr. R.M. Soedarsono and my 3rd supervisor Prof. Dr. A.M. Hermien Kusmayati for
the continuous support of my Ph.D. study and research. Special thanks to Madam Nur Nabila
Micheal Lung Abdullah lecturer in Performing Arts department, Universiti Pendidikan Sultan Idris)
for doing this translate in my article. Last but not the least; I would like to thank my family: my
parents Saearani and Foziah, for giving birth to me at the first place and supporting me spiritually
throughout my life.

(6) Bibliography
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Narawati, Tati. (2009). “Peran Pendidikan Tari Puteri Klasik Gaya Yogyakarta Bagi Perempuan
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Suyenaga, Joan. (1999). Rama Sas. Pribadi, Idealisme, dan Tekadnya, eds., Bandung: Masyarakat
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_________________, (1999). Seni Pertunjukan Indonesia & Pariwisata. Yogyakarta: Masyarakat

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