THE CREATION OF GUPAY PANGWANOH DANCE ACCORDING TO HOMI BHABHA’S THEORY OF HYBRIDITY
DOI:
https://doi.org/10.56107/ijpa.v2i1.106Keywords:
Posconoloneialism, Hybridity, CultureAbstract
Hobby K Bhabha identified that the theory of Poscononialism is a branch of critical theory that
focuses on the colonial experience based on the point of view of a colonized society, systematically
postcolonialism means something that has a concern in the national culture after the departure of
imperial power which is a branch of study of cultural studies focused on socio-cultural analysis.
Homi K bhabha identified that within the Posconoloneonial there appears cross-cultural in society
in forms such as attitudes and cultures that enter and are called Hybridity. In this case, it will be
reviewed from the Gupay Pangwanoh Dance Works to reveal which aspects are Hybridity. As a
methodological tool, the author uses the PLH method where this method is an empowerment that
we do consists of a process of socializing lectures on brainstorming demonstrations and imitation.
From this journal, the author found the identification of Hybridity in the Pangwanoh Gupay
Dance, especially in the aspect of movement in the dance.
References
Anoegrajekti, Novi dan Sudartono Macaryus. (2017), “Hibriditas Multikultural dalam Sastra Indonesia, Jurnal Universitas Negeri Jember, pp. 587-596. http://jurnal.unej.ac.id , accessed on 5 April 2021.
Fajar, Yusri. (2011), “Negosiasi Identitas Pribumi dan Belanda dalam Sastra Poskolonial Indonesia Kontemporer”, Jurnal Literasi, 1 (2): 178-186.
Faisal, M. and Aprilia, R. (2021), “Dampak Kolonialisme Pembentukan Identitas Budaya Poskoloni Homi Bhabha”, Titik Dua Jurnal Pembelajaran Bahasa dan Sastra Indonesia https://ojs.unm.ac.id/titikdua/article/view/24068 accessed on 5 April 2021.
Hadi, Sumandiyo Y. (2018). Revitalisasi Tari Tradisional. Yogyakarta: Cipta Media.
Hafeez, S., & Hasnu, S. (2010), “Customer satisfaction for cellular phone in Pakistan: A case study of Mobilink”, Business and Economics Research Journal, Vol.1 No. (3), pp. 35-44.
Indrayuda. (2010). “Fenomena Tari Kontemporer dalam Karya Tari”. Jurnal Pendidikan dan Kebudayaan vol. 16, no. 1, 2010, pp. 64-75, doi:10.24832/jpnk.v16i1.432.
K. Bhabha, Homi. (1994). The Location of Culture. London: Routledge.
Minarti, Helly. (2009). Mencari Tari Modern/Kontemporer Indonesia. Academia Edu https://www.academia.edu/download/32948662/Cipta-Helly-tari.pdf .
Nursilah, N. (2022). Packaging Model of The Creative Arts Industry Based on Mapping The Arts of The Nusantara Culture as a Multicultural Based Political Policy Strategy. International Journal of Performing Arts (IJPA, Vol.1 No.1, 47-64. https://doi.org/10.56107/ijpa.v1i1.15 .
Nursilah, T. S. (2018, November). “Artistic Qualities of Traditional Artists in The Creative Process of Performing Arts in Indonesia”. In 1st International Conference 2018 (p. 338).
Pindika, Anata. Accessed on 30 December 2022. https://ereport.ipb.ac.id/id/eprint/3299/4/J3B817106_04_Anata%20Pindika_Pendahuluan.pdf .
Saint-D. (2022), https://www.saintd.co/2020/05/sejarah-breakdance.html?m=1, accessed on 5 April 2022.
Sedyawati, Edi. (2014). Pertumbuhan Seni Pertunjukan. Jakarta: Sinar Harapan.
Widiyanti, Dhyani. (2019), “Fashion Lurik Kontemporer sebagai Hibriditas dalam Budaya Urban”, Jurnal Seni Urban, Vol.3 No.2, pp 89-172. Accessed on 30 December 2022 https://jurbalurban.pascasarjanaikj.ac.id/index.php/jurnalurban/article/view/34/35 .
YouTube
Kajian Pascakolonial Video 1: Pengantar. Diunggah oleh Katrin Bandel pada 16 April 2021. Diakses pada 30 Desember 2022 https://www.youtube.com/watch?v=jK8dtuUkgEk.
Kajian Pascakolonial Video 6: Hibriditas. Diunggah oleh Katrin Bandel pada 9 Juni 2021. Diakses pada 30 Desember 2022 https://www.youtube.com/watch?v=cPw_91PFilE.
