Abstract
Royal attire aspect as part of the process of fashion and identity is an interesting phenomenon for a study. Especially if that aspect is then intended as a special element in relation to the events of ceremonialism and performance art in Yogyakarta Palace. In this presentation, a phenomenon which is closely related to the development of attires in the event of ceremonialism and performance art in the palace. Ceremonialism itself is a formal pattern designed for strategic interests which is combined in a compromise manner through the presentation of performance art. As stored in archival and document sources, there are always a number of formal standard patterns applied in ceremonialism. The best sources that are still being treated in the Sultan's Palace are manuscript records such as planners, budgels, pranatan and so on. In addition, through the archival studies approach, it is also known that the pattern of formal memory is also well stored among society record keepers as an oral tradition. This archival studies approach then limits in the area of fashion studies in a variety of standard formal patterns when the Yogyakarta Kraton performing arts perform certain ceremonies.
Highlights
The introductory part of this article will be preceded by an understanding of ceremonialism in a special sense
Ceremonialism itself is a formal pattern designed for strategic interests which is combined in a compromise manner through the presentation of performance art
The pattern of regularity which was started from an etiquette penetration and state procedures among the elites at that time was crucial for the implementation of the fashion process
Summary
The introductory part of this article will be preceded by an understanding of ceremonialism in a special sense. This article examines the Yogyakarta Kingdom that could not be separated from the impact of cultural contact with colonial Dutch until the early nineteenth century. The impact of ceremonialism becomes one of the main assumptions for the start of the fashion process in the dress code procedures involved This impact began to be carried out intensively during the post-Sultan Hamengku Buwana IV era (1816-1823). The observation of Margana in the Surakarta and Yogyakarta Kraton (1769-1874) proves this It was stated in the book, that until the transition of the second Sultan's government to the administration of government by Kangjeng Gusti (Kangjeng Raja or the Crown Prince who would later become Hamengku Buwana III), clear descriptions of the traditions of visiting each other with various forms of performance banquets and party event. It was stated in the book, that until the transition of the second Sultan's government to the administration of government by Kangjeng Gusti (Kangjeng Raja or the Crown Prince who would later become Hamengku Buwana III), clear descriptions of the traditions of visiting each other with various forms of performance banquets and party event. (Note 2) Indications of the pattern of interaction above, it is very possible to occur in the transfer of power of British colonialism back to the era of Dutch colonialism
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