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 West , )

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 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 , 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 . 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. In line with the proverb, Noero- berman (1994). According to this model, ny is the ‘sugar’ in the world of Sundanese data analysis is conducted through several local song Cianjuran. Noerony is conside- stages, there are: data reduction, data pre- red to be able to give facilitation to other sentation, and verification (Rohidi, 2007). artists and future artists in rehearsing and In analyzing the data, data resulted from performing the art. observation and interview are analyzed, From the background of the study interpreted, and compared with relevant explained before, thus, this study is aimed theories. at digging forms of role of Noerony as well as its impact towards the society’s aware- RESULT AND DISCUSSION ness towards efforts to preserve traditional arts. In its actual realization, indeed, art can Forms of Stakeholder Participation stay alive and develop fast because of the in Cultivating Traditional Art Awareness real support given by stakeholder. In order In doing the role of stakeholder in to give clear limitation of the study, rese- Sundanese traditional art, there are several arch question then focuses on two basic stages done by Noerony, as follows: problems: 1) How is the role of stakehol- 90 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-94

The Stage of Socialization and Recruit- outside adults or institutions. In this case, ment the scheme of inheritance happens inside In this stage, Noerony and his wife is their own culture, however, the inheriting doing socialization of society from vario- process is not directly given from parents us districts in Sumedang Regency related to children (biological inheritance), but to the activity of training for future artists from an adult to another adult. The ex- of Sundanese local song Cianjuran. This pected result is for the successor to have activity is usually done in the middle of the same behavior and value as the an- health counseling for society in Sumedang cestor outside their own biologic family’s regency. Noerony is able to do it this way value and behavior. The process of choo- since his role as the chair of NGO namely sing candidates by stakeholder itself has Sumedang Sehat Sejahtera allows him to reflected the use of educational concept of do so. One strategy used by him to attract stakeholder, as mentioned by Langeveld people’s interest in local art is by asking and Sadulloh (2007, p. 33) that education the audience to sing together. By doing this in specific definition is a guidance given activity, potential candidates for future ar- by an adult to less adult students to achie- tists will be seen. According to interview ve maturity. Here, the stakeholder expects with the wife of. Noerony, Hj. Ongki Ani the art learners to absorb knowledge and Kendran, people sometimes also directly skill as much as they can. Thus, in the futu- come to their residence to register themsel- re, the candidates will be able to transform ves as candidates for future Sundanese lo- from a trainee to be a great artist in a broa- cal art artists as they hear from people that der scope generally and inside their own there is a routine rehearsal in the residence cultural environment specifically. (Interview, 13 February 2016). Thus, socia- lization strategy here is done through two The Stage of Training main activities, diffusion and disseminati- The purpose of training stage is on. Diffusion is when information exchan- to give the trainee deep training about ge between several individuals happens techniques of singing, mastery and control either in convergent or divergent way for every situation and condition that they spontaneously. Meanwhile, dissemination may face on stage (Rudy, 2008, p. 31). At happens through planned, directed, and this stage, Noerony holds routine training manageable spreading process (Rusdiana, activity by presenting senior vocal coach 2014). Through those both ways, numbers along with the music players. In 2015, se- of traditional art enthusiast are growing nior vocal coaches invited to the training from time to time. were Enah Sukaenah from Sumedang, Further about recruiting future ar- Iwan Mulyana from Bandung, and Ruk- tists, people who have been recruited to ruk Rukmana from Bandung. Meanwhile, be trained are called as “Bintang Ipukan” in 2016, the coaches are Ujang Supriatna by Noerony. Ipukan comes from the Sun- and Ade Gangan Gumilar from Sume- danese language means training or ‘see- dang. Variety of coaches are presented by ding’. Interview with dr. Noerony on 13 stakeholder in order to bring enrichment February 2016 found that the doctor pre- in the field of vocal technique or ornamen- fers to choose young candidates for the tation for the trainee. The training, further, sake of further development of the ar- is divided into two categories based on the tists and their considerably longer time to ability level of the trainee. spread and cultivate the art. The first category belongs to beginner In the study of cultural inheritance, level that is held every day on Friday eve- this is what so called by Berry, John. W, et ning at 4 p.m. to 6 p.m. or 6 p.m. to 9 p.m. al. (1990, p. 33) as sloping inheritance. Slo- In the training, all trainees are gathered re- ping inheritance means the successor of a gardless of skill level they master. Meanw- certain culture learn the culture itself from hile, in the second category is the training Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 91 for the mastered trainee that is held every communication between performers and Saturday evening at 4 p.m. to 6 p.m. The listeners through the phone line. Second, training is usually followed by an activity the publication is also done through televi- of singing for radio broadcasting. In this sion broadcasting. Television broadcasting category, the mastered trainee is sharpe- is done offline through VCD recording. ning their ability and fixing the technique Lingkung Seni Genta Pakuwon as a traditio- into a better one. Therefore, repeating be- nal art group has already taped their video comes the method that is applied in this and packaged it into Video Compact Disk. category. The method chosen during the The disk is then given to television broad- training itself is generally implemented to caster to be aired. Besides, the VCD recor- achieve ability or skill from theory that has ding can also be accessed in YouTube. been learned by the trainee (Majid, 2013, p. 214). The training system implemented during the process of inheritance in this context is identified and divided into two systems, the apprenticeship as well as the studio system. According to Soehardjo, (2005, p. 9), the apprenticeship is a system that the characteristic key is laid on the sin- cerity between trainer and trainee to give and take. In this training center, the since- rity is seen from the role of stakeholder that is, in fact, bringing both trainer and trainee Figure 1. The Activity of Routine Training through moral and material support. at Noerony’s Residence On the other hand, the studio system is a training system in which development The art spreading through mass me- does not happen because of the trainer, dia has relatively vital and significant fun- but because of interaction that occurs du- ctions. According to Dominick in Racheli- ring the training activity at the studio (So- ta and Ispandriarno (2014, p. 7), for local ehardjo, 2005, p. 17). Since the number of mass media, the function of cultural inhe- trainees is considerably numerous, there- ritance turns to be considerably essential fore, interaction between trainees become considering that function of cultural value one alternative strategy to develop each inheritance opens chances for individu- other ability as well as master the materi- als to adopt behaviors and values had by als given by the trainer. Further, according groups that are published in mass media. to Soehardjo (2005, p. 10), regardless the Therefore, society believes that the mass system, the process of art inheritance is not media is one of changer and influence that merely a physical activity in transmitting may bring new values and norms to the the ability of doing art, but more to trans- new generations. mit philosophical values to the trainees. Third, the publication is also done through holding a competition. Dr. No- erony has been in cooperation with local The Stage of Performance In this stage, Noerony publishes government officers of Sumedang regency the singers in several ways. The first way in holding a competition of singing Sun- is through radio broadcasting. The radio danese local song Cianjuran and Kawih broadcasting is aired every Saturday at 6 Sunda Setatar Priangan in 2015. For. Noero- p.m. to 9 p.m. in online radio eRKS 106,1 ny, this activity is basically considered as MHz Sumedang. In this radio broad- an event in which purpose is to establish casting, the program not only airs about and grow the mental readiness of the trai- songs, but also presents interaction or nees. The mentality of an artist will be in- 92 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 87-94 deed grown and more established through activity (Interview, 13 February 2016). In stage performances or on stage experien- other words, all activities related to tradi- ces. Simanungkalit (2008, p.55) states that tional art done by Noerony are non-profit there are five events happened during on oriented. All activities are done for the sake stage performance: 1) changing of facial of Sundanese traditional art preservation. expression, 2) changing of breathing, 3) As reported from YouTube on Gentra changing of mood, 4) memory break down, Pakuwon Sumedang channel, Noerony Hi- and 5) nervous. Therefore, by giving chan- dayat Soeriadikoesoemah established the ces for the trainees to perform on stage or art center, namely Lingkung Seni Genta Pa- pasanggiri, stakeholder expects them to be kuwon as a medium to preserve Sundanese relaxed and get accustomed to the stage, so art and culture, especially the Sumedang that the trainees can become professional culture. Considering the expensive cost artists in the future. Related to this pheno- spent by Noerony, a leading figure of Sun- menon, Djohan (2003, p. 159) argues that danese local song, namely Enah Sukaenah an artist will become professional and rela- argues that Noerony has given his best xed on stage after they have performed for sacrifice for the preservation of Sundanese more or less 10,000 training hours during local art (Interview, 14 February 2016). The their life. trainees themselves can learn the art in a considerably comfortable condition with complete set of facilities that may lead to their high motivation of learning. Basical- ly, the availability of facilitation as well as accommodation from stakeholder here can be functioned as extrinsic motivation for trainees. In the theory of learning concep- tion, motivation in learning art means that the art has to be able to push the trainees to do all activities of training to achieve the goal of training itself (Sagala, 2006, p. 104). Stakeholder, in this case, has given all mo- Figure 2. One of the Activity of Trainees, tivation through his ability to provide all On Air for Sundanese Local Song Cian- the training needs. juran Radio Broadcasting Program in Radio eRKS Results of Stakeholder’s Role towards Society Awareness in Doing Traditional Facility and Training Support Art As evidence of Noerony’s serious- Through cultural movement done by ness in preserving Sundanese culture, a set Noerony, it can be identified that numbers of facility to support the art training, such of young generation attracted to traditional as: , kecapi, sound system, etc. have art is increasing. In the beginning of 2016, been prepared by him. Facilities given by Lingkung Seni Genta Pakuwon has alrea- Noerony, at the same time, also attracts fu- dy had around 30 enthusiasts or trainees. ture artists to join since he does not charge This is indeed a new breakthrough in the the trainees for the training fee. Even, No- development of Sundanese local art whe- erony also gives satisfying and enough ac- re the informal education environment is commodation for trainees and the trainers. able to bring in a considerable number of Accommodation here is dinner, snack, as enthusiasts and to do continuous training well as transport fee for both the trainers for numbers of people for free by provi- and trainees. Further interview with No- ding accommodation and facilitation at the erony found that he spent more or less 30 same time. For future development, it is million rupiahs each month to support the possible for Gentra Pakuwon to have more Julia, The Role of Stakeholder in Fostering Traditional Art Awareness ... 93 trainees considering the strategy of mouth in three stages: 1) the stage of socializati- to mouth marketing about the existence of on and recruitment; 2) the stage of perfor- Gentra Pakuwon is still continuously done. mance (publication); and 3) the stage of on Furthermore, it is also possible that stage performance. Second, the role and the activity here attracts other concerned participation of stakeholder had success- parties, especially the party which is wan- fully brought numbers of youth to learn ting to preserve or develop Sundanese lo- the Sundanese traditional art, especially cal tradition. One example here is a request Sundanese local song Cianjuran. Third, to become a sponsor of passenger activity. the presence of stakeholder who was able In other words, the stakeholder here is oc- to give facilitation and accommodation to cupying attractiveness that may invite ot- trainees and the trainers had been able to her parties or individuals to cooperate with increase the development of traditional art various motivations. According to Vaughn preservation. Thus, the role of stakeholder in Kusumah, Rukmi, and Adianto (2014, p. is considerably vital and influential for the 82), an individual is attracted to become a existence and preservation of traditional member of a certain group because of simi- art, especially in growing cultural aware- lar proximity, attitude, interest, and belief ness and in producing future traditional that is interdependent to achieve a certain artists. purpose, like, positive mutual support, In this case, Noerony and his family emotional support, and social identity. As can be categorized as multi-role stakehol- for enthusiast who are attracted with Ling- der. They act as a policy creator, coordina- kung Seni Gentra Pakuwon, they are motiva- tor or as a party that prepares all needs ted by social identity since Sundanese Lo- of the training, as well as a facilitator or a cal Song Cianjuran is a classical art enjoyed party that gives facilitation to the trainees. by the nobles. Thus, people who are enrol- Vocal coaches and other trainers acted as ling themselves in this community will feel implementing parties. Further, it was also the nuance of noble life while taking part found in this study that the accelerator as- in the group. pect only received less attention from the The training done by Lingkung Seni stakeholder. It means that the existence of Gentra Pakuwon is not only focused on the Sundanese local Song Cianjuran here did vocal skill development, but also on trai- not depend on government policy. The nees’ character building development. existence of the training by Noerony, on Specifically, for the character building the other hand, indirectly had shown cri- development, the approach is by giving tics to the government which was seen as direct advice, good behavior habituation, a policy maker that had not implemented as well as art management transparency. the policy themselves. Finally, Noerony is Therefore, the training here has not only categorized as stakeholder that is referred shaped the trainees character from the mu- as manage player or manage closely accor- sic perspective, but also to assist trainee ding to International Finance Corporation, during the process of softening one’s fee- that is an active stakeholder that has cer- ling since one of music role is to form one’s tain interest and high influence towards basic personality (Rahmawati, 2005, p. 85). the development of a certain project or All these expected outcomes are possible program. with supports from the stakeholder. REFERENCES CONCLUSION Berry, J. W., Poortinga, Y. H., Segall, M. H., The conclusion of this study is divi- & Dasen, P. R. (1999). Psikologi Lin- ded into three major parts. First, the form tas Budaya Riset dan Aplikasi. : of stakeholder’s role in rising traditional Gramedia Pustaka Utama. awareness in Sumedang regency was done Djohan. (2003). Psikologi Musik. 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