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A Case Study of Sundanese Local Song 'Cianjuran' Artist Trai

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A Case Study of Sundanese Local Song 'Cianjuran' Artist Trai HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 87-94 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6005 The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia) Julia Indonesia University of Education, Sumedang Campus Jalan Mayor Abdurachman No. 211 Sumedang, Indonesia E-mail: [email protected] Received: April 21, 2016. Revised: May 23, 2016. Accepted: June 1, 2016 Abstract This paper examines the process of seeding or training of Sundanese Song Cianjuran by art- ists in Sumedang regency that is conducted by a stakeholder of Sundanese traditional arts. The study was conducted using descriptive analytic methods, and data collection was done through observation and interviews. Results from the study explained that stakeholder participation was vital and influential towards the existence of Sundanese Song Cianjuran, especially in growing cultural awareness and in generating candidates for local traditional artists. Keywords: stakeholder; awareness; art; traditional; Sundanese song Cianjuran How to Cite: Julia. (2016). The Role of Stakeholder in Fostering Traditional Art Awareness (A Case Study of Sundanese Local Song ‘Cianjuran’ Artist Training in Sumedang Regency West Java, Indonesia). Harmonia: Journal of Arts Research And Education, 16(1), 87-94. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6005 INTRODUCTION traditional art appreciator is considerably harder. In the recent era, children and tee- Observation conducted by resear- nagers tend by all means to prefer popular chers at Indonesia University of Education art rather than other genres. Their concern Sumedang Campus, for example, found towards traditional or local art seems to that traditional music, dance, and drama be slowly forgotten as popular art has pe- performance received less attention and netrated to all parts of their life in many appreciation from students. On the other ways. Research conducted by Purnama- hand, popular arts like band always recei- sari, Suntoro, and Nurmalisa (2013, p.12) ved more attention. Students from inside shows that interest of teenagers towards and outside campus always gathered to- traditional art depends closely to globali- gether to appreciate this type of perfor- zation that has changed one’s paradigm, mance. Therefore, it shows that students spirit and lifestyle had by teenagers. As in general give less or no attention and ap- a result, it is considerably challenging to preciation to the continuance of traditional find children or teenagers who are able to art. become a good and reliable appreciator In West Java, the lack of public awa- towards traditional art who, at the same reness towards local art and culture had time, possesses considerably insightful led to the extinction of hundred traditional knowledge about the traditional art itself. arts. Kurnia, et al. (2013) stated in current In fact, in university level itself, finding a time, 500 types of Sundanese art had al- 87 88 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-94 ready extinct. Furthermore, he added, the- ver, the implementation of its position is re 40 types of art are in the state of early still considered static or, in other words, agony, 25 types are in extreme agony, and has not given much influence towards cer- 15 others are alive (Pikiran Rakyat Online, tain developmental programs, especially 2013). The reasons behind the extinction the program related to art and culture in are varied, among them is because Sun- West Java. It has then resulted in the ex- danese has lost their traditional art enthu- tinction of hundred West Java traditional siasts which results in the heredity discon- arts. In the end, the problem of the role and tinuation in traditional art preservation. position, here are becoming one source of Preserving the traditional art, however, is problems in the process of traditional art not only the role of an individual. There- inheritance as well as local culture aware- fore, a stakeholder is viewed as a central ness. figure in the process of traditional art rege- Nugroho, Zahur, and Suryadi (2014, neration. It is the role of stakeholder to ob- pp. 16-17) formulates that the role of sta- serve and anticipate failure in traditional keholder can be categorized into four as- art regeneration. pects: 1) policy creator, or parties that de- Stakeholder here may refer to seve- termine or decide policy; 2) coordinator, or ral parties, like, individual, group, or any parties that accommodate various needs or person either male or female who has an interests; 3) facilitator, or parties that faci- interest, involve, or is influenced (either litate or fulfil the needs of targeted groups; in a positive or negative way) by develop- 4) implementer, or parties that implement mental activity or event (Hetifah, 2003, p. policy; and 5) accelerator, or parties that 3; Tutik, Noor, & Hayat, 2014, p.825). In wait for policy acceleration through go- other words, stakeholder as a term here is vernment policy. Thus, the role of stake- not limited to certain individual, but more holder in preserving traditional art can be to various parties that are able to act as it analyzed through these four aspects. receives forces by certain willingness or In Sumedang Regency West Java, purpose in increasing developmental pro- hope and new atmosphere of establishing grams, including development in the field cultural and local art awareness in recent of art and culture. Thus, stakeholder can years is shown by the existence of stake- be in a form of state (country or govern- holder that had been loyally caring about ment), private sector (private or entrepre- the continuation of traditional art’s exis- neur) and society (Hetifah, 2003, p. 3; Noor tence. The stakeholder here is not from & Hayat, 2014, pp. 825-826). the government representation, but an in- Various parties classified as stake- dividual whose concern towards society holder, specifically one in the field of art and traditional art is claimed as more than and culture, basically have already existed the government’s. The name of individual in governmental or societal structures. stakeholder here is Noerony Hidayat So- They are well known as tourism depart- eriadikoesoemah, a doctor, the founder of ment, education department, arts council, Pakuwon Hospital Sumedang and Gentra culture council either from government Pakuwon Art Center, who recently serves or private institution. However, the role as Director of Pakuwon foundation, after of its parts in preserving traditional art is finishing his duty as Director of Sumedang considered as doubtful for the term ‘role’ Regency Public Hospital as well as Direc- is a dynamic aspect of status only if it has tor of Al-Ikhsan Hospital Bandung. been fulfilled by a person in the position One of the art type prioritized by No- in accordance with the rights and obliga- erony to be preserved is Tembang or Sun- tions attached to it (Soekanto, 2002, p. 243; danese Local Song Cianjuran. According Mahmud, Haryono, and Anggraeni, 2015, to Wiradiredja (2012, p. 283), Sundanese pp. 20-72). It means that stakeholder in this Local Song Cianjuran is a Sundanese vocal case has obviously had the position, howe- art which employs a set of music accom- Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 89 paniment, including: kacapi indung, kacapi der in embedding awareness of traditional rincik, suling, and/ or rebab. In other words, arts in Sumedang regency? 2) How is the as a vocal-instrumental art, Sundanese result of stakeholder’s role in embedding local song Cianjuran consists of two ele- awareness of traditional arts in Sumedang ments. The first is a vocal (song) sang by a regency? singer (man and woman) and instrumen- tal (music sound) played by a set of mu- METHOD sic accompaniment, consists of kacapi (ka- capi indung and kacapi rincik) and suling or This study implements case study as rebab (Hermawan, 2014, p.26). Sundanese the research design as well as an analytic local song Cianjuran is a classical art that description as the method of study. Desc- is popular in the realm of menak, was only riptive method is employed in creating sys- enjoyed by menak, and was only develo- tematic, factual, and accurate description ped among nobles. Even though local song and illustration about facts, natures, and Cianjuran has been enjoyed by various cir- relationship between investigated pheno- cles in recent era, however, the exclusive mena (Nazir, 2005, p. 54). In this research, side of local song Cianjuran is still perfor- the investigated facts and phenomena is med in high sense of ethics and aesthetics. related to the role of stakeholder in preser- It is still bounded closely to certain norms ving Sundanese local art Cianjuran. In ge- as well and keep preserving this way by neral, the implementation of this research the society. This exclusivity is then con- refers to research method by Rohidi (2011). sidered as one of the factor affecting the reason behind dr. Noerony’s decision in Location choosing local song Cianjuran as his best This study is conducted in Sume- concern since Noerony is coming from the dang Regency, West Java. There two main nobles himself. sites in this study which are the residence The effort of Noerony in reviving the of Noerony known as Lingkung Seni Gentra traditional art has been widely well known Pakuwon in Sumedang West Java and radio by people, especially other Sundanese local channel eRKS 106,1 MHz FM. song Cianjuran artists from other regions. As a famous Indonesian proverb says ada Data Collection gula ada semut or when there is sugar there Data analysis is conducted by imple- is an ant, people will be interested in going menting flow chart as one type of quali- to a place where prosperity is a definite tative analysis model by Miles and Hu- outcome.
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