•  
  •  
 

Abstract

This article offers an interpretation of performance artworks that serve as representations of local identity and values in the period of Indonesian new media artists. By emphasizing on local identity, this article seeks to reveal how artists respond to global challenges through artworks while capturing the aesthetics and values prevailing throughout Nusantara (the Indonesian archipelago). Additionally, this research offers an analysis of the timeline and geographic distribution of performers from the standpoint of the growth of new media art. Data were collected using a variety of methods, including observation, interview, and literature review involving both historical archives and literary works. Findings indicate that the two periods of performance art history, i.e. the early era and the digital age, are historically and geographically separated. Even if globalization has affected arts, local identity has never really disappeared during this time; in fact, it is growing stronger. Representations of the archipelago is a sign of the new emerging artists’ presence in the contemporary international art scene. The influence of local identity in artworks, however, is no longer debatable and can reflect an artist's self-identification.

Bahasa Abstract

Penulisan ini mengarah pada pembacaan karya performance art yang memunculkan representasi nilai identitas kelokalan dalam era seniman seni media baru di Indonesia. Nilai identitas kelokalan yang dijabarkan dalam artikel ini bertujuan mengurai respon seniman terhadap isu global melalui kekaryaannya yang tetap merepresentasikan visual dan nilai kenusantaraan. Selain itu penelitian ini memberikan wacana mengenai kronologis dan pemetaan seniman performance art dalam perspektif perkembangan seni media baru. Penelitian ini menggunakan beberapa metode untuk memperoleh data, antara lain: pengamatan, wawancara, observasi (baik secara kearsipan maupun literatur Pustaka). Hasil penelitian menunjukkan bahwa secara kronologi dan pemetaan, seniman performance art terbagi kedalam dua golongan: masa awal dan masa digital. Identitas kelokalan tidak pernah absen dalam periode, dan semakin menguat sekalipun globalisasi menghantam ranah dunia seni. New emerging artist menjadikan kenusantaraan sebagai identitas penanda kehadiran dalam kancah seni rupa internasional kontemporer. Bagaimanapun, identitas lokal tidak lagi dipertanyakan kebenarannya, tetapi dapat menjadi citra identitas diri seorang seniman.

References

Ajisanta, Robet dan Djuli Djatiprambudi. 2021. Overview of the Absurdity of Sekartaji Characteristics dalam ‘The Phenomenon of Pacitan City Traditional Art’. Budapest International Research and Critics Institute- Journal (BIRCI-Journal) 4, no. 4: 11433–11440. https://doi.org/https://doi.org/10.33258/birci.v4i4.3206 (diakses pada 2 Juli 2022).

@rchiveIVAA (Digital Archive of Indonesian Contemporary Art). n.d. Performance Art Indonesia. http://archive. ivaa-online.org/pages/basic_search/page:1/Page.qword:performanceart/Page.category:Khazanah (diakses pada 10 January 2020).

Bandem, I Made. 2000. Melacak Identitas di Tengah Budaya Global. Jurnal Suara Guru. http://lib.unj.ac.id/ jurnal/index.php?p=show_detail&id=2587, diakses pada 2 Juli 2022.

———. 2008. “Performing Arts of Indonesia (Performance Education and Archive)”. Pre-Conference of Society for Ethnomusicology at Wesleyan University, Middletown Connecticut, October 24–28, 1–15. http://sem2008.blogs.wesleyan.edu/files/2008/10/imadebandempaper.pdf (diakses pada 2 Juli 2022).

Blood, Peggy dan Pamela J. Sachant. 2016. Art and Identity. Dalam Introduction to Art Design, Context, and Meaning, ed. Pamela J. Sachant, 211–232. Dahlonega: University of North Georgia Press.

Chountasi, Maria, Panagiotis Dafiotis, dan Stella Sylaiou. 2021. Newness and Openness in New Media Arts and Digital Performances: Contextualizing Greece in the Balkan Scene. International Journal of Performance Arts and Digital Media 17, no. 3: 316–335. https://doi.org/10.1080/14794713.2020.18565 52 (diakses pada 1 Juni 2022).

Cohen, Matthew Isaac. 2016. Inventing the Performing Arts: Modernity and Tradition in Colonial Indonesia. Honolulu: University of Hawai’i Press.

Dharsono (Sony Kartika). 2020. Estetika. Edisi ke-2. Surakarta: LPKBN Citra Sains.

Dixon, Steve. 2006. A History of Virtual Reality in Performance. International Journal of Performance Arts and Digital Media 2, no. 1: 23–54. https://doi.org/10.1386/padm.2.1.23/1 (diakses pada 4 Januari 2022).

———. 2007. Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Kontributor Barry Smith. London: MIT Press. https://books.google.co.id/books?id=hygPEAAAQBAJ (diakses pada 4 Januari 2022).

Goldberg, Roselee. 1979. Performance: Live Art 1909 to the Present. New York: H.N. Abrams.

———. 2011. Performance Art: From Futurism to the Present. Edisi ke-3. New York: Thames & Hudson.

Green, Gaye Leigh. 1999. The Return of the Body: Performance Art and Art Education. Art Education 52, no. 1 (Delineating Through Diversity): 6–12. https://doi.org/10.1080/00043125.1999.11652187 (diakses pada 2 Juni 2022).

Hahriadiani, Agung. 2003. Tisna Sanjaya Jengkol dan Venesia. Tempo. http://archive.ivaa-online.org/ khazanahs/detail/2453# (diakses pada 19 Juni 2022).

Hidajat, Robby, Ahamad Tarmizi bin Azizan, dan Andy Pramono. 2019. Transformation of Mask Function From Ritual To Performance Art During Indianization Era in Indonesia. Asian Journal of Social Sciences & Humanities 8, no. 3 (Agustus): 1–6.

Howell, Anthony. 2013. The Analysis of Performance Art. Edisi ke-1 London: Routledge. https://doi.org/https:// doi.org/10.4324/9781315079813 (diakses pada 4 Januari 2022).

Indoartnow. 2011–2021. Discover Indonesian Contemporary Art, Art Exhibitions, and Indonesian Artists, 2011–2021. https://indoartnow.com/ (diakses pada 18 Januari 2022).

Katsamani, Zoi. 2018. Performance Art and Installations. Neijmegen: Radboud University.

Manovich, Lev. 2001. The Language of New Media. London: The MIT Press.

Nolan, Katherine. 2021. Fear of Missing out: Performance Art through the Lens of Participatory Culture. International Journal of Performance Arts and Digital Media 17, no. 2: 234–52. https://doi.org/10.1080/1 4794713.2021.1929771 (diakses pada 2 Juni 2022).

Permadi, Topan Bagus. 2020a. Absurditas Penokohan Sekartaji. Youtube. http://religiusitasrupa.garasiseni10. com/topan-bagus-permadi/.

———. 2020b. Empty Your Mine. Youtube. 2020. https://serbukayu.org/2020/10/27/topan-bagus-permadi/ (diakses pada 1 Juli 2022).

———. 2020c. Pergeseran Spirtual. Youtube. 2020. https://2020.galnasonline.id/karya/vghyt8vTyJg (diakses pada 1 Juli 2022).

Sanjaya, Tisna. 2003. Pounding Jengkol Painting the Street: Venice Binneal. Asia Art Archive. https:// aaa.org.hk/en/collections/event-database/tisna-sanjaya-pounding-jengkol-painting-the-street-venice-biennial-2003 (diakses pada 19 Juni 2022).

———. 2003. The Special Prayer for the Death. Dalam The CP Open Biennale Exhibit: Change Interpreted. https://biennale.cp-foundation.org/2003/fw_tisna_sanjaya.html (diakses pada 19 Juni 2022).

Santoso, Listyono. 2016. Penguatan Identitas Ke-Indonesia-an: Mendayung di Antara Lokalisme dan Globalisme. Academia.edu. https://www.academia.edu/8509004/Penguatan_Identitas_ke_Indonesia_ an_Mendayung_di_Antara_Lokalisme_dan_Globalisme (diakses pada 19 Juni 2022).

Schechner, Richard. 2013. Performance Studies: An Introduction. Edisi ke-3 Oxon: Routledge.

Sumardjo, Jakob. 2000. Filsafat Seni. Bandung: Penerbit ITB.

Sumaryono. 2011. The Story of Panji Between History, Myths, and Legend. Mudra, Jurnal Seni Budaya 26, no. 1: 1–16. https://repo.isi-dps.ac.id/1695/ (diakses pada 1 Juli 2022).

Tornado, Anggiat, H. Dadang Suganda, Setiawan Sabana, dan H. Reiza D. Dienaputra. 2014. Ideologi Seni Rupa Indonesia Era 1990-an Pada Karya Tisna Sanjaya. Panggung, Jurnal Seni Budaya 24, no. 2: 119–131. https://doi.org/10.26742/panggung.v24i2.111 (diakses pada 19 Juni 2022).

Download

Share

COinS