Jalan Seni Pertunjukan Di Muhammadiyah: Tarik Ulur Seniman, Pimpinan, Dan Masyarakat Muhammadiyah

Heni Siswantari, Prof. Dr. Heddy Shri Ahimsa-Putra, M.A., M.Phil; Dr. Samsul Maarif, MA

2026 | Disertasi | S3 Pengkajian Seni Pertunjukan dan Seni Rupa

Seni pertunjukan dalam Muhammadiyah menghadapi pertentangan mendasar antara identitas modernis puritan yang terus memunculkan perdebatan mengenai batasan ajaran agama dan kebebasan berekspresi seni. Penelitian ini mencoba menelusuri jejak jalan  seni pertunjukan Muhammadiyah dari tahun 1912-2024. Penelitian ini juga berusaha mengkaji proses tawar menawar antara seniman, pimpinan organisasi (Majelis Tarjih dan Tajdid), dan masyarakat akar rumput dalam membentuk pola praktik seni pertunjukan Muhammadiyah.

Metode penelitian yang digunakan yaitu kualitatif melalui pengamatan langsung yang melibatkan peneliti, wawancara mendalam dengan 45 narasumber (seniman, pimpinan, dan masyarakat Muhammadiyah) di 8 Provinsi, serta kajian arsip dokumen resmi Muhammadiyah terkait seni pertunjukan. Langkah langkah analisis data kualitatif yang digunakan dalam penelitian ini yaitu meliputi persiapan dan pengorganisasian data, transkripsi data, pemahaman korpus data, memoning data, koding data, menghasilkan kategori dan tema, serta melaporkan hasil analisis. Triangulasi dilakukan melalui 5 tahap yaitu pengumpulan data dari berbagai sumber dan teknik, 2) Perbandingan informasi dengan pemangku kepentingan, 3)Perbandingan dengan temuan di lapangan, 4) Penerapan kode triangulasi dan 5) Analisis dan interpretasi temuan.

Hasil penelitian menunjukkan perkembangan seni pertunjukan Muhammadiyah dari masa colonial, kependudukan Jepang, Awal kemerdekaan, Orde baru, dan Reformasi yang menunjukkan dinamika yang sangat menarik. Gagasan pro dan kontra seni dalam Muhammadiyah menghasilkan berbagai respon  baik seniman, pimpinan maupun masyarakat. Terdapat tiga pola sikap seniman (1) eksploratif, yang memaknai kreativitas seni sebagai sarana pengalaman spiritual yang melampaui batas formal; (2) negosiatif, yang mengembangkan perpaduan kontekstual antara budaya lokal dan nilai Islam; dan (3) integratif, yang mengutamakan kepatuhan terhadap ajaran dan keputusan organisasi. Ketiga pola ini berinteraksi melalui tiga dimensi utama yaitu artistik (perubahan dan penyesuaian bentuk pertunjukan), simbolik (penafsiran ulang makna), dan ideologis (dialog antara spiritualitas dan kreativitas).

Kontribusi teoretis utama penelitian ini terletak pada perumusan medan tension field triadik (seniman, pimpinan, masyarakat) sebagai model analisis baru. Penelitian ini memperkaya studi seni pertunjukan dengan memperkenalkan negosiasi performativitas yang menghasilkan negosiasi estetika sebagai model khas identitas seni pertunjukan dalam Muhammadiyah yang mana seni menjadi arena tarik menarik berkelanjutan antara tuntutan kemurnian doktrin agama dan aspirasi estetika modern.

Performing arts within Muhammadiyah face a fundamental conflict between its puritanical modernist identity, which continues to spark debate over the boundaries of religious teachings and freedom of artistic expression. This study attempts to trace the dynamics of Muhammadiyah performing arts from 1912 to 2024. It also examines the negotiation process between artists, organizational leaders (Majelis Tarjih and Tajdid), and the grassroots community in shaping Muhammadiyah performing arts practices.

The research method used was qualitative through direct observation involving researchers, in-depth interviews with 45 informants (artists, leaders, and Muhammadiyah community members) in eight provinces, and a review of official Muhammadiyah archives related to performing arts. The qualitative data analysis steps used in this study included data preparation and organization, data transcription, understanding the data corpus, data memorization, data coding, generating categories and themes, and reporting the analysis results. Triangulation was conducted through five stages: 1) data collection from various sources and techniques, 2) comparison of information with stakeholders, 3) comparison with field findings, 4) application of triangulation codes, and 5) analysis and interpretation of findings.

The research results show the development of Muhammadiyah performing arts from the colonial period, the Japanese occupation, early independence, the New Order, and the Reformation, demonstrating a very interesting dynamic. Pro and con ideas about art within Muhammadiyah have generated various responses from artists, leaders, and the community. Three patterns of artist attitudes are identified: (1) explorative, which interprets artistic creativity as a means of spiritual experience that transcends formal boundaries; (2) negotiative, which develops a contextual blend between local culture and Islamic values; and (3) integrative, which prioritizes adherence to organizational teachings and decisions. These three patterns interact through three main dimensions: artistic (change and adaptation of performance forms), symbolic (reinterpretation of meaning), and ideological (dialogue between spirituality and creativity).

The main theoretical contribution of this research lies in the formulation of a triadic tension field (artist, leader, community) as a new analytical model. This research enriches the study of performing arts by introducing the negotiation of performativity that produces aesthetic negotiation has become a distinctive model of performing arts identity within Muhammadiyah, where art becomes an arena for continuous negotiation between the demands of the purity of religious doctrine and modern aesthetic aspirations.

Kata Kunci : Seni Pertunjukan, Identitas, Muhammadiyah, Negosiasi Performativitas, Negosiasi Estetika