Traditional Art of Excluded
In the inauguration speech of art or attraction, often we hear the rhetoric of government officials, national and local, about the development of local traditional culture, especially art. Community diwanti cautioned to continue to be more creative art, in order to generate foreign exchange resources.
In other words, the artists are encouraged only to the extent feasible to develop a culture of art sold, while the arts are not left alone profitable.
Unwittingly, this perspective ultimately produce some effect. Government in its policy only provides the budget to the model and local arts groups that might be advantageous material. And then the perpetrators of the traditional arts are becoming increasingly materialistic, selfish, without seeing the impact of development for the next generation.
Then look no different from traditional art with modern art that emphasize personal popularity and material gains. Similarly, behavioral tendencies of artists who are free to violate the moral values and ethical traditions. Like the Hollywood stars who wallow property and have multiple sexual partners and taking drugs.
Although up to now such behavior is still dominated by traditional artists who have menasional, it is quite possible regional artists also do the same.
Another consequence is that such policies lead to friction between the actors of traditional arts in the regions. On the one hand there is the mindset of the artists who stay true to that art is the actualization of the soul and inner purification to the liver.
While on the other hand, some artists assume traditional art as a product that requires effort and worth investors traded with the target material benefit
as much as possible. Yet we know that if arts groups has been regarded as a 'factory' that produces a variety of products, of the spirit-the essence of artistic activity itself will disappear and soul performers as well as local communities become dry.
In addition, solidarity among artists also minimal. The local artists who already bears the name of and played in various movies, soap operas and variety of advertising products, no longer feel responsible for the development of traditional art that has originated.
And if they are aware, most of his income should be donated in the form of a building or a decent studio. Minimal in their areas of origin, so that the next generation can continue to develop the traditional art of the ancestors. Because, as in Malang Raya no more than three arts buildings worth taking. And even then its use must go through a very complex bureaucracy, the following rent a small no.
Political institutions were Memolitisir Arts
Indeed, these twists and turns during the development of traditional arts do not get out of participation in the political institutions. Political parties always wore arts groups as a tool of political campaigns.
Often we see many political parties invited the various arts groups in the memorial 'anniversary' or the party's annual meeting. In fact, the moment was used as sort of an annual agenda for the group of artists themselves. Although it is only certain that arts groups close to the party who can perform in such events.
Approximately since the 1950s, and has continued until the New Order government, the existence of both traditional art ludruk, ketoprak and dance groups rely on government support, political parties, or organizations. Political parties organize and deliver the container to the traditional artist can still perform.
The difference is the artist in the 1950s freed critically assess what government policy, political institutions, and organizations which obviously did not favor the people. They are also free to denounce injustice and distortions of moral ethics of public officials. This is where artists and inner satisfaction are met, so the impact on the development of art that feels very rapidly.
Although there are here also seen artists ideological frictions that can not be avoided.
This situation changed drastically when the tragedy occurred G 30 S 1965 and gave birth to a new government, the New Order regime. A variety of arts groups and then taken over by the military, and put the word 'Yudha' behind the group name. Since then also, freedom of expression the artists confined.
Almost all scenarios homogenized stories, in order to maintain national stability. These artists also are like a clown, and not the teacher for the audience.
Along with that event, interest in traditional art lovers are decreasing, and forcing the artists to leave the activity. The fate of artists even this is compounded by the growing displacement of traditional art due to the introduction of Western-style art.
Amid the wave of globalization that forced the state to capitalize on traditional culture, and view their own government that treats art and culture such as 'factories'. So the suggestion of the founders of this country to develop local cultural values apparent identity increasingly inaudible. Especially after the government's policy was obviously not in favor of the development of folk art.
It looks, for example, how the lack of budget 2007 budget of East Java Province, which is applied to the development of culture. As the institute report Desantara (Surya, 4 February 2007), recorded only 1 percent of the total budget of Rp 5 trillion budget, which is earmarked for cultural programs. Unfortunately approximately Rp 50 billion cultural budget, nearly 60 percent is used for staff salaries and internal shopping service.
The new remainder is divided into various programs, such as: the management of cultural diversity, development and tourism marketing. (Including art), the bureau of mental and spiritual development, the development of cultural values and management of cultural assets.
With great diversity of artistic areas in East Java, it is clear that big budget is very inadequate.
Thus, various causes destruction of our traditional arts. When the younger generation no longer in love with traditional art which is considered not profitable, they will leave and explore foreign cultures which he considers a high sales value. And ironically, foreign young students begin to learn our traditional art in depth. Therefore do not be surprised. if one day festival of arts champion ludruk East Java is not carried off by the generation of derivatives, but rather the Dutch. Art entirely the responsibility of society as the owner of the arts. if only they have the sensitivity, creativity and respect for the traditional arts can continue to exist and not marginalized in the midst of westernization in the guise of modernization.
Finally, that this concern does not happen, then we all, governments, artists and the general public should be more respectful of traditional art itself. How, we should be more socializing functions and the main essence of the traditional arts to the community. In addition, a concern that the government should not present the traditional arts field as a mere moneymaker.
In other words, the artists are encouraged only to the extent feasible to develop a culture of art sold, while the arts are not left alone profitable.
Unwittingly, this perspective ultimately produce some effect. Government in its policy only provides the budget to the model and local arts groups that might be advantageous material. And then the perpetrators of the traditional arts are becoming increasingly materialistic, selfish, without seeing the impact of development for the next generation.
Then look no different from traditional art with modern art that emphasize personal popularity and material gains. Similarly, behavioral tendencies of artists who are free to violate the moral values and ethical traditions. Like the Hollywood stars who wallow property and have multiple sexual partners and taking drugs.
Although up to now such behavior is still dominated by traditional artists who have menasional, it is quite possible regional artists also do the same.
Another consequence is that such policies lead to friction between the actors of traditional arts in the regions. On the one hand there is the mindset of the artists who stay true to that art is the actualization of the soul and inner purification to the liver.
While on the other hand, some artists assume traditional art as a product that requires effort and worth investors traded with the target material benefit
as much as possible. Yet we know that if arts groups has been regarded as a 'factory' that produces a variety of products, of the spirit-the essence of artistic activity itself will disappear and soul performers as well as local communities become dry.
In addition, solidarity among artists also minimal. The local artists who already bears the name of and played in various movies, soap operas and variety of advertising products, no longer feel responsible for the development of traditional art that has originated.
And if they are aware, most of his income should be donated in the form of a building or a decent studio. Minimal in their areas of origin, so that the next generation can continue to develop the traditional art of the ancestors. Because, as in Malang Raya no more than three arts buildings worth taking. And even then its use must go through a very complex bureaucracy, the following rent a small no.
Political institutions were Memolitisir Arts
Indeed, these twists and turns during the development of traditional arts do not get out of participation in the political institutions. Political parties always wore arts groups as a tool of political campaigns.
Often we see many political parties invited the various arts groups in the memorial 'anniversary' or the party's annual meeting. In fact, the moment was used as sort of an annual agenda for the group of artists themselves. Although it is only certain that arts groups close to the party who can perform in such events.
Approximately since the 1950s, and has continued until the New Order government, the existence of both traditional art ludruk, ketoprak and dance groups rely on government support, political parties, or organizations. Political parties organize and deliver the container to the traditional artist can still perform.
The difference is the artist in the 1950s freed critically assess what government policy, political institutions, and organizations which obviously did not favor the people. They are also free to denounce injustice and distortions of moral ethics of public officials. This is where artists and inner satisfaction are met, so the impact on the development of art that feels very rapidly.
Although there are here also seen artists ideological frictions that can not be avoided.
This situation changed drastically when the tragedy occurred G 30 S 1965 and gave birth to a new government, the New Order regime. A variety of arts groups and then taken over by the military, and put the word 'Yudha' behind the group name. Since then also, freedom of expression the artists confined.
Almost all scenarios homogenized stories, in order to maintain national stability. These artists also are like a clown, and not the teacher for the audience.
Along with that event, interest in traditional art lovers are decreasing, and forcing the artists to leave the activity. The fate of artists even this is compounded by the growing displacement of traditional art due to the introduction of Western-style art.
Amid the wave of globalization that forced the state to capitalize on traditional culture, and view their own government that treats art and culture such as 'factories'. So the suggestion of the founders of this country to develop local cultural values apparent identity increasingly inaudible. Especially after the government's policy was obviously not in favor of the development of folk art.
It looks, for example, how the lack of budget 2007 budget of East Java Province, which is applied to the development of culture. As the institute report Desantara (Surya, 4 February 2007), recorded only 1 percent of the total budget of Rp 5 trillion budget, which is earmarked for cultural programs. Unfortunately approximately Rp 50 billion cultural budget, nearly 60 percent is used for staff salaries and internal shopping service.
The new remainder is divided into various programs, such as: the management of cultural diversity, development and tourism marketing. (Including art), the bureau of mental and spiritual development, the development of cultural values and management of cultural assets.
With great diversity of artistic areas in East Java, it is clear that big budget is very inadequate.
Thus, various causes destruction of our traditional arts. When the younger generation no longer in love with traditional art which is considered not profitable, they will leave and explore foreign cultures which he considers a high sales value. And ironically, foreign young students begin to learn our traditional art in depth. Therefore do not be surprised. if one day festival of arts champion ludruk East Java is not carried off by the generation of derivatives, but rather the Dutch. Art entirely the responsibility of society as the owner of the arts. if only they have the sensitivity, creativity and respect for the traditional arts can continue to exist and not marginalized in the midst of westernization in the guise of modernization.
Finally, that this concern does not happen, then we all, governments, artists and the general public should be more respectful of traditional art itself. How, we should be more socializing functions and the main essence of the traditional arts to the community. In addition, a concern that the government should not present the traditional arts field as a mere moneymaker.