Volume 07 Issue 01 January 2024
1Suharji , 2Mukhlas Alkaf 3dan Soemaryatmi
1,2,3Faculty of Permorming Arts, Indonesian Institut of Art (ISI) Surakarta
DOI : https://doi.org/10.47191/ijsshr/v7-i01-43Google Scholar Download Pdf
ABSTRACT
This research was motivated by the need to create a model for handling folk art so that it continues to survive and be sustainable. This research aimed to examine the creative process that underlies their innovation. The Soreng Warga Setuju (SAWS) dance group in a village in Magelang Regency been the object of study. The research questions raised were: 1) what innovations have been applied to the Soreng Dance performance so that it survives until today; 2) what style they applied to their creativity responding the social, cultural and economic situation of today's society. McIntosh's action research scheme becamee a theoretical and methodological framework to analyze the creative process of folk art. This research data needed both visual and aural performances was obtained through direct observation of their performances. Meanwhile, data in the form of statements related to their socio-cultural attitudes was obtained through ethnographic interviews. This research found reflective critical responses in the form of social orientation, artistic orientation, philosophical orientation and instrumentalist orientation. Their creative innovation can be seen in visual-aural and organizational changes. Hermeneutically, old values and beliefs are still reflectively believed by rural communities and even become the basis of their existence socially, culturally and economically.
KEYWORDS:hermeneutic meaning, creative innovation, transmissible parts
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Web-Site
1) https://www.merriam-webster.com/dictionary/folk%20art, dilihat pada 2 Juni 2023
2) https://www.britannica.com/art/folk-art-visual-arts, dilihat pada 2 Juni 2023