EXPLORATION AND EXPLOITATION OF DOL MUSIC AS RITUAL MUSICALITY

Abstract

The exploration and exploitation of Dol musics ideologi, musicality and new sociocultural into the performing arts extend to all elements of Bengkulu society generally. The transformation forms of Dol music as musicality are: sacred musicality becomes secular or profane. The physical form, function, and aesthetic of Dol music in Tabot rituals has an ever-increasing creativity development, musically progress and sosioculture-supporter progress. Dol music commodification is transformed into a new art identity from Bengkulu area. The development of musicality moves freely making change of sacredity ideology.. Problem analysis to reveal the problem used social practice theory, hegemonic theory, and popular culture theory, applied
eclectically by using qualitative method. Data collection is collected and collected by observation, interview, and document study. The research findings, there are forms of exploration and exploitation of Dol music from sacred to secular or profane and vice versa in the context of the commodification of physical musicality, function, and aesthetics in the identity ideology of the supporting community and the musical
space dimension. The secular or profane Dol music permeates and indoctrinates the sacred Dol musical ideology as the musicality ceremony of Tabot ritual. The counterassumption about sacred thing that will experience a shift into secular or profane is not entirely true for Dol music in Bengkulu.

Keywords: exploration and exploitation, Dol music, sacred and secular.