HYBRIDITY OF BEKSAN FLORET PURA PAKUALAMAN YOGYAKARTA: POSTCOLONIAL STUDY

Feri Catur Harjanta, K. Kuswarsantyo

Abstract


During the British colonial era, there was an important momentum in the city of Yogyakarta. The important moment was the birth of a kingdom called Pura Pakualaman or Pakualaman Palace where Prince Notokusumo was known as Sri Paku Alam I. He could not be separated from the political contract between the British government and Sri Sultan Hamengku Buwono II. During the reign of Sri Paduka Paku Alam IV, he was very close to the Dutch government so that most of the art of dance at that time was influenced by Dutch culture. The artworks of Sri Paku Alam IV include Srimpi Nadheg Putri, Beksan Floret, Beksan Sabel, Beksan Inum and Beksan Penthul Tembem. The object of this research was Beksan Floret. Meanwhile the method used in this study was a qualitative method with a post-colonial approach. In this study, a theory from Homi K Bhabha which explains hybridity was used. Post-colonial representations have several characteristics, including power relations, identity, ambivalence, and mimicry. Based on the results of post-colonial representation, it can be further elaborated as follows: (1). Beksan Floret reflects a split identity, (2) There is a power relation, which is legitimate, emancipatory, hierarchical and dominative, (3) Mimikri Beksan Floret itself gives birth to ideas about dynamic, creative and independent especially in costume and choreography, (4). The ambivalence of Beksan Floret is reflected in the reconstruction process. From Beksan Floret's postcolonial representation, hybridity emerged, namely in the form of choreography, costumes and ideas.

 

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Pura Pakualaman, Beksan Floret, hybridity, post-colonial

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References


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DOI: http://dx.doi.org/10.46827/ejes.v0i0.3096

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