Makna ‘Seneng lan Kemringet’ dalam Festival Lima Gunung

Abstract

This article aims to discover the meaning of the expression ‘seneng lan kemringet’ at FLG (Festival Lima Gunung) in Magelang. The expression ‘seneng lan kemringet’ gives an opportunity to anybody who involved to reveal his existence and to speak about the essence of himself. By building a sense of familiarity, direct involvement in art activities, and dialogue with the farmers about circumstances in the field, it will be possible to reveal the meaning behind the expression ‘seneng lan kemringet'. The research results showed that within the expression 'seneng lan kemringet', there is vitality as a fundamental asset for the FLG sustainability. ‘Seneng lan kemringet’ can also be understood as an autonomy and self-actualization. Additionally, 'seneng lan kemringet' is a part of a game with the goal of displaying self-existence. Finally, ‘seneng lan kemringet’ is an embodiment of self-esteem. Keywords: ‘seneng lan kemringet’, vitality, and game ABSTRAKArtikel ini bertujuan untuk mengetahui makna ungkapan ‘seneng lan kemringet’ pada Festival Lima Gunung (FLG) di Magelang. Ungkapan ‘seneng lan kemringet’ memberi kesempatan bagi yang terlibat untuk mengungkapkan keberadaannya dan berbicara tentang hakikat dirinya. Dengan keakraban, keterlibatan langsung dalam aktivitas kesenian, dan berdialog dengan petani atas kenyataan-kenyataan di lapangan, akan dapat disingkap makna di balik ungkapan ‘seneng lan kemringet’ tersebut. Hasil dari penelitian kami menunjukkan bahwa di dalam ungkapan ‘seneng lan kemringet’ tersimpan daya hidup sebagai modal dasar keberlanjutan FLG. ‘Seneng lan kemringet’ juga dimaknai sebagai otonomi dan aktualisasidiri. Selain itu, ‘seneng lan kemringet’ adalah bagian dari permainan dengan tujuan untuk memperlihatkan eksistensi diri. Pada akhirnya, ‘seneng lan kemringet’ merupakan kebanggaan diri.Kata kunci: ‘seneng lan kemringet’, daya hidup, dan permainan

Javanese Farmers’ Pranata Mangsa Concept as the Ideas of Wayang Beber Creation

“…Each act consists of several scenes drawn (disungging) on a roll of paper or cloth (Subandi; Yuwono, Basuki Teguh; Prabowo, Rahayu Adi; Aswoyo, 2011). The wayang beber performance is carried out by spreading a roll of paper panels from one scene to the next.…”

“…As Ki Sarnen Gunacarita was getting older and was no longer able to perform a puppeteer, Ki Sumardi, who was the 13th generation, performed the Wayang Beber Pacitan. After Ki Sumardi died, the wayang beber performance was performed by a young puppeteer who was not a descendant of Ki Naladerma named Rudi Prasetyo who had acquired the knowledge of puppeteering directly from Ki Sumardi (Subandi; Yuwono, Basuki Teguh; Prabowo, Rahayu Adi; Aswoyo, 2011).…”

Tourism and education intersection: cultural reproduction of Osing community in the Angklung Caruk music festival

“…It has an impact on strengthening the identity and social repositioning of the Osing community in the present and future. and physical activity, which can be compared to sports activities by exploring energy and managing the duration of presentation time [16], [17]. Concerning the psychological dimension, music festivals also support improving the quality of life [18].…”

Communication Patterns of Sendhang Si Dhukun as a Javanese Symbol to Balance Javanese Ideology and their Social Environment

“…Aswoyo explained that the Suran in Ngisor, Magelang was as a reminder of the Tjipto Boedaya hermitage's existence and as a prayer to The Almighty and they made Malam Satu Suro traditional ceremony as a self-introspection. Some arts must be performed at this Suran ritual ceremony [3].…”