| 要約: | This study tries to understand life of a ludruk artist named Hasan
Basori, the leader of ludruk group of Bintang Warna. This study discusses
correlation between figure of Hasan Basori and ludruk, and how loyalty of
the ludruk artist with pickup life in art he managed. As a rural artist who
was not assumed as significant contributor or role player of ludruk art,
there was hardly written data concerning the ludruk art which is named
Hasan Basori. Thus, interview method became an absolute way to collect
primary data, with written sources as secondary data. This study focuses
on three following questions: questions associated with art motives,
process of art, and form of an artist who was met when this study was
conducted.
The interview method was used to collect data and obtain
indicators of next informants. Use of development psychology theory by
Erik J. Eriksson indicated that Hasan Basori chose ludruk as a way to selfescape
from constraints facing his family environment. It occurred when
Hasan Basori was childhood and adulthood. During his old age, he found
ludruk as a way to support his family economic life.
Finally, Hasan Basori received such pickup life way as ludruk artist,
although he did not get good economic benefit from the ludruk. While
working other than art to support his daily family life and sometimes
getting profitable offer to show made him never face claims of his loyalty
to this art. Adopting a concept of subsistent farmer by James Scott, Hasan
Basori received ludruk as a field where he had to develop various
strategies and make efforts to survive with ludruk as his main job. He
managed the ludruk as an entertainment product caring for art trend
progress, flexible in various effects to present merriness on stage.
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