DINAMIKA BARONGSAI BOEN BIO SURABAYA TAHUN 1998-2013

Abstract

In an effort to revive the Barongsai art which has long disappeared after Presidential Instruction no. 14 which was enforced from 6 December 1967 until President Abdurahman Wahid revoked the Presidential Instruction by issuing Presidential Decree no. 6 of 2000, under the auspices of the Indonesian Confucian Religious Council (MAKIN) Boen Bio, the Boen Bio Barongsai association began to be revived as a Chinese artistic identity. Long before the lion dance became the identity of the Chinese community, the lion dance experienced a prolonged suspended animation. Almost 32 years have never appeared in the public sphere. When the presidential order was repealed, the lion dance emerged as one of the main icons of Chinese art. The author formulates the problem as follows: 1) What is the history of the establishment of the Boen Bio Surabaya Barongsai? 2) The dynamics of the Boen Bio Surabaya Barongsai in reintroducing Chinese arts in 1998 2013? The methods used in this study are historical methods, heuristics, criticism, interpretation, and historiography. After the 1998 reform event, the Boen Bio Barongsai began to reappear into society by holding routine exercises and participating in community events. After the Boen Bio Barongsai began to be accepted by society as an art form, the Boen Bio lion dance received many offers to perform. The Boen Bio Barongsai continues to develop not only as a means of ritual, but as entertainment and sport. Movement aspects in the Barongsai have also changed after the reformation, many movements have been adapted to aesthetic or artistic values as a form of commodification of the Barongsai so that it can be accepted by society. Keywords: Barongsai, Dynamics, Surabaya, Boen Bio