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Komodifikasi Kain Tradisional Karo Pada Era Globalisasi

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Komodifikasi Kain Tradisional Karo Pada Era Globalisasi KOMODIFIKASI KAIN TRADISIONAL KARO PADA ERA GLOBALISASI T E S I S Oleh Brian Titus Tarigan NIM. 147037003 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA M E D A N 2 0 1 7 Universitas Sumatera Utara KOMODIFIKASI KAIN TRADISIONAL KARO PADA ERA GLOBALISASI T E S I S Untuk memperoleh gelar Magister Seni (M.Sn.) dalam Program Studi Magister (S2) Penciptaan dan Pengkajian Seni pada Fakultas Ilmu Budaya Universitas Sumatera Utara Oleh Brian Titus Tarigan NIM. 147037003 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA M E D A N 2 0 1 7 i Universitas Sumatera Utara Judul Tesis : KOMODIFIKASI KAIN TRADISIONAL KARO PADA ERA GLOBALISASI Nama : Brian Titus Tarigan Nomor Pokok : 147037003 Program Studi : Magister (S2) Penciptaan dan Pengkajian Seni Menyetujui Komisi Pembimbing Dr. H.Muhizar Muchtar, M.S. Drs. Bebas Sembiring, M.Si. NIP. 19541117 198003 1 002 NIP. 19570313 199203 1 001 Ketua Anggota Program Studi Magister (S2) Fakultas Ilmu Budaya Penciptaan dan Pengkajian Seni Dekan, Ketua, Drs. Irwansyah, M.A. Dr. Budi Agustono, M.S. NIP. 19621221 199703 1 001 NIP.19600805 198703 1 001 Tanggal lulus: ii Universitas Sumatera Utara Telah diuji pada Tanggal : 9 Februari 2017 Dengan SK Penetapan Panitia Penguji oleh Dekan No. PANITIA PENGUJI UJIAN TESIS Ketua : Drs. Irwansyah, M.A. (……………………..) Sekretaris : Drs. Torang Naiborhu, M.Hum. (..…..………………..) Anggota I : Dr. H.Muhizar Muchtar, M.S. (….………………….) Anggota II : Drs. Bebas Sembiring, M.Si. (...…………………..) Anggota III : Dr. Asmyta Surbakti, M.Si. (……………...……..) iii Universitas Sumatera Utara ABSTRAK Tesis ini berjudul Komodifikasi Kain Tradisional Karo pada Era Globalisasi. Tesis ini merupakan suatu penelitian yang dilatarbelakangi oleh sebuah fenomena komodifikasi terhadap kain tenun tradisional suku Karo yaitu Uis Karo. Uis Karo merupakan suatu unsur kelengkapan dalam budaya masyarakat Karo yang mampu menjadi identitas dan keberadaaan suku Karo ditengah masyarakat banyak. Uis Karo memiliki perbedaan didalam warna, bentuk dan motif. Perbedaan tersebut berkaitan dengan waktu dan tempat penggunaannya pada pelaksanaan kegiatan upacara adat Karo. Di era globalisasi ini, Uis Karo telah menjadi objek modifikasi. Sekarang banyak ditemukan Uis Karo maupun desain Uis Karo tersebut dalam bentuk sovenir berupa tas, dasi, gorden, kaos, ikat pinggang, sarung bantal, dan lain sebagainya. Proses ini menjadikan Uis Karo sebagai suatu komoditi yang memilki tujuan utama yaitu nilai ekonomi. Penelitian memfokuskan pembahasan mengenai : (1) gambaran umum Uis Karo (2) bentuk komodifikasi pada Uis Karo (3) dampak dan makna komodifikasi dalam Uis Karo dan (4) faktor-faktor penyebab Komodifikasi Uis Karo. Penelitian ini menggunakan metode kualitatif. Pengumpulan data dalam penelitian ini dilakukan dengan teknik observasi, wawancara, studi dokumen dan studi pustaka. Metode penelitian yang digunakan adalah metode kualitatif, dengan alat analisis teori-teori kritis yaitu (1) Teori Komodifikasi, 2) Teori Estetika Post Modern, 3) Teori Perubahan Sosial dan Budaya dan (4) Teori Hipersemiotika. Hasil penelitian menunjukkan bahwa komodifikasi Uis Karo terjadi pada Proses produksi, distribusi. Nilai yang dikomodifikasi adalah nilai artistik dan nilai kultural. Komodifikasi Uis Karo terjadi karena berbagai faktor seperti, perubahan mata pencaharian masyarakat, penenunan tradisional yang mulai meredup, kesenian Karo yang mulai ditinggalkan, tingkat pendidikan masyarakat Karo, pengaruh kain songket, pengaruh media sosial dan tuntutan industri kreatif pariwisata. Terdapat dampak dalam penelitian ini terkait dengan komodifikasi Uis Karo, dampaknya adalah perubahanan nilai-nilai kebudayaan, dampak positif peningkatan pengetahuan, dan peningkatan kesejahteraan dalam industri kreatif. Komodifikasi Uis Karo juga mengandung makna-makna lain seperti perubahan makna kesakralan, makna kreativitas, makna pelestarian budaya, makna identitas dan makna estetika. Kata Kunci : Uis Karo, Komodifikasi, Industri Kreatif, Globalisasi iv Universitas Sumatera Utara ABSTRACT The title of this thesis is The Commodification of Karo’s Traditional Cloth in the era of Globalization. This thesis is based on commoditization phenomenon over Karo’s Traditional Cloth, which is Uis Karo. Uis Karo is a must in society culture Karo, which is able to become a identity and existence Karo ethnic in the cultural and sociological pluralism. Uis Karo has differences within color, structure, and motif. That difference related to time and place of their use in implementation of the traditional ceremonies Karo. Nowadays, Uis Karo has become an object to be modified. Now. we find Uis Karo in the form of souvenirs like bag, tie, curtain, shirt, belt, pillowcases, etc. This made Uis Karo as a commodity which has a main objectives of economic value. It’a make Uis Karo as a commodified product which has a main objectives of economic value. The focus of this study was to discuss : (1) the original structures of Uis Karo, (2) the structures of commodification Uis Karo (3) the impact and the meaning of commodification Uis Karo and (4) the factors why the commodification of Uis Karo occurred. This study used qualitative methods. Collecting data in this study was done by using observation, interviews, document, and literature. This study used critical theories, namely: (1) Commodification Theory, (2) Post Modern Aesthetic Theory. (3) Social Change Theory, and (3) Hypersemiotic Theory. The results of this study indicate that the commodification of Uis Karo occurred since the beginning of production process until distribution process. The most essence to be commodified are the value of the artistic and cultural. Commodification of Uis Karo implicated by several factors such as society work, Traditional weaving condition, traditional art has been abandoned, traditional weaving has changed, education, the influence of songket, the influence of media social and development of tourism and creative in Karo. There is some impact and significance in the research related to the Commodification of Uis Karo. The impact is increased knowledge, increased prosperity and employment opportunities, and the degradation of cultural values. Commodification of Uis Karo expanded the meaning included sacred to fun, creativity, sustainability, identity, and aesthetics meaning. Keywords: Uis Karo, Commodification, Creative Industries, Globalization v Universitas Sumatera Utara UCAPAN TERIMA KASIH SALAM SEJAHTERA Ucapan terima kasih yang paling agung dipersembahkan kepada Tuhan Yesus Kristus atas segala limpahan berkat, kuasa, kasih dan anugrah yang tak terkira, kasihnya yang telah disalurkan melalui orang – orang pilihan di sekitar penulis sehingga tesis ini dapat selesai dengan tepat waktu walaupun secara teknis dan konsep masih banyak memiliki kekurangan. Mereka adalah tersebut antara lain: 1. Dr. Muhizar Muchtar sebagai pembimbing I, dan Drs. Bebas Sembiring, M.Si., sebagai pembimbing II atas semua tuntunan, nasehat, serta bimbingannya selama 2 semester dan memotivasi penulis supaya tetap semangat, terus maju, dan tidak menyerah dalam menyelesaikan tesis ini. 2. Dr. Asmyta Surbakti, M.Si., yang memberikan koreksi dan kritikan demi perbaikan penulisan tesis. 3. Drs. Irwansyah, M.A., dan Drs. Torang Naiborhu, M.Hum., selaku Ketua dan Sekretaris Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni, Fakultas Ilmu Budaya, Universitas Sumatera Utara, atas bimbingan akademis dan arahan yang diberikan. 4. Seluruh Dosen Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni atas ilmu yang telah diberikan selama masa perkuliahan. vi Universitas Sumatera Utara 5. Drs. Ponisan sebagai pegawai administrasi, terima kasih atas segala bantuannya selama ini. 6. Prof. Dr. Runtung Sitepu, S.H., selaku Rektor Universitas Sumatera Utara, dan Bapak Dr. Budi Agustono, M.S., sebagai Dekan Fakultas Ilmu Budaya, yang telah memberi fasilitas, sarana, dan prasarana belajar bagi penulis sehingga dapat menuntut ilmu di kampus Universitas Sumatera Utara ini dengan baik. 7. Kedua orang tuaku yang membesarkanku dengan kasih sayangnya, serta kakak, abang dan adik yang telah bersama sejak kecil. 8. Keluarga Tarigan Mergana atas bantuan materi dan non materi yang tanpa pamrih. 9. Kakak, abang dan adek seperjuangan di pengkajian seni, k’Uci, k’Herlin, bg Peta, Dani, Reni sebagai notulen kolokium, Marini, Bintang, Daus dan Riska. 10. Angkatan 15, bg Halamoan sebagai notulen semimar hasil, k’Fitri, k’Eka, Nielson, Nadra, bg Suhar, 11. Pak Tambun dan Ibu Barus selaku narasumber utama. 12. Bulang Sitepu di pasar 6, terima kasih atas buku, masukan dan cerita Uis-Uis lamanya 13. Bulang Bapak Nerlin di Katepul, terima kasih atas masukan, cerita dan nasehatnya. 14. Pastor Leo di Museum Pusaka Karo, terima kasih atas buku-bukunya. vii Universitas Sumatera Utara 15. Tigan di Seberaya, terima kasih atas nasehat, cerita dan masukannya. 16. Bulang Jalan Surbakti, terima kasih atas nasehat, cerita dan masukannya. 17. Fadlin Muhammad Dja’far, terima kasih atas masukannya mengenai masukan kain tenun Sumateranya dan buku-buku motif tenunnya. 18. SMK Negeri 1 Berastagi. 19. Semua ibu-ibu penjual Uis/penjahit di pajak kain Kabanjahe 20. Para kreatif Uis Karo dimanapun berada. 21. Para penulis- penulis yang tercantum di daftar pustaka. Medan, 4 Februari 2017 Penulis, BRIAN TITUS TARIGAN NIM. 147037003 viii Universitas Sumatera Utara RIWAYAT HIDUP IDENTITAS DIRI 1. Nama : Brian Titus Tarigan 2. NIM : 147037003 3. Tempat /
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