S.Y. Sudikan, T. Indarti, N. Afdholy
Thak-Thakan becomes the bargaining power of the essence of local cultural heritage in a performance in Indonesia, especially in East Java. The musical accompaniment that is played creates an atmosphere of sacredness combined with the appearance of animal figures and astral beings in the series of stories. The Thak-Thakan show is a local art charm that has its own charm in the minds of the audience. The purpose of this study is to describe the forms of commodification, supporting elements, meanings and functions of the performing arts of Thak-Thakan Gembong Singo Lawe in East Java, Indonesia. This research is an ethnographic qualitative. Data were collected through literature study, observation, in-depth interviews, and focus group discussions with artists, community leaders, and cultural stakeholders. The results showed that there were seven forms of Thak-Thakan commodification, namely: masks, stage, clothing, time, offerings, musical instruments and accompaniment, and forms of performance. It can be seen from the back stage and front stage processes, including those related to production, distribution, and consumption. Commercialization as an external factor and the idealism of the Tuban people as an internal factor caused the commodification of Thak-Thakan performing arts. The meaning and function of sacred Thak-Thakan still ap-ply today. The meaning and function of profane Thak-Thakan is an extension of the previous meaning and function of Thak-Thakan, namely religiosity. The new finding in this study is the artistic response of the people of Tambakboyo District, Tuban Regency, East Java. © 2023, Angelo Pontecorboli Editore. All rights reserved.
Departement Language and Literarure Education, Universitas Negeri Surabaya, Surabaya, Indonesia; Graduate Program of Literary and Cultural Studies, Faculty of Humanities, Universitas Airlangga, Surabaya, Indonesia
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