HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013)

THE CIREBONAN THEATRICAL PERFORMING ART IN THE MIDDLE OF GLOBALIZATION EXPOSURE

Dadang Supardan, Didin Saripudin, Ayi Budi Santoso, and Syarif Muis1

ABSTRACT

This study is based on the concern to the tendency of a strong negligence towards the basic values of the Cirebonan theatrical perfroming arts due to the globalization exposure that affect to the contra development or marginality of traditional arts. The problem formulation developed in the research includes: (1) What is the origin of the Cirebonan play performing art in the coastal areas of border? ( 2 ) What are the purposes of the art to be performed in a region located in the coastal areas of West Java ? (3) What steps in this theatrical performing arts in order to be performed and enjoyed as ordinary folk art performances? (4) What is the philosophical value of is art so that it can be contributed to the history education? (5) What is effort to be done in order improve the historical awareness of local people in enjoying this performing arts regaridless to the threat of marginality caused by the globalization exposure? The method used in this research is a qualitative approach combined with historical and ethnographic methods. The research results are as follows: (1) The origins of Cirebonan theatrical play performing arts around 1943 0r 1944 that was during the Japanese occupation in . The origin name was Sepat, then became Tonil Cahya Widodo, later on it turned into a combination of Reog Sepat and Tonil Cahya Widodo. (2) The objectives of Cirebonan theatrical play performing arts include; entertainment, telling the chronicles of a certain area development, providing exemplary behavior of a hero, as well as for the preaching media, and socialization of the government programs. (3) The stages of the learning implementation include the opening music (tatalu), gimmick scene (surpraised with stage tricks, such as fireworks) opening dance; the theatrical play performances; closing, with music and the theater leader epilogue. (4) The philosophical values use for history education is a blend of cultural and spiritual that have characteristics, include (a) director of interference who is not dominant: the players are free to improvise as along they still stick in from the core story. (b) the diversity of players’ everyday profession, such as rickshaw drivers, domestic workers, fishermen, and farmers, (c) the canvas painter’s involvement in the setting screen display on the stage for a story in accordance with the episode. (5) The efforts to preserve the Cirebonan theatrical performing art; both artists and the government have tried to preserve it, is not optimal, because lesser Cirebonan theatrical group got a call to perform, as well as there is no efforts to include it as the local content in the schools curriculum Key words: history, learning, Cirebonan theaterical, globalization

1Dadang Supardan, Didin Saripudin, Ayi Budi Santosa, and Syarief Moeis, lecturer of History Education Department in Indonesia University of Education (UPI). For academic interest, the author can be contacted through the office address: Dr Setiabudhi Street, No. 229, Bandung, and email address: [email protected].

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Introduction also include dangdut music, or sometimes tayuban as an interlude in the theaterical Every society has a tradition essentially performances. Cirebonan theatrical rooted in the belief of the virtue of his performance in the evening usually starts at ancestors, so does the society in the 20:00 and finishes at 03.30 in the morning. northern coastal of the West Java and The Cirebonan theatrical performing art’s Central Java border, particularly in the structure is as follows: the opening music area of Cirebon-Indramayu they have a (tatalu); scene gimmick (surpraise with “theatrical”performing arts. This Cirebon stage tricks, such as fireworks); opening theatrical performing art is unique dance; the theatrical performances; and beautifull, known by the people of closing, with music and the theater leader’s West Java as “ Cirebonan” or epilogue (Haryani , 2013 : 15 ; Marianti , “Masres” (the name of a kind of thread 2007: 25 ). used for fishing nets) in the 1940s, which This theatrical art was very popular appeared when Cirebon was occupied in the 1970s. Thus during that time many by the Japanese colonialists (Sumardjo, Cirebonan theaterical performing arts 2004:243). The musical instruments used groups were emerging in every village and in theatrical Cirebonan are pelog sub-district. This Cirebonan theatrical art with waditra such as bonangs, kemyang, still exists in the surrounding community. saron, titil, penerus, large and small This existance is inseparable from the gongs, drums, ketipung dogdog, tutukan, support of the people involved in this kenong (jenglong), kecrek, flute, and art that still require the performing arts gambang. In the recent development, the as an accompanist in ceremonies such modern musical instruments are added, as initiation, cathartic, and magical such as keyboards and electric guitars. sympathetic or wedding, circumcision, etc. While another equipment that supports (Sumardjo, 2004: 244). Cirebonan theatrical performing arts include properties, the display, and the Until the late 1970s this art was often decoration (Mustafa , 2002: 132 ). played by children in rural Cirebon, even Indramayu, Majalengka, Kuningan, and In the current Cirebonan theatrical western district of Brebes. This Cirebonan performances, many taken from the performing art was so populat that many featured stories of Babad Cirebon, like children played it in as their game on the the play of Nyi Mas Gandasari, Prince yard, field, or house yard. But ironically Walangsungsang, Ki Gede Trusmi, since the mid-1980s, the game was Tandange Ki Bagus Rangin, Pusaka Golok already hard to find. This is because lesser Cabang, and others. However, sometimes opportunity to perform traditional arts it featured the fairy tales or legends of itself. Back in the villages they usually Java society in general, especially on the performed at a celebration party, either show during the day. But during the night circumcision or wedding parties. But now, show, the stories performed are mostly a celebration party was already switched from Babad Cirebon and finish early in to other forms of entertainment, such the morning. Because of its egalitarian, as video, layar tancap, a single organ, many Cirebon theaterical performing arts

302 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) dangdutan, and others. The lesser interest has no exact particular function and for this performing arts is reasonble because duties. Furthermore, Awuy explain that of some reasons. First, the theaterical this ambigiuty also due to the fanatics who performing art is impractical because there say that the art of theater, drama, plays as are many actors and the musician or the if it depends on the expression of reality, nayaga (the gamelan players) that should not a performance with a high ilusivity. In be served by the host, at least involving fact theater should be evasive, refusing, about 50 people for one theatrical group. and even transcend reality. But on the The personels consist of 15 gamelan other hand the art itself faces the changes players, 10 equipment personels, and the in society and socio-cultural environment actors (Mustafa, 2002: 207). Second, the as the result of globalization laden with people’s tastes, especially the youth, has technology progress. shifted to the more popular entertainments Giddens (1990:64) said that currently which is instant and practical, such as the the process of globalization is increasingly single organ, dangdutan, and so on . perceived as a part of our lives, where the The lesser chance to perform degrades “intensification of global social interaction the quality of the local arts, therefore the is increasingly happening”. The indicator actors felt abandoned by their supporters. is the establishment of the information Moreover, the local youth has no interest superhighway; the highway of information to pursue the traditional arts, because it with a very large capacity that enable is considered to have no prospects. Many traffic information super in high speed, former Cirebon performers’s life are not political boundaries between nations good, some of them even do odd jobs. of the world is diappearing (Ohmae, They easily “plead” that the decline of the 2002:171-173 ; 1991:183-186). Boyer and Cirebonan theatrical performaning art is Drache (1996:64) in the States Against solely because of the strong exposure to Market: Limits of Globalization explain the modernization and globalization. They globalization has subjective and objective hardly examined the internal factors behind reality. The subjective reality indicates it. As an example, the aspect of “acting” or a process in human consciousness that “theater world” was never analyzed as a look and feel themselves as participants flaw or weakness that hit the player in the of increasingly unified global community. act. While the objective reality of globalization The world of actors or theater in is a process of space and time narrowing, Indonesia, Tommy F. Awuy in his writing “shrinking” world that thrive in conditions titled Teater Indonesia dalam Ambiguitas of paradoxes. The paradox between the dan Ironi, stated that the Indonesian universalization versus pluralization, theater is a theater that is full of ambiguity between integration versus fragmentation, (Awuy, 1999:333). This is caused by many between centralization versus autonomy, things, one of them is because Indonesia between competition versus cooperation, theater is still amateur theater, both in and so on (Naisbitt, 1994: 1-51). terms of directing, acting, and artistic Globalization is causing a popular concern, arrangement. Each of these three aspects and so much interest and public anxiety

303 Dadang Supardan, Didin Saripudin, Ayi Budisantoso, and Syarif Muis The Cirebonan Theatrical Performing Art in the Middle of Globalization Exposure regarding globalization (Ritzer and look at globalization from a different aspect. Goodman, 2004:587). The uniqueness They review the motors that drive the of globalization is not simply linked to globalization which result in a fast process that process is “going on” but also “how of globalization through the boundaries is our preparation to face globalization”. between nations/states. Furthermore, Because we realize that the insistence of they mentioned that globalization is globalization is not likely to be encountered driven by three particular engines, that confrontationally, but it should not damage include technology, capital markets and the the lives aspects, rights, and obligations management. of every nation. We realize the powerful resonance that Kennedy (1995:290-292) has warned hit in the globalization process, especially us in the description which is worrying for for developing countries, thus we really need us, that there will be the group of countries to respond it carefully and wisely, which that emerge as the winner and the other requires real preparation steps through disadvantaged group as the loser, when the education and skills that strengthen the fundamental and revolutionary changing national identity. Only by strengthening process happens. The existence of the the education and development of a winner and losers group is due to the lack strong national culture and implement of unanimity of perception and response the principle of interdependence in a of each country and nation toward the global society, the resilience of a culture revolusiener globalization. There are a few can be maintained and improved to live countries that were able to quickly adjust to harmonioualy in uniformity and diversity. changes (fast adjusters) that are also have such a bold reforms, such as in several Problems Identification and countries in East Asia. While the others Formulation appear as a slow adjuster because they are The problems that arise in analyzing not ready to face such changes. Obviously traditional the Cirebonan theatrical we do not want to be the loser group. But prforming art revolves around the the issue is not the matter of want it or loses background of the performance, especially it, but ready or not. This is where a global for people in the border areas of West Java perspective in the history of education in coast, Cirebon. From the background of this relation to the pressing of globalization is art performance can be traced the purposes required. Therefore, Diaz (1999:37-38) of performing this traditional theatrical explain that it is an impossible thing and art, which is usually as the entertainment will only create new problems if we are to in the spare time, that is attractive and react in confrontational ways especially interesting. While other issues that also without any real preparations through important to be studied is how the stages human resource development. in performing the Cirebon theaterical Mickletwait and Wooldridge (2000:29) performing art to be an attractive traditional in the Future Perfect: The Challenge and performing arts to the local community. Hidden Promise of Globalization explain The philosophical values is also important, that there are three engines gloaliztion to which contribute to the history learning.

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Because the the performers of Cirebonan Reasearch Purpose and Benefits theaterical prforming art that portray their Based on the formulation of the character provide lesson in appreciating problem stated above, the purpose of the the role and the character played. But on research are: the other hand, this highly philosophical art and a valuable asset of the nation is a. Analytically describe the origins of the also on the decline, especially after it was theatrical performaning art in the area struck by globalization, where youth and of Cirebon, which is now is increasingly Cirebon people are less interested in the marginalized by the global popular art and more interested in organ tunggal, culture. dangdutan, and another modern arts. b. Explaining the objectives of the Cirebon people themselves have little performing arts, since it was staged in sense of history to keep and develop the the past to and its present dynamics. traditional art in the effort of preserving c. Analytically explain the stages of the the national art identity as local genius or performing arts from the beginning cultural identity to be proud of, despite the of the show to the end, as well as its law to preserve heritage values that have dynamics, compare to past and present existed since the New Order (Orde Baru) arts. government. d. Describe in analytical philosophy values The following are the detailed that can be taken from the Cirebonan formulation of the problem: theaterical performing arts for history a. How is the origin of the Cirebonan lesson in school. theaterical performing art in coastal e. Explaining the concrete efforts of areas of West Java border? both the theatrical arts performers, b. For what purposes theatrical community, and local government performaning art is performed in in preserving and developing the Cirebon or the coastal areas of West performing arts . Java’s border? Research Urgency c. How is the performance stage of the theatrical performing arts so it can a. The absence of historical - ethnographic be enjoyed as art performance of the studies that analyze in depth about the locals? Cirebonan theatrical performing art as d. What is the philosophy value of this the nation’s artistic and cultural asset Cirebonan theaterical performing art valuable in of the nation’s character that can be contribute in the history development. education? b. The Importance of social values e. How is the effort to increase the history and cultural arts assessment that awareness of the local community to developed in the northern coast of enjoy the performing arts plays that West Java eastern border area that is increasingly marginalized by the can be transmitted, revitalized, and globalization exposure? transformed to the younger generation and society, as an apparent attempt to

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support the resilience of the nation’s then simply refered to the act on the stage. culture which is facing a crisis of art Unfortunately, that sense of the word is now and culture. declining, even for some people the words c. Strengthen and preserve local culture refer to a feeling of “abject” or teasing. by exploring and developing the basic “Sandiwara” is a stage performance values of “national identity” (the local of a story or also called lakkon in the genius), which is the manifestation Javanese. A theaterical performing art can of historical awareness development be performed based on scenario or not. as an intellectual orientation that is If it is perfomed not base on scenarion, creative, introspective, and continue then everything is staged spontaneously introspection. In this case includes with a lot of improvisation. In general, the effort to put yourself and the the term “sandiwara” in Indonesian existence of life in its sosio-cultural is synonymous with drama. However, configuration, which will emerge the the term is specifically refers to the position awareness in the presence of Indonesian traditional theatrical arts life itself in a whole. plays, especially in the area of West Java (Marianti, 2007:25). The Sundanese or Literature Study Cirebon theatrical groups can be found in West Java (especially around Cirebon Theaterical Performing Art and Indramayu), and Jakarta, one of the famous theatrical group is the group of The word “sandiwara” (theaterical)” Sandiwara Sunda Miss Tjitjih which based was put forward for the first time by PKG in Cempaka Baru Timur, Central Jakarta. Mangkunagara VII. According to him, this The play story of this theaterical group word was as a replacement of the word can be romance, comedy, horror, tragedy, ‘’ (In Dutch, meaning “drama” or or historical romance (Encyclopedia “show”), which received attention among Indonesia: 1135). the educated people, eventhough Dutch was commonly used among them in that The Cirebonan theatrical performaning era. The new word “sandiwara” is formed art popular in West Java is called Masres, from the word “sandi” (Java) means that basically a theatrical art that known by secret and “Wara” means lesson (Haryani, the people of West Java in the 1940s, when 2013:15). According to Ki Hajar Dewantara, Cirebon was occupied by the Japanese sandiwara (teaterical performing art) is colonialists (Sumardjo, 2004: 243). Based teaching performed with the symbolic. on the information gathered by the Cirebon Such as in a brief explanation that the theatrical figures today, it is mentioned word sandiwara is to replace the the word that during the Japanese occupation in toneel (Dutch). The actual meaning of Indonesia, in the area of Cirebon emerging the word sandiwara has more right sense arts community that is favored by Cirebonan than the word toneel (Dutch language), Reog, which is known as Reog Sepat. The which mereley means show. Similarly, if Reog performance consisted of two parts. it is also compared to word drama in the The first part was bodoran/comedy, and a Greek, which original meaning is “action”, second part was drama that takes account

306 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) of the habits of the local community. At the almost the same as Cahya Widodo tonil, same time, in Jamblang Klangenan there although there are differences in the were also a toneel group with the name of language of delivery. In Langendriyo, the Cahaya Widodo. This gorup every day for story was presented in the Java language, months did “narayuda” or “ngamen”, street while the language used jeblosan was a mix performing (Sumardjo, 2004: 244). of Cirebon Javanese language and the Java Furthermore, Sumardjo said that language (Marianti, 2007: 15). both types of arts had inspired a young In 1949, langen jeblos instruments man from the village of Langgen, were improved, by using the stage. The Wangunarja Village, Klangenan, Cirebon, name of jeblos was changed into langen named Mursid to establish a new art perbeta which means lasykar/army (code in Cirebon. Mursid gather the youth language), the Former Army Union. And in from the community to jointly establish the fifties it was renamed again to the Sari associations that blends Reog Sepat and Sasmita which serves as an information Tonil (Toneel) Cahya Widodo. The art style medium. Sari Sasmita popularity was began. is a theaterical performing art in Cirebonan From night to night, in any celebration style with music by waditra in the rythim season, the performance art had no break of Prawa. The fusion art called jeblosan in accepting invitation of the fans. In 1952 that, according to them, means tonil show in the village of Bojong Wetan, Klangenan without screen cap (jeblas-jeblos; Cirebon District, also had similar performing art language). Some were calling it Bungkrek under the name of Sanpro (Sandiwara (Cirebon language which means the Proletar). Its founder was H. Abdullah, single person [the youth] that are often do who was the head of the local village. angkrak-engkrek [dancing]). Then, in 1956, in Bedulan, Suranenggala Because Jeblosan was heavily Village, North Cirebon, there was also a influenced /tonil/Cahya Widodo performing arts under the name of Masres opera, it is not surprising that story origin (the name of a type of yarn used for making delivered at that time was from Central Java fishing nets).One of the founders, Mrs. and East Java. But sometimes the story is H. Sami, known as the Cirebonan singer. taken from the West Java folklore, a region And, in 1956, political parties began to origin, or folk tales. In a way, jeblosan was look at the theatrical arts as the campaigns very popular in the community. At that media for their interests. In Wetan Bojong time the entire actor were maleand were village, Klangenan District, Cirebon the also the independence fighters. This was Partai Sosialisme Indonesia/Indonesian also a medium to spread awareness to Socialism Party (PSI) leaders established fight against the colonialist through the act a performing art association to replace plays. Sanpro, under the name of Setia Budhi. The figures of Partai Nasional Indonesia In 1946 in the village of Kebarepan, (PNI), with their Lembaga Kebudayaan Plumbon District, Cirebon there were Nasional/National Institute of Culture similar art named Langendriyo, initiated (LKN), establihed a group under the name by Suwandi and Mursid, from Barepan of Suluh Budaya. While Partai Komunis village. Langendriyo and Jeblosan were Indonesia/Indonesian Communist Party

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(PKI), with its Lembaga Kebudayaan tales or legends of Java community in Rakyat/Institute of People Culture general, particularly in the performances (LEKRA), estblished a play group under that take place during the day. But at night, the name of Dharma Bhakti. These gorup the stories performed are mostly taken only lasted until 1965 when the September from Cirebon Chronicle and finish early in 30 Movement (G-30-S/PKI) erupted these the morning. Because of its egalitarian, it groups was disbanded because of the also packs with Cirebonan dangdut music raging mass of anti-PKI. Since that time the or sometimes tayuban, as an interlude function of the play, as well other art, was in the play performances. The Cirebon no longer accompanied by the interests of theatrical performinga art during the political parties (Haryani, 2013:41). night usually starts at 20:00 and finishes Later in the 1970s the Cirebon at 03.30 in the morning. It structure is as performing art was very popular. It is follows: the opening music (tatalu); scene not surprising that in Cirebon that time gimmick (surpraise with stage tricks, such many theatrical groups were established as fireworks); opening dance; theatrical in villages and sub-districts. The play is paly performances; closing, with music still alive in Cirebon and surrounding and the theater leader epilogue. communities. The artistic life is inseparable The Theaterical Performing Art in from the support of its supporters, which the Globalization Exposure still requires the performing arts as an accompanist in initiation ceremonies, The lesser chance to perform degrades cathartic and sympathetic magic (marriage, the quality of the local arts, therefore the circumcision, kaul, etc). actors felt abandoned by their supporters. The musical instruments used in the Moreover, the local youth has no interest Cirebon performing art is gamelan pelog to pursue the traditional arts, because it with waditranya that include bonang, is considered to have no prospects. Many kemyang, saron, titil, penerus, large and former Cirebon performers’s life are not small gongs, kendang, ketipung, and good, some of them even do odd jobs. dogdog, tutukan, kenong (jenglong), They easily “plead” that the decline of the kecrek, flute, and gambang. In a recent Cirebonan theatrical performaning art is development, the modern musical elements solely because of the strong exposure to are added, such as keyboards and electric modernization and globalization. They guitars. Other equipments to support the hardly examined the internal factors behind Cirebon theatricals include properties, the it. As an example, the aspect of “acting” or display, and decoration. “theater world” was never analyzed as a In the current Cirebon theatrical flaw or weakness that hit the player in the performaning art, many featured stories act. are taken from the Babad Cirebon, such as The world of actors or theater in the acts of Nyi Mas Gandasari, Pangeran Indonesia, Tommy F. Awuy in his writing Walangsungsang, Ki Gede Trusmi, titled Teater Indonesia dalam Ambiguitas Tandange Ki Bagus Rangin, Pusaka Golok dan Ironi, stated that the Indonesian Cabang, and others (Marianti, 2007:47). theater is a theater that is full of ambiguity Nevertheless, sometimes it features fairy (Awuy, 1999:333). This is caused by many

308 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) things, one of them is because Indonesia part of the globe. Globalization has theater is still amateur theater, both in two distinct phenomena: scope terms of directing, acting, and artistic (or stretching) and intensity (or arrangement. Each of these three aspects deepening). On the one hand, it defines a set of processes which has no exact particular function and embrace most of the globe or which duties. Furthermore, Awuy explain that operete world wide; the concept this ambigiuty also due to the fanatics who therefore has a spatial connotation. say that the art of theater, drama, plays as One the other hand, it also implies if it depends on the expression of reality, an intensication in the levels of not a performance with a high ilusivity. In interaction, interconnectedness or fact theater should be evasive, refusing, interdependence between the states and societies which constitute the and even transcend reality. But on the world community. other hand the art itself faces the changes in society and socio-cultural environment Thus the essence of globalization as as the result of globalization laden with the subjective reality indicates a process technology progress. in human consciousness that look Giddens (1990:64), a professor and feel themselves as participants of of sociology at the University of increasingly unified global community. Cambridge, said that currently the While the objective reality of globalization process of globalization is increasingly is a process of space and time narrowing, perceived as a part of our lives, where the “shrinking” world that thrive in conditions “intensification of global social interaction of paradoxes. The paradox between the is increasingly happening”. The indicator universalization versus pluralization, is the establishment of the information between integration versus fragmentation, superhighway; the highway of information between centralization versus autonomy, witha very large capacity that enables between competition versus cooperation, traffic information super in high speed, and so on (Naisbitt , 1994: 1-51). political boundaries between nations of the Globalization receives popular concern world is diappearing (Ohmae, 2002:171- both in the academic circle or common 173; 1991:183-186). Boyer and Drache society. Most academic attention to the (1996:64) in the States Against Market: problem is motivated by public anxiety Limits of Globalization explain that: regarding globalization (Ritzer and Goodman, 2004:587). The influence of Globalization refers to the globalization are increasingly powerful, it multiplicity of linkages and needs special attention that are complex and interactions between the states unique. The uniqueness of globalization is and societies which make up the not simply linked to that process is “going present world system. It describe the process by which events, on” but also “how is our preparation to face decisions, and activities in one part globalization”. Because we realize that the of the world come to have significant insistence of globalization is not likely to consequences for individuals and be encountered confrontationally, but it communities in quite different should not damage the the lives aspects, rights, and obligations of every nation.

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Kennedy (1995:290-292) has warned Mickletwait and Wooldridge (2000:29) us in the description which is worrying for in the Future Perfect: The Challenge and us, that there will be the group of countries Hidden Promise of Globalization explain that emerge as the winner and the other that there are three engines gloaliztion to disadvantaged group as the loser, when the look at globalization from a different aspect. fundamental and revolutionary changing They review the motors that drive the process happens. The existence of the globalization which result in a fast process winner and losers group is due to the lack of globalization through the boundaries of unanimity of perception and response between nations/states. Furthermore, they of each country and nation toward the mentioned that globalization is driven by revolusiener globalization. There are a three determining engines. few countries that were able to quickly adjust to changes (fast adjusters) that are … technology, the capital market, also have such a bold reforms, such as in and management…Each of these several countries in East Asia. While others forces is powerful enough in its appear as a slow adjuster because they are own right, but what has given not ready to face such changes. Obviously them their apparent invincibility we do not want to be the loser group. But in recent years is the fact that they all fit together so neatly. Free- the issue is not the matter of want it or loses flowing capital makes it easier it, but ready or not. This is where a global for companies in even the most perspective in the history of education in out-of-the-way places tu buy new relation to the pressing of globalization is technology. New technology makes required. it easier to move capital to similary obscure places. And managemen Kennedy’s simplified description of by which we mean the spread of globalization, it appeared to emphasize in common management methods, the two things. First, the fact that the whole growth of the management industry life of the global community, covering of consultants and business schools, the whole nation and all aspects of life and the development of new cadre of worldwide. Second, the effort to develop and profesional multinasional managers strengthen the awareness about the reality alerts companies to the clever ways of the global society, in the first sense it in which they can use capital and technology. refers to the phenomenon of globalization, while in the second sense refers to the We realize the powerful resonance that demand of the development in a global hit in the globalization process, especially perspective through global education, so for developing countries, thus we really need that people have the knowledge, attitudes, to respond it carefully and wisely, which skills, and readiness to participate . They are requires real preparation steps through expected to put themselves and interpret it education and skills that strengthen the in contributing to the present and future national identity. Only by strengthening (Diaz, 1999:37-38). It is impossible and the education and development of a will only create new problems if we are to strong national culture and implement react in confrontational ways especially the principle of interdependence in a without any real preparations through human resource development.. 310 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) global society, the resilience of a culture of life of the community (Spradley, 1997:5). can be maintained and improved to live Ethnography usually contains/tells the harmonioualy in uniformity and diversity. tribe or a society, which usually told about the culture of the tribe or community. Research Methode When researching public ethnographers typically a holistic approach and describe Approaching Method and Data it in depth to memproleh native ‘s point of Gathering Technique view. This study used a qualitative approach, Data collection techniques used were the study emphasizes on the descriptions in-depth interviews and obeservation and interpretations without using statistics participation where this data collection and mathematics. The method is a method is in accordance with the original combination of ethnography and historical purpose ie mendeskripsiakan in depth. methods. Encyclopedia of Indonesia While the documentary studies are used mentions ethnography as a branch of to uncover the songs of the classical anthropology, the depiction and analysis of or traditional Cirebonan theatrical a community or ethnic group the culture. performance art and the dynamics when it Ethnography usually consists of a detailed is staged (Cresswell, 1994: 8-9). description of aspects of how to behave and The reason of using the ethnographic ways of thinking that have been studied in methods as a reference of this study is that people that are the standard, such as text, it is considered to have advantages, such photos, images, or movies containing the as: uncovering ethnographic journey from report or description. Ethnography study the early to the new form of ethnography. the cultural elements of a society such as, In addition, also provides practical steps to language, livelihood, technology systems, conduct ethnographic research of the new social organization, knowledge systems ethnography, which is then used to interpret art, and religion. the world around it, as well as to arrange One of the qualitative research the behavioral strategy in facing it. While approaches, ethnography is used to the disadvantages of ethnography are that examine human behavior related to the this method only observes the traditional development of a particular culture. Brief or isolated communities and makes this explanation of some methods such as ethnography only as a fundamental tool. ethnography, ethnography is an early The historical aspect of this research version of a society such as cultural will use the historical method (Sjamsuddin, elements, language, livelihood, technology 1996:63) - a method of research that systems, social organization, art, knowledge reveals how to understand something systems, and religion (Spradley, 1997:4). through history. The reason researchers New ethnographic analysis in this study is use historical methods is because the not based solely on the interpretation of the issues raised are of the Cirebon theatrical researcher. While modern Ethnography is performing art history that occurred in the a major concern to the researchers was the past, the Cirebonan theatrical performing life of the present, which is about the way art origins and the dynamics until now.

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Furthermore Sjamsuddin (1996:69) reveals in the form of quotations, whether from several steps that must be carried out by literature studies, interviews, field- history researchers in doing tehir reseach, notes, photograph, recording-tape video, including: personal documents, notes/memos, official 1. Choosing the appropriate title or topic. documents and others. Observation notes are the date of recording, the recording 2. Investigate all evidences that are location (the state of the society), original relevant to the topic. recording or not, the person doing the 3. Make a note of foundings when the recording. While the notes about the study is ongoing. informan includes: name, age, gender, 4. physically know all evidences collected occupation, education, ethnicity, position (source criticism). in society, actively wacth the at traditional 5. Develop research results into a correct Cirebonan theatrical performing art or pattern or certain systematics. not. 6. presenting and communicating it to Research Time, Place, and Subject the reader in a way that can attract attention, so it is understandable. This study was conducted in June- From the sixth steps, the steps of October, 2013, which location is on the selecting a topic, collecting historical north coast of Java, particularly the region evidences, and making a note are included of Cirebon and Indramayu. The object in the heuristics step of, while evaluating this study is the Cirebonan teatherical all historical evidences, including criticism performing art artists (directors, actors, and the last step of preparing and presenting musician), and the audience. research results are included n ithe stage of The subjects of this study are the historiography (Sjamsuddin, 1996:65). following details: As for the data collection techniques, 1. Group: Dwi Warna, Manager: Syamsul researchers used data collection techniques Bahri (60), Director: Husen Kemleng of (1) observation, (2) interviews (3) (70) Actors: (1) Wulan Purnama, documentation. Observations are used to Alamat Losarang Indramayu; directly observe the Cirebonan performing 2. Group: Dharma Saputra, Leader: art performances. Interviews were Serma H. Suana, NS; Actors: Nargi conducted to explore further information (45), Topeng dancer, Said Ramdhani, about the things related to reserach through Wanto Aspal; Address: Desa Plumbon a number of research questions. While the Kab Indramayu; documentation technique is by obtaining 3. Group: Sandiwara Jaya Utama, Leader: information about the Cirebonan theatrical Guru Umin; Address: Desa Sambeng, performing art by reviewing various sources Kec. Gunungjati, Kab. Cirebon; that have been obtained from various documents, such as artifact, mentifact, and 4. Group: Lingga Buana; Leader: Asep socifact. These data collection techniques Kurniawan S.Kes., Address: Losarang are expected to complete the necessary Kab Indramayu; Actors: Sellyyudha data. Thus, this study will contain data Aprilyanti Kadiman.

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5. Group: Chandra Sari; Leader Ki also asked, with respect to this research Dalang Abdul Bagir Muslim; Address: (Miles and Huberman, 1992:17), which Kedung Legok, Lohbener, Kabupaten were the Cirebonan theatrical actors, Indramayu. pawang, and gamelan musician, as well as 6. Group: Jaya Baya, Leader: H.Salamahadi; the audiences. Actors: Aan Tanggung, Ratna Mila, Tau Research Result and Discussion Pong Kres; Address: Cirebon. 7. Group: Aneka Tunggal (Cirebon) Leader: The research begins by by making simple Bpk H. Didi / Mamah Hj. Iti; Actors: research instruments, the interview, that Joni Rengge; Address: Desa Nanggela - include the following questions: (1) what Greged Kabupaten Cirebon. is the origin of the Cirebonan theatrical 8. Group: Chandra Sari, Leader: H. performances art theatrical performing art Eddy Nuradi S.E., (55), Address: in the coastal areas of West Java border? Desa Kedunglegok Kec.Loh Bener (2) For what purposes the Cirebonan Indramayu. theatrical performing art is perform in the coastal areas or border West Java? 9. Group: Aneka Tunggal, Leader: H.Ono (3) What are the steps of the performance Kustono, Actors: Joni R, Dewi Ayu, so it can be enjoyed as ordinary folk art Devi Susilawati, Aar, Herman; Address: performances? (4) What is the philosophy Pawidean Jatibarang, Indramayu. value that can be contoribute for history Data Analysis Technique education? (5) What is the efforts to increase the hostorical awareness in the The analysis of the data is following the local community to enjoy the performing pattern of Miles and Huberman (1992:16- arts that increasingly marginalized by the 18), which consists of three flow events globalization exposure? that occur simultaneously, that include: The results of this study in are as data reduction, data presenting, and follows: conclusion. Data reduction is a process of selecting, which focus on simplification, The Origin of Cirebonan/Masres abstraction, and rough transformation Theaterical Performing Arts in West that emerged from the written notes in Java the field. Then proceed with the data presentation in the form of descriptions The origin of Cirebonan/Masres based on the aspects studied and arranged theatrical performing arts, when asked, in a row on the analysis of the Cirebonan “since when the Cirebonan theatrical art theatrical performing arts. While the exist in the border area of the north coast conclusion/verification, in this case the of West Java and Central Java?” Samson conclusion is achieved in stages, the first is Bahri (DW), Serma H. Suana, NS, (DS), a tentative conclusion. However, with the Asep Kurniawan (LB) stated: “Ya konon increase of data, it is necessary to verify kata wong tua gemien umumme ya the data returned by studying the existing jaman Jepang kurang lebih tahun 1943- data (which is reduced or presented). 1944”. Likewise, when the question was Moreover, the related parties opinion were asked to Salamahadi (JB) , and Pak Didi

313 Dadang Supardan, Didin Saripudin, Ayi Budisantoso, and Syarif Muis The Cirebonan Theatrical Performing Art in the Middle of Globalization Exposure

(ATC), They answered “ya kurang lebih and Dedi Supriya, the Head Disbudparpora tahun 1944, soal le perek karo Indonesia of Cirebon, answered that it is generally Merdeka ingatanku kaya kue”. for entertainment. But, the answer of Mr. It can be concluded that the Cirebonan/ Rasmadi, the leader of the Sandiwara Masres theatrical performing arts is started Budi Suci Group is a little different, he in 19403/1944s, and it appeared when the stated: “ In addition to entertainment the Cirebon was occupied by the Japanese Masres theatrical performing art is also colonialists. Based on the information to recall the history and development gathered by the Cirebonan theatrical of the region”. “I’ve been asked by the figures that during the Japanese occupation local government of Cirebon through the of Indonesia, there was Reog Cirebonan Department of Culture, Tourism, Youth, which popular as as Reog Sepat. The show and Sports (Disbudparpora), for the new was divided into two parts. First, bodoran/ year event of 2013, to play Babat Cirebon”. jokes, and the second was a drama that According to Abdul Bagir But Muslim (CS) took the story of the local people’s habits. and Mamah Iti (AT) in fact most of the At the same time, in Jamblang Klangenan responders particularly asked the fighting there were also an art that commonly stories of certain figures such as: Nyi Mas known by the name of Cahya Widodo tonil. Gandasari, Pangeran Walangsungsang, This art did narayuda (perform) every Ki Gede Trusmi, Tandange Ki Bagus day, in months. Both types of art are then Rangin, and Pusaka Golok Cabang, and inspired a young man from the Langgen, so on. However, it also have a little shift Wangunarja village, named Mursid to in function, according to Syamsul Bahri establish a new art in Cirebon. He gathers (DW), the government also utilize it as local young people to jointly establish a the media for preaching purposes (Islam), type of art which is a blend of Reog Sapet spreading information, such as the family and Chaya Widodo tonil. The art is a planning, general election, young married form of drama with musical of Cirebonan prevention, and so on. supported style by waditra in the Prawa The Steps of Performing the rythim. This art is called Jeblosan which Cirebonan Tehaterical Performing means they are performing according Arts. to toneel without curtain (In Cirebon language, jeblas-jeblos). It was also called After asking about the steps or Bungkrek (Cirebon language which means performing the Cirebonan/Masres the single people (youth) that are often Theaterical Performing Art? It turns out angkrak - engkrek, or dancing ) by some that in general, (Samson Bahri (DW), people. Serma H.Sauna, HS (DS), and Guru Umin (JU) stated that the sequences of The Purpose of Cirebonan Theatrical performing steps of the Cirebonan/Masres Performing Arts. theatrical performing art are as follows : When asked the question of “what is (1) the opening music (tatalu), (2) scene the purpose of the Cirebonan/Masres it gimmick (surpraise with stage tricks, such theatrical performing art performance?”, the as fireworks), (3) the opening dance, (4) the artists, (Edi Nuradi (CS), Ono Kustono (AT), theatrical performances, (5) closing, with music and the theater leader’s epilogue. 314 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013)

First, the opening music (tatalu) is the Fourth, the theatrical performances. opening music by instrumental tracks, This theatrical performance is the core which function is to attract potential performance that consists of battle between audience as well as the marker that the the evil (antagonist) and the good (the performance has begun. Typically, this protagonist). Although eventually the war music is called karawitan or gendingan. between these two powers will be won by The music player is commonly referred the power of good (the protagonist), but it as panjak or pengrawit. The music starts should be achieved through sacrifice and from the beginning of the performances miserable fight or not easily. Some of the until it is finished.T he purpose of the music stories or plays that are often played in the play at the beginning of the show is to steal Cirebonan theatrical performance generally the attention of the potential audience, range from Babad Cirebon which include: especially the surrounding residents. the play of Nyi Mas Gandasari, Pangeran While the instrument used in the Walangsungsang, Ki Gede Trusmi, Cirebon theatrical performing art is Tandange Ki Bagus Rangin, Pusaka Golok gamelan pelog with the waditra including Cabang, and other. bonang, kemyang, saron, titil, penerus, Fifth, the closing scene. Usually the large and small gongs, kendang, ketipung closing scenes is accompanied by music and dogdog, tutukan, kenong (jenglong), and epilogue of the thater leader while kecrek, flute, and gambang. In a recent delivering the play summery in beautiful development, the modern musical elements words, as well as the reflections of the are added, such as keyboards and electric audience. It will end with closing remarks guitars. Other equipment to support the of apologizing for any unpleasing scenes. performance are properties, the screen, and decoration. The Phylosophical Values of the Cirebonan Theaterical Performing Second, the gimmick scene. This is Art in the History Education in the beginning of a story that serves as a audience attractor to keep watching the The phylosopical value of the play. Usually this begins with fireworks, Cirebonan/Masres theatrical performance firecrackers to surprise the audience. art is that this art is obviously a combination Third, the opening dance. This step is of cultural and spiritual, according to the both rhythmic gestures that are performed Regent of Cirebon, Dedi Supardi. Further, in a certain time and place for the purposes Guntur Sigar Langit said: of the association, expressing feelings, intentions, and thoughts. The sounds, Although it is relatively rare appears which called the dance music, control the in public, but performance is still dancers’ movement and strengthen the occurs. For example, Masres, the intention to be conveyed. Different dance traditional theatrical that often movements of everyday movements such performs stories of the Cirebon history, since Islam spread in the as running, walking, is the mainstay dance quiet hamlet which later named which is the characteristic of a particular the Cirebon. This Masres is unique play as an opener . for several reasons. First, the

315 Dadang Supardan, Didin Saripudin, Ayi Budisantoso, and Syarif Muis The Cirebonan Theatrical Performing Art in the Middle of Globalization Exposure

intervention of the director who If sometimes appears that the perceived is not dominant: the players are value of mystical quietly burst on the free to improvise as long as not art traditions of Cirebon, for example, refracted from the core story. the existence of dupa and kemenyan Second, the everyday professions (incences), or flowers of seven colors - it of the players are diverse, such as rickshaw drivers, domestic workers, was not a media to invite supernatural fishermen, and farmers. Third, the powers. But the smoke of incense and involvement of canvas painters for flowers it is a relic of the display screen setting of the derived from the teachings of Hinduism. stage in accordance to the episode The play is suspected Cirebonan example story. The masres studio that can be often mythical. This should be clarified found on the north coast of Cirebon because the provision of adequate training (Kapetakan districts, Cirebon regency) indicates that there is in a short time with the body of a woman commitment to preserve the local bound and put in confinement can changing art, eventhough it has to deal with costume. a number of the contemporary Talking about the culture of Cirebon reality. is inseparable from the existence of the old proverb, better known by the name This is the uniqueness of Cirebon of wangsalan. Wangsalan is a method of culture, particularly the Masres Theatre teaching that parents do to their children. Arts, with a reflection to the story/history To explain cosmology and geography of Cirebon in the minds of the people easily, parents use wangsalan: Nungsitu and then it can be poured into the form Nangsiton means gunung isie watu of performing arts, it is a blessing to be nagka isie beton, Tangkehteng Lanjidang grateful. How oral stories that developed means bintang akeh peteng bulan siji was recorded so strong in the Cirebon padang. To explain the occurrence of society, especially in the artists. This fact demoralization, the wangsalan is: wong is the reason why a famous director Arfin lanang ilang prawirae wong wadon C. Noer sais, “If you want to learn the ilang wirange which means man lost his theater come to Cirebon”. He must mean manlyhood woman lost her shame. To the Masres. explain the progress of time because of Cirebon culture that reportedly the technology that continues to evolve, absorbed from Java (Islamic Mataram wangsalan is described as engko bakal Kingdom) and Sunda occupies a unique akeh wong ngomong dewek kaya wong position. Two major culture on the island edan, that indicates more and more people of Java met in Cirebon. Culture was even will talking to themselves (over the phone) more complete absorption synthesise like crazy man . Islamic spirituality. This is the Cirebon culture share. And this share filled the local Effort to Enhance the People and art space. From this come the folk artists. Government’s History Awareness The artists that work without dependent to in Preserving the Cirebonan the director’s instructions, while when not Perfroming Art performing they do their daily profession. Some community leaders said that efforts have been done to raise historical 316 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) awareness, especially to preserve the instructor in a studio that was established Cirebonan theatrical performaning art. in that time. Likewise, when researchers The mayor of Cirebon, Ano Sutrisno, in his try to ask another artist such as Mr. Didi speech on June 27, 2013 when opening the (AT) and Eddy Nurady (CS), they argued: topeng art exhibition at the soccer field of “That’s why we are still actively playing Derajat village, Kesambi Cirebon, said: in the theaterical art until now, precisely because we were concerned to preserve the .... arts and culture should not be theatrical art forthe youth. While the real interpreted narrowly limited to effort to preserve the theatrical art /Masres artists and cultural. However, it is is by performing the traditional art during a multidimensional realm of values, local ceremonies. “Such as Mapag Sri or ethics, norms, aesthetic, and social Nadran,” said Asdullah. institutions. “Art culture that exist from generation to generation Conclusion and dynamic suct as , Tarling, and Play is part of The Cirebonan theatrical performing arts the character and identity of the or Masres, which is one of the traditional nation,” art of Cirebon (the northern coastal areas of Java, particularly Cirebon and Indramayu), The head of Department of Tourism is essentially reflected the quality of Culture Youth and Sports (Disbudpora) of communication, situation, action (everything Cirebon, H. Asdullah, has the same opinion that comes to the stage) that raises concern, after watching the show of Masres theatrical excitement, and strain on the viewers, which groups of “Holy Budi”, he argued “we will depicted the life through motion or action continue to preserve the theatrical/Masres presented as one kind of Cirebon Cirebon’ as an integral part of our program to make art, can be summed up as follows : Cirebon as the Tourism City. In fact, he First, about the origins of birth Theatre promised to always promoting education Cirebonan / Masres . Most people mentioned programs to the actors as the real effort that this art was born in the era of Japanese to preserve the precious cultural heritage. occupation around the year of 1943-1944, Elang Heri (41), the leader of Sanggar as an entertaiment as well as a tool to fight. Seni Sekar Pandan on the opportunity to There was Reog Cirebonan which popular be the host of the monly art performance as as Reog Sepat. The show was divided into in the field at Jalan Sultan Kacirebonan two parts. First, bodoran/jokes, and the Pulasaren, Pekalipan District, of Cirebon second was a drama that took the story of said the similar opinion: “The point is for the local people’s habits. At the same time, young people to participate in preserving in Jamblang Klangenan there was also an the culture of Cirebon “ said Elang Heri . art that commonly known by the name of For the art people of Cirebon, Sekar Cahya Widodo tonil. This art did narayuda Pandan name is fairly familiar, because of performence every day even performed Elang Heri teaching and also their often regularly in saveral month. Both types of performance in various stage. Moreover, the art are then inspired a young man from the name of the late Sudjana Ardja, the maestro Langgen, Wangunarja village, Mursid who of Slangit Mask Dance was also listed as an establishes a new art in Cirebon. He gathers

317 Dadang Supardan, Didin Saripudin, Ayi Budisantoso, and Syarif Muis The Cirebonan Theatrical Performing Art in the Middle of Globalization Exposure local young people to joint the arts blended performances until it is finished.T he purpose from Reog Spet and Cahaya Widodo tonil. of the music play at the beginning of the show The art is a form of drama with musical is to attract the attention of the potential Cirebonan and the style is supported by audience, especially the surrounding waditra in the Prawa rhythim. This art residents. While the instrument used in the is called by some people Jeblosan which Cirebon theatrical performing art is gamelan means they ussualy performs without toneel pelog with the waditra including bonang, without curtain (In Cirebon language, jeblas- kemyang, saron, titil, penerus, large and jeblos). It was also called Bungkrek (Cirebon small gongs, kendang, ketipung and dogdog, language which means the single people tutukan, kenong (jenglong), kecrek, flute, (youth) that are often angkrak - engkrek, or and gambang. In a recent development, the dance). modern musical elements are added, such Second, the purpose of Cirebonan as keyboards and electric guitars. Other theaterical performing arts, according to the equipment to support the performance are artists and figures in the society of Cirebon, is properties, the screen, and decoration. generally for entertainment and also to recall After that, the gimmick scene. This is the history and development of the region in the beginning of a story that serves as and to immitate figures such as Nyi Mas an audience attractor to keep watching to Gandasari, Pangeran Walangsungsang, Ki the play. Usually this begins with fireworks Gede Trusmi, Tandange Ki Bagus Rangin, and or firecrackers to surprise the audience. Pusaka Golok Cabang, and so on. However, Next is the opening dance. This step is both it also have a little shift in function, according rhythmic gestures that are performed in a to Syamsul Bahri (DW), the government also certain time and place for the purposes of the utilize it as the media for preaching purposes association, expressing feelings, intentions, (Islam), spreading information, such as the and thoughts. The sounds which is called family planning, general election, young the dance music controls the dancers’ married prevention, and so on . movement and strengthen the intention to Third, the sequences of performing be conveyed. Different dance routines of steps of the Cirebonan/Masres theatrical everyday movements such as running and performing art are as follows : (1) the opening walking are the main dance routines, which music (tatalu), (2) gimmick scene (surpraise is the characteristic of a particular play as with stage tricks, such as fireworks), (3) an opener. After that, it is the theatrical the opening dance, (4) the theatrical performances. This theatrical performance performances, and (5) closing, with music is the core performance that consists of and the theater leader’s epilogue. The battle between the evil (antagonist) and the opening music (tatalu) is the opening music good (the protagonist). Although eventually which function to attract potential audience the war between these two powers will be as well as the marker that the performance won by the power of good (the protagonist), has begun. Typically, this music is called but it should be achieved through sacrifice karawitan or gendingan. The music player is and miserable fight or not easily. Some of the commonly referred as panjak or pengrawit. stories or plays that are often played in the The music starts from the beginning of the Cirebonan theatrical performance generally

318 HISTORIA: International Journal of History Education, Vol. XIV, No.2 (December 2013) range from Babad Cirebon which includes: performance art, some community leaders the play of Nyi Mas Gandasari, Pangeran suggested that “we’ve been trying hard to Walangsungsang, Ki Gede Trusmi, Tandange preserve the theatrical performancing art, Ki Bagus Rangin, Pusaka Golok Cabang, and both expressed by local officials (formal) and others. The last step is the closing scene. theatrical performers themselves, as well as Usually the closing scenes are accompanied the cultural observer. While the real effort by music and epilogue of the thater leader to preserve the theatrical art /Masres is by while delivering the play summery in performing the traditional art during local beautiful words, as well as the reflections of ceremonies. “Such as Mapag Sri or Nadran,” the audience. It will end with closing remarks It may be true that this expression have of apologizing for any unpleasing scenes. offended the mental attitude of Cirebon people Fourth, the phylosopical values of the in general, that: “wong wong prawirae lanang Cirebonan/Masres theatrical performance ilang ilang wadon wirange” which means art is that this art is obviously a combination that men lose his heroism, while women of cultural and spiritual, which characteristic lost her sahem. What it means is almost all are (1) director interference that is not Cirebon people, realize it or not, are now in dominant; the players are free to improvise the era of globalization, and it appears to lose as along as it still on the core story. (2) the all of its Cirebon cultre identity. Society on everyday profession of the players as diverse, the one hand has been less concerned with such as rickshaw drivers, domestic workers, Cirebonan theatrical performing art, while fishermen, and farmers. (3) the involvement some Cirebonan theatre arts group went of canvas painters for the display screen bankrupt because of there no invitation to setting of the stage in accordance to the perform, an lost tothe single organ that is a episode story. The masres studio that can be more vulgar. On the other hand, ironically, found on the north coast of Cirebon indicates from formal education people ( the Head of that there is commitment to preserve the local the Department of Education and Culture, art, eventhough it has to deal with a number the principal, and teachers in the school) of the contemporary reality. Moreover, with does not seem to have real effort to seriously a reflection to the story/history of Cirebon in preserve the Cirebonan theatrical art. This the minds of the people and then it can be proved by the lack of efforts to develop a Local poured into the form of performing arts, it Content Curriculum by developing local arts is a blessing to be grateful. How oral stories and culture to preserve and improve it. that developed was recorded so strong in the Cirebon society, especially in the artists. REFERENCES This fact is the reason why a famous director Andersen, R. dan Cusher, K. (1994). Arfin C. Noer sais, “If you want to learn the Multicultural and intercultural studies, theater come to Cirebon”. He must mean the dalam Teaching Studies of Society and Masres. Environment (ed. Marsh,C.). Sydney: Fifth, efforts have been done to raise Prentice-Hall historical awareness, especially to preserve Awuy, T.F (1999) “:Teater Indonesia dalam the Cirebonan theatrical performaning art. Ambiguitas dan Ironi” dalam Teater Efforts were made to increase the awareness Indonesia, Jakarta: Dewan Kesenian to preserve the history of theatrical Jakarta, halaman 330-335,

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