The Existence of Tayub in Nganjuk in 1996-2009



The Existence of Tayub in Nganjuk in 1996-2009; Wahyu Fitriyani, 120110301012; 2016; 155 pages: History Departement Faculty of Humanities Jember University.


This article discusses The Existence of Tayub in Nganjuk in 1966-2009 in terms of its development and/or decline. The subjects of this research are some regions that have high intensity of tayub performances, i.e. Nganjuk-Sambirejo and Tempuran. Nevertheless, both of them have their own characteristics. Meanwhile, the research questions are (1) the background of tayub’s decline, especially its intensity and numbers of artist; (2) the existence of tayub in Nganjuk in 1996-2009; and (3) the effects of tayub toward social, economy, and culture.

The goals of this research is to know the history of tayub’s development since it faces decline in 1996 besides, the government facilitates it through having Padepokan Langen Tayub Anjuk Ladang. At the beginning, tayub comes from the tradition of Javanese kingdoms, including Nganjuk. Unfortunately, tayub in Nganjuk faces up and down development so that the government puts their attention seriously during 1996-2009. Additionally, both the artists and also the society realize that tayub affects to the social, economy, and culture. Tayub is a people-live shows which is related to the life of the artists.

This research uses some kinds of methods, i.e. heuristics, source critics (internal and external), interpretation, and historiography. In addition, the researcher also uses ethnochoreology approach to describe tayub as the cultural products which are able to affect suciocultural life (contextual) and to analyze some supported-factors of tayub, tayub’s elements i.e. dance, music, makeup, wardrobes, and stages (textual). Further art performances-function theory is used in this research, that is primary function and secondary function.

The result of this research shows that tayub has decline in terms of quantity and quality of development in 1996, so that it needs a serious prohibilitions. Besides, The Departement of Local Culture and Tourism that takes care of art in Nganjuk build a workshop as the place to held seminars, sharing-events etc. This workshop also launches a positive event recently, i.e. Tayub Padang Bulan in 2006. Further, that event becomes the trademark of Nganjuk which contains some renewals of rules, wardrobes, and stages, including clarifying the negative perspective of society toward tayub. In Tempuran, Ngluyu most people still uses old-fashioned-tayub although they have given enlightement about Tayub Padang Bulan. In fact, Tayub Padang Bulan has a good responses from many people. Moreover in 2009, the annual event gembyangan waranggana in Sambirejo collaborates with gembyangan in Sedudo Waterfall. Additionally, in 2009 tayub is addressed as the city icon of Nganjuk. Nevertheless, the pro and contra inside the government makes that idea cannot be.

The conclusion in this research is tayub has relevant values with local cultures, i.e. togetherness, unity, and egality. In addition, tayub faces a long and tough process to be the local tradition that is accepted by the society. By the times, tayub does an innovation toward gendhing, makeup, wardrobes, and traditional dances to be more interesting and follows the latest tren without losing its traditional identity. Additionally, artists of tayub have decreased by the years because the young generations are more interested to the modern tren/culture. Besides, the government also makes a lot of rules to limit tayub.


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