vici duta

Campursari is a traditional music phenomenon which has become the most popular entertainment industry in Indonesia, especially Central Java. Its existence has now become widespread and is very well known by the wider community, especially the people in Sragen, Central Java. In campursari music, women have a very big influence in the entertainment industry. The women who are the object of attraction for campursari entertainment industry enthusiasts are often called Sinden. Campursari performances have cultural practices of nyawer and jumeneng, as long as the cultural practices of such campursari performances can add further complexity about their bodies which harbor sexuality. The jumeneng and nyawer meeting involves the relationship between the body of the sinden, the leader of the entertainment industry stage and the entertainment industry audience who are also called Penyawer who dance on the stage. This article wants to look at the phenomenon of the bodies of women who work as campursari singers, interpreting Jumeneng and Nyawer cultural practices in the Campursari Koplo Entertainment Industry and negotiating their bodies, when sinden are made slaves by relations/ power. With a more nuanced perspective by showing the creative space built during the nyawer and Jumeneng cultural practices meeting on this topic.

Sinden originated from the word " pasindhian " which means have many very treasury will song or singing (singing song). Sinden also called waranggana , " wara " means someone who is sex female and " anggana " means alone. Swarawati sued _ have ability broad communication , beautiful body and face , as well as ability sing songs Java. This post discuss subjectivity and autonomy body sinden through figure artist Eka 's woman is passionate. how Sinden Eka Uget negotiate and seek subjectivity in art show puppet skin. Research results this show that subjectivity Eka Uget-Uget's body , how is it? still could show autonomy her body instead Becomes Eka Uget-Uget objek object rather Becomes Subject in the her body. He can make her body as subject. In Thing this , he alone Becomes the controlling actor her body alone. He could have position high bargaining and negotiation _ when he obey or entertain public. Paper this use method qualitative with collected data from Eka Uget-Uget 's YouTube videos and several re-uploaded videos. through study this show that sinden entitled for appreciate and express her body alone without must intervened by other forces outside her body .

"Semiotics and the Meaning of Gendhing Sungkeman in Javanese Traditional Wedding Ceremonies in the city of Solo" is motivated by the reception of social and cultural facts in the city of Solo in the expression of the city's culture, there are stages of sacred and meaningful ceremonies. The sungkeman procession and the accompanying gending behind the sungkeman, are reinterpreted through academic activities in this thesis: 1) How is the Semiotics Analysis of Javanese traditional weddings in Surakarta City, 2) How the people of Surakarta City interpret the sungkeman procession. 3) How do the people of Surakarta City interpret the gending accompanying Sungkeman.
This research is a qualitative research, data collection is done through observation, literature study, interviews, data analysis, and data presentation. The concept used to reveal the problem is Cliford Gertz's version of the interpretative concept of culture, that cultural facts reside in the mind (knowledge), are manifested in models, determine behavior and actions in life, and Yasraf Amir Pilliang's cultural semiotics about manka is formed through markers (media) and sign (meaning).
Discussion and analysis were carried out, found and concluded, sungkeman was interpreted philosophically, socially and symbolically by the people of Surakarta City. The philosophical meaning is interpreted as an expression of gratitude to parents, as well as a sign of a child entering a new phase, married. Sungkeman is interpreted as a social reality in society as an educational process for the younger generation. Gending sungkeman is interpreted as an element of strengthening the atmosphere of the sungkeman procession. Gending represents a symbol of life during the sungkeman procession.

Gemblak today still exists in the local community of Ponorogo and the Reog art community who believe in mystical things in this millennial era, there is also the Gemblak community and the Gemblak lover community itself. Usually the men he chooses are handsome and among people who have a low economy. This man was prepared from an early age to dance jathil and is better known as Gemblak. However, many Ponorogo people do not agree with this culture. Finally, gradually these Gemblaks were removed, because they did not conform to the norms of religion.
Gender in a Gemblak is not a direct gift (given) from God, but a condition that has been socially constructed by society (Foucault, 1978:82). Since birth, Gemblak cannot freely choose what gender they want to use, they are required to follow gender rules that have been constructed by the community. Gender is usually attached to an individual's gender, such as the female gender tends to be associated with the feminine and the male gender tends to be associated with the masculine. The actions of men and women are also regulated by gender through various norms and discourses that develop in society, such as men who in every action must comply with masculinity standards in order to be considered a real man. However, gender in the Gemblak community depends on their family, if in the past the father was a Gemblak, the son had to act masculine like cooking, doing makeup, and so on, as well as for their daughter at the same level as her brother or younger brother. .

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