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Case Study of Kubrosiswo Cultural Art Commodification

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Case Study of Kubrosiswo Cultural Art Commodification Harmonia: Journal of Arts Research and Education 18 (1) (2018), 1-12 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.11363 Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification Agus Maladi Irianto, Arido Laksono, Hermintoyo Faculty of Humanities, Universitas Diponegoro, Indonesia Received: November 6, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract The aim of this study is to describe traditional art capitalization as the cultural identity of a so- ciety and a strategy of the society which supports traditional art in developing cultural comodi- fication in line with the demands of the tourism industry. The paper is based on field research presenting a case study of the existence of Kubrosiswo traditional art from Magelang Regency, Central Java, Indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. One alternative strategy which is developed in this research is by making a documentary film. The documentary film is one of the strategies to present the real- ity based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of Kubrosiswo traditional art. Keywords: Art Capitalization; Cultural Commodification; Kubrosiswo; Documentary Film How to Cite: Irianto, A. M., Laksono, A., & Hermintoyo. (2018). Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification. Harmonia: Journal of Arts Research And Education, 18(1), 1-12. doi:http://dx.doi.org/10.15294/harmonia.v18i1.11363 INTRODUCTION transformation of capitalist consumption. Today, some members of society have to Basically, the present social develop- consume and buy some goods not becau- ment has transcended from modern thin- se the goods have utility value, but they king (marked by the emergence of goods tend to be influenced by lifestyle and ima- and services industry) to postmodern thin- ge (Irianto, 2017a). The mass media games king which tends to be more organized by show the illustration of knowledge forma- the development of information technolo- tion which is marked by the work of power gy, cultural consumption provocation, and through the social practices of some actors mass media games (Smith, 2001). The de- who are mutually contested. The contes- velopment of communication technology tation of power due to the mass media makes interaction among people around game is understood as a picture of vario- the world become faster, effective and ef- us power relations which support, strugg- ficient (Surahman, 2016). Provocation of le, compete, and destroy each other in the cultural consumption has illustrated the knowledge formation process and product consumer society who grows in line with discourse (Irianto, 2008). the economic globalization history and the The hegemony of global culture has led to the marginalization of local culture Corresponding author: Jl.Prof.H.Soedarto, S.H.Tembalang, Tembalang, Kota Semarang, Jawa Tengah 50275 E-mail: [email protected] 1 2 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12 that becomes the social phenomenon de- the context of Indonesian society grows in veloped in this postmodern era. Ethnicity line with the development of cultural con- and kinship, system and social order, ritual sumption. The growth of economic globa- and religion, and art and tradition - which lization forms a transformation of capita- have been the keywords in a number of lism consumption which is marked by the cultural definitions - have been margina- growth of stylish shopping centers such as lized into global cultural simplification shopping malls, leisure industry, mode or (Irianto, 2017a). The global cultural simp- fashion industry, beauty industry, culinary lification through the process of internatio- industry, advice industry, gossip industry, nal communication and transportation has luxury dwelling, apartments, instant food, removed the cultural boundaries of every and lifestyle reproduction and transfer nation. The culture of each nation leads through advertising and media (Irianto, to globalization and becomes a world ci- 2009). vilization, so it involves people as a who- For instance, the presence of today’s le, including Indonesian people. Through broadcasting industry in Indonesia has interaction with various other societies, created the fast knowledge of reality in- Indonesian people have undergone a pro- cluding communication strategy in order cess of influencing and being influenced to be able to maintain or change people’s (Surahman, 2016). attitudes or opinions for the interest of the For instance, Indonesian traditional strategist (Irianto, 2013). Further, the influx art has been addressed as an expression, of globalization into Indonesia has made cultural identity based on local wisdom traditional arts to face global challenges. and the uniqueness of a society. For the Traditional art which long has supported supporters, traditional art is also perceived societies’ expression to create harmony as a cultural identity based on local wis- between people and their environment dom and uniqueness (Panjaitan & Sunda- must adapt to the market needs which is in wa, 2016). Traditional art is an integrative line with the globalization demands (Kus- need of human beings in order to improve warsantyo, 2013). and maintain the standard of living. (Irian- One of the products of globalizati- to, Suharyo, & Hermintoyo, 2015). It me- on which demands the standardization of ans that no matter how simple human life traditional art production is the emergen- is, in the struggle of fulfilling the primary ce of the tourism industry. The tourism needs, people are also looking for oppor- industry demands the standardization of tunities to express and take advantages of cultural objects production – one of which the beauty through the arts. In addition, is traditional art – to be traded for financial traditional arts exist and they are standar- gain or commonly called as cultural com- dized through the social traditions as well modification (Irianto, Suharyo, & Wiranto, as to sustain and retain social collectivity 2010). The demand for tourism changes (Irianto, 2005). the perspective of traditional art suppor- In line with the civilization deve- ters towards the existence of traditional lopment, economic globalization has chal- art. It is not only addressed as a cultural lenged the cultural development in Indone- identity which accommodates the suppor- sia. Economic globalization triggers every ters’ ritual demands. Traditional art is also cultural product to be open and creative. required as the entertainment commodity The impact of economic globalization is which contains commercial aspects. Thus, also distributed to a number of community the existence of traditional art in this glo- life relations and also the existence of tra- balization era shows the illustration of the ditional art which has been regarded as a clash between traditional values which cultural identity for its supporting society maintain harmony and postmoderni- (Irianto, Suharyo, & Hermintoyo, 2015; ty which tends to be capitalistic (Irianto, 2016b). Today, economic globalization in 2016b). Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 3 The article, which applies the field with a number of respondents who will research method, describes the existence be appointed to describe comprehensively of Kubrosiswo traditional art in Magelang the existence of traditional Kubrosiswo art. Regency, Central Java, Indonesia. Basical- Observation is intended to make a record ly, the traditional art supporters develop of all observed circumstances and activi- cultural commodification as the strategy to ties, and an in-depth interview is addres- respond to the demands of the tourism in- sed to the key informants who are conside- dustry which appear in this globalization red to know and to have information about era. The study location was selected based Kubrosiswo art. To understand the inter- on several considerations. First, Magelang related factors of the data obtained, the re- regency is one of the regencies in Central searchers developed the analysis based on Java which has hundreds of traditional art the learned societal framework rather than groups that are still doing activities. Accor- the size of researchers (Denzin & Lincoln, ding to the interview with the informant 1994). in Department of Education and Culture While concerning to the data analy- of Magelang Regency in 2017, at least hun- sis, this study applies descriptive analytical dreds of traditional art groups (1156 group method. This method is an approach which types) are still actively preserving tradi- is used to describe an inter-phenomenon tional art (both in the process of training relationship in society (Creswell, 1994). By and performance) in this region. Second, using this method of approach, the study Kubrosiswo is the traditional art of Mage- will provide an explanation about the rea- lang regency which has survived since its son, background, and some meanings un- birth decades ago until now. Almost every derlying the actions and decision-making district in Magelang regency has Kubrosis- by the society supporters in response to wo art groups. This description
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