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Widyadari DOI: 10.5281/Zenodo.4661300 Vol Widyadari DOI: 10.5281/zenodo.4661300 Vol. 22 No. 1 (April 2021) e-ISSN : 2613-9308 p-ISSN : 1907-3232 Hlm. 195 - 208 DAMPAK PARIWISATA TERHADAP FENOMENA SEKULARISASI DALAM SENI PERTUNJUKAN WAYANG KULIT BALI I Ketut Muada1*, Nyoman Astawan2, I Nyoman Sadwika3 FKIP Universitas PGRI Mahadewa Indonesia Email: [email protected], [email protected], [email protected] ABSTRACT The purpose of this study is to understand the impact of tourism on the phenomenon of secularization in Balinese shadow puppet performances. Tendencies to make worldly and rational interpretations are often called secularization. Therefore secularization can be understood as a realistic way of thinking or a basis of social and rational considerations, still placing religion as a moral guidelines. When secularization is defined as liberation, it does not mean free from the will of God, but free from magical and superstitious life. Secularization is also a form of modernization which is an innovation in the past due to the development of science (Black, 1967). Analyzing the Balinese shadow puppet art performance with the concepts of secularization does not mean that want to place the Balinese shadow puppet art performance free from religious goals but want to place the art shadow puppet performance functionally by experiencing rational processes in accordance with the realities being faced by society Bali. Creativity in the arts is not only directed on religious goals, but appears more as commercial creativity. As commercial creativity does not mean that religious creativity is lost. Shadow puppet performance art experiences a phenomenon of secularization, in this paper, it is not understood as a separation between the afterlife and worldly affairs, but is understood as a scientific process in science to become more scientific and argumentative. Keywords: Tourism Impact, Secularization Phenomenon, Balinese shadow puppet show ABSTRAK Tujuan penelitian ini adalah memahami dampak pariwisata terhadap fenomena sekularisasi dalam pertunjukan wayang kulit Bali. Kecendrungan-kecendrungan untuk melakukan interpretasi yang bersifat duniawi dan rasional sering disebut sekularisasi. Dengan demikian sekularisasi dapat dipahami sebagai cara berpikir yang realistis atau dasar pertimbangan-pertimbangan sosial dan rasional, serta tetap menempatkan agama sebagai pedoman moral. Ketika sekularisasi diartikan sebagai pembebasan, bukan berarti bebas dari kehendak Tuhan Hyang Maha Esa, tetapi bebas dari kehidupan magis dan tahyul. Sekularisasi juga merupakan salah satu bentuk modernisasi yang merupakan inovasi terhadap masa lampau akibat perkembangan ilmu pengetahuan (Black,1967). Menganalisa seni pertunjukan wayang kulit Bali dengan konsep-konsep sekularisasi bukan berarti ingin menempatkan seni pertunjukan wayang kulit Bali bebas dari tujuan-tujuan agama tetapi ingin menempatkan seni pertunjukan wayang kulit itu secara fungsional dengan mengalami proses-proses rasional sesuai dengan realitas yang sedang dihadapi oleh masyarakat Bali. Kreativitas dalam bidang seni tidak hanya diarahkan pada tujuan-tujuan keagamaan, tetapi lebih banyak muncul sebagai kreativitas komersial. Sebagai kreativitas komersial bukan berarti bahwa kreativitas religius hilang. Seni pertunjukan wayang kulit mengalami sebuah fenomena sekularisasi, dalam tulisan ini tidak dipahami sebagai pemisahan antara urusan akhirat dengan urusan duniawi, tetapi dipahami sebagai proses ilmiah dalam ilmu pengetahuan untuk menjadi lebih ilmiah dan argumentatif. Kata Kunci : Dampak Pariwisata, Fenomena sekularisasi, pertunjukan wayang kulit Bali 195 PENDAHULUAN diharapkan oleh pemerintah ternyata tidak Pulau Bali terkenal memiliki banyak dapat membantu perekonomian kekayaan seni budaya terutama seni masyarakat Bali, karena ternyata kurang pertunjukan yang sangat potensial untuk memiliki potensi ekonomi. dikembangkan dalam memenuhi Setelah Bali dikuasai oleh kebutuhan ekonomi. Potensi seni pemerintah kolonial Belanda ternyata pertunjukan yang dimiliki masyarakat Bali hanya menghasilkan beras, minyak Bali salah satunya pertunjukan wayang kelapa, tembakau, dan kain tenun untuk kulit, mampu memikat para wisatawan memenuhi kebutuhan hidup sendiri. yang datang ke Bali. Tradisi seni budaya Kurangnya sumber ekonomi untuk khususnya seni pertunjukan wayang kulit meningkatkan kehidupan masyarakat yang menyatu dengan kehidupan agama Bali, menyebabkan pemerintah kolonial Hindu telah menjadi ciri khas masyarakat mencari sumber-sumber usaha baru Bali. Daya tarik yang dipancarkan oleh untuk memenuhi tuntutan ekonomi. seni pertunjukan wayang kulit di Bali Keadaan tersebut di atas menyebabkan telah merangsang pemerintah kolonial pemerintah kolonial mulai melirik Belanda untuk mengembangkan seni kekayaan seni budaya yang diharapkan pertunjukan wayang kulit sebagai aset dapat memenuhi tujuan-tujuan di atas. ekonomi. Dengan demikian seluruh jenis Salah satu cara untuk mengeksploisasi seni pertunjukan di Bali merupakan kekayaan alam adalah mengembangkan komoditi wisata yang bersifat komersial. Bali sebagai daerah wisata. Sekitar Pada tahun 1920 an, mulai berfungsi tahun 1930, wisatawan yang datang ke sebagai alat transpormasi bagi wisatawan Bali sudah dapat menikmati berbagai yang ingin berkunjung ke Bali (ketut sajian seni pertunjukan yang telah Tantri, 1965:60). Seni pertunjukan yang dijadikan paket wisata untuk menarik kaitannya dengan pariwisata Bali di pengunjung datang ke Bali. Pertunjukan samping dapat memberikan kenikmatan, kesenian ketika itu tidak semarak seperti juga sebagai salah satu kekayaan budaya sekarang, tetapi sudah dapat yang berhasil memberikan keuntungan dibayangkan bahwa kehidupan seni ekonomi. Sumber-sumber yang pertunjukan wayang di Bali telah 196 memasuki dunia ekonomi (Soe Lie berkembang sebagai aset dalam Piet,1993:76). menunjang peningkatan devisa negara Setelah Indonesia merdeka pada melalaui jalur non migas. Pariwisata tahun 1945, kehidupan seni pertunjukan yang dikembangkan di Bali masih tetap mulai mengalami perubahan-perubahan, bertumpu pada budaya Bali, karena itu tetapi terbatas hanya pada teknik seni pertunjukan mendapat perhatian penyajian, mempersingkat waktu serta utama sebagai aset wisata. menyederhanakan cerita. Perusahan Pada tahun 1930, seni pertunjukan kondisi sosial politik sangat di Bali terutama seni pertunjukan berpengaruh pada kebebasan dan wayang kulit sebagai komsumsi kreativitas seniman. Perkembangannya wisatawan sehingga ada seni partai-partai politik sekitar tahun 1950, pertunjukan dianggap dapat sentuhan telah menempatkan partai-partai politik barat seperti kecak dan Barong oleh ini menjadi pelindung seni pertunjukan Walter Spies dan Baryl de Zoete. wayang kulit. Hangatnya suasana Pengaruh barat lewat pendidikan kehidupan politik sekitar tahun 1960, kolonial telah mendorong munculnya partai politik mulai mengunakan tuntutan terhadap persamaan antara hak berbagai seni-seni pertunjukan di golongan jabe dan golongan triwangsa antaranya wayang kulit sebagai alat baik dari segi hukum maupun memprogandakan kepentingan partai pemerintah. Tuntutan ini bertujuan politik. Akibatnya, kondisi seperti ini supaya tidak lagi perbedaan-perbedaan menyebabkan seni dan seniman hak berdasarkan kasta atau wangsa terkontaminasi kedalam partai politik. tetapi harus berdasarkan pendidikan. Setelah tahun 1966, dengan munculnya Dengan pendidikan manusia Orde Baru, seni pertunjukan wayang mengadakan kontrol terhadap kulit dan seni pertunjukan lainnya di lingkungannya sehingga sering Bali tidak lagi di bawah perlindungan menimbulkan perubahan-perubahan partai politik, tetapi berkembang secara dalam masyarakat. Dengan pandangan- bebas mandiri. Seluruh jenis pandangan yang rasional, kreativitas pertunjukan yang ada saat itu manusa dalam bidang seni budaya, 197 khususnya seni pertunjukan wayang Bali utara seperti daerah Singaraja dan kulit tidak hanya ditujukan untuk skil wayang Bali selatan yang meliputi kepentingan-kepentingan upacara daerah Badung dan daerah Gianyar. keagamaan, tetapi muncul kreativitas Usaha pemerintah yang bertujuan yang sekuler. Seni pertunjukan wayang melestarikan seni budaya, khususnya kulit di Bali diciptakan untuk dinikmati segala macam jenis seni pertunjukan dan dipergunakan untuk kebutuhan mengacu dari segi bentuk dan duniawi. Oleh karena itu muncul juga penampilan. Kadangkala dilihat dari profesionalisme dalam bidang-bidang segi fungsi, seni pertunjukan digunakan seni pertunjukan yang tujuannya untuk sebagai aset ekonomi dalam memenuhi kebutuhan hidupnya. meningkatkan kepentingan ekonomi Seni budaya Bali mulai digali dan kolonial. Beberapa seni pertunjukan dikembangkan dan dilestarikan untuk ritual yang berfungsi sakral, kemudian komoditi wisata oleh pemerintah. Hasil- dikemas dijadikan seni wisata seperti hasil penelitiannya dilestarikan dengan seni pertunjukan Kecak Dance, Barong membuat museum yang dikenal dengan Dance, dan Shedow Pappet/Pertunjukan Gedong kirtya (Kirtya Liffrink Van Der wayang kulit. Tuuk, L.J.J Caron,1928:95). Usaha Usaha pemerintah kolonial ini telah pelestarian budaya, khususnya seni mendorong mempercepat terjadinya pertunjukan wayang kulit di Bali, sekularisasi seni pertunjukan di Bali supaya ciri khas Balinya tidak yang berproses terus sampai sekarang. dipengaruhi oleh budaya luar dibuatlah Seni pertunjukan wayang kulit di Bali wadah seperti Himpunan Seniman ternyata salah satu aset seni pertunjukan Dalang Bali di bawah PEPADI Pusat. wisata yang cukup menarik sehingga Wadah ini merupakan usaha-usaha para dapat mempengaruhi kehidupan dalang-dalang Bali
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