Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009

Yudiaryani Yudiaryani, Wahid Nurcahyono, Sylvia Angreni Purba


Cultural identity in ketoprak performance should depart from all cultural products themselves. Strengthening the form of ketoprak performance in the middle of the era becomes important for artists in building their creativity. The strategy was designed so that people assume that ketoprak was theirs and able to be their representation. Based on the data collected, the number of groups, performances, and ketoprak artists in DIY were as follows. The number of groups in four districts and one municipality were 497 groups. The number of ketoprak showed from 1999-2009 was 145 times. The highest number of ketoprak groups was in Kulonprogo Regency, followed by Gunungkidul Regency, Bantul Regency, Sleman Regency, and finally the Municipality. The year 2005 was a milestone in the development of ketoprak to the present. The successful renewal of ketoprak shows can be seen by the number of shows which are 113 times over five years (from 2005 to 2009), which means that there were twenty ketoprak shows every year, and every month there were two ketoprak shows. The condition was triggered by several factors as follows. First, local government awareness to determined the icon of DIY tourism as part of globalization. Second, the awareness of artists to package performances that match the demands of the times. Third, awareness of the artistic layout strategy using symbolic and supported by Tobong ketoprak tricks. Fourthly, the influence of ketoprak humor and ketoprak R&D which still uses the style of play and jokes, causes the ketoprak show to be no longer a mere political tool, but a tool and place of friendship for the citizens. Fifth, the story was no longer based on myths, chronicles and legends, but penetrated the wayang story but with a more contextual interpretation of the story with the present. By seeing the many activities of ketoprak performances in DIY it can be said if ketoprak has become an icon of culture and tourism in DIY. Ketoprak performances tread its survival was no longer a traditional art, but has become a form of modernist art. Over the past ten years, the ketoprak show has experienced quite improved conditions. The vigilance of artists and audiences must be constantly reminded. The trick was to continuing to enhance the role of government as a protector of arts and culture. The ketoprak festival must continuing to be held continuously. Improving the skills of ketoprak artists must continuing to be sharpened. Of course the friendship between Ketoprak artists must continuing to be encouraged. Government’s appreciation for ketoprak artists must be increased.
Keywords: identity; ketoprak; strengthening; globalization

Full Text:



Barthes, Roland. 1981. “Theory of the Text”, dalam Robert Young, ed. Unitying the Text. A Post Structuralist Reader, London and New York: Routledge.

Dananjaya, James, 1983.“Fungsi Teater Rakyat Bagi Kehidupan Masyarakat Indonesia.

(Ketoprak/Dagelan Siswo Budoyo Sebagai Suatu Kasus Studi)”, dalam Edi Sedyawati.

Sapardi Djoko Damono, ed. Seni Dalam Masyarakat Indonesia. Bunga Rampai, Jakarta: PT Gramedia Pustaka Utama.

De Marinis, Marco. 1993. The Semiotics of Performance. Terj. Aine O’Heady, Bloomington and Indianapolis: Indiana

University Press

Hirsch, Jr., E. D. 1967.Validity in Interpretation, New Haven and London: Yale University Press.

Jabrohim (ed.), 2003. Metodologi Penelitian Sastra, Yogyakarta: Hanindita Graha

Widya, 2003. Jauss, Hans Kuntowijoyo, Metodologi Sejarah , Yogyakarta: PT Tiara Wacana Yogya.

Kussudyarsana, Handung. 1989. Ketoprak, Yogyakarta: Penerbit Kanisius.

Muhajir, Noeng. 2000. Metodologi Penelitian Kualitatif , Yogyakarta: Rake Sarasin,

Pavis, Patrice. 1992. Theatre at the Crossroads of Culture, New York: Routledge, London,

Rendra, 1984. Mempertimbangkan Tradisi, Jakarta: PT Gramedia.

Soedarsono, 2001. Metodologi Penelitian Seni Pertunjukan dan Seni Rupa, Bandung: MSPI & arti.line.

Sweeney, Amin. 1987. A Full Hearing. Orality and Literacy in the Malay world, London: University of California Press, Ltd.

Vansina, Jan. 1985. Oral Tradition as History, Wisconsin: The University of Wisconsin Press.


Article Metrics

Abstract view : 98 times
PDF - 94 times


  • There are currently no refbacks.

View My Stats


Flag Counter