文章基本信息

标题：The dynamics of the Lengger art in Prapah village, Panti, Jember 1900-2017
本地全文：下载
作者：S N Layly ; Sumarno ; B Soepeno 等
期刊名称：IOP Conference Series: Earth and Environmental Science
印刷版ISSN：1755-1307
电子版ISSN：1755-1315
出版年度：2020
卷号：485
期号：1
页码：1-6
DOI：10.1088/1755-1315/485/1/012135
语种：English
出版社：IOP Publishing
摘要：Lengger Art was adopted from a grandfather's trip named Kek Mo. On the way to the tomb of Sunan Giri, Kek Mo found his lengger mask worn during Lengger's appearance. The surrounding community accepts the presence of Lengger art. This can be seen when the Lengger art is displayed as an expression of gratitude for the coffee harvest during the Dutch colonial period in 1900. Along with the development of the Lengger Art era, this art developed. In terms of function, the beginning of its function as an expression of gratitude, developed into an entertainment and economic resource for Lengger art performers. In terms of number of players, the initial founding of the Lengger art consisted of 5 people, 1960 was 8, 2000-2003 was 11, and 2003-2017 was 15. Clothing and cosmetology underwent changes, which now developed into complete uniforms along with attributes. and makeup. Equipment, the first booth used offerings, mats, mowo (ember) and Lengger masks; In 1960, dolls increased, from 2000-2017 they did not use dolls. Musical instruments, starting with a drum and 2 flying, the 1960s presented 2 pieces of flying and gamelan. His appearance, starting from the players standing just dancing, 1960-2000 dancing with processions, 2000-2003 dancing to include stories, and 2003-2017 featuring 3 babag namely remo dance, dancing with storytelling, and saweran.