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,

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 , 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 identifies the existence of Kubrosiswo art. The data that the local wisdom of the community obtained then are implemented as models, in Magelang regency is maintained and views, motivation, knowledge system, and preserved. Third, Magelang district has a society’s background in developing the number of tourism objects included in the traditional art. International scale (one of them is Borobu- dur Temple) demanding the standardiza- RESULT AND DISCUSSION tion which is in fact related to the global tourism industry. Essentially, discussing the strategy of Kubrosiswo traditional art in response METHOD to capitalization over the demands of the tourism industry in the global era can be The researcher uses two stages in explained into three things. First, the over- conducting this study, which is literature view of traditional art in the location, both review and field research. In the literature relating to the spreading level of Kubrosis- review stage, researchers get some refe- wo traditional art and the society’s com- rences to the historical data of Kubrosiswo prehension and response toward the tradi- in Indonesia. The references are obtained tional art. Second, the nature and function from journals, newspapers, internet, se- of art Kubrosiswo art for the supporting minar paper, textbooks, and some rese- society. Third, Kubrosiswo traditional art arch reports which has been conducted by development strategy faces the demands previous researchers. After reviewing the of capitalization. To explain each descrip- literature, the researchers conduct field re- tion, it can be described as follows. search. At the field research stage, the rese- Kubrosiswo Art Overview at the Study archers collect the data by conducting ob- Location servation which is an in-depth interview The research area is located at of 4 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12

Magelang Regency, in the basin of Mount Considering the background of the Merapi, Merbabu, Andong, Telomoyo, peasant society and supported by the par- Sumbing and Menoreh Mountains which ticipation of a number of Islamic Boarding basically explains that this district is a Schools scattered over the 21 sub-districts, mountainous area. As a mountainous area, Kubrosiswo traditional art was born and Magelang regency is also fed by two ma- developed to the present day. “Kubrosis- jor rivers, which are Elo river and Progo wo began to emerge in the 1960s, along river. Starting from these geographical with the rise of a communist ideology that conditions, the majority of local people are at that time dominated the community farmers. Moreover, from the total area of around Mendut-Mungkid Magelang re- Magelang Regency which is 108,573 hec- gency. On the basis of the concerns of local tares, for about 80, 410 hectares is agricul- community leaders and scholars, Kubro- tural land (in the form of forest, fields, or siswo traditional art was born, “said one rice fields). Thus, it can be said that about informant from the Department of Edu- 80 percent of the Magelang Regency peop- cation and Culture of Magelang Regency. le are in the agricultural world (Irianto, Based on the field research until the end 2017b). of 2016, in Magelang Regency, there are at In addition to the background of the least 93 Kubrosiswo art groups (For more agricultural world, the Magelang Regency information, look at the following Table 1. people have a strong religious background Starting from a number of descrip- especially the influence of Islam. Strong tions, it can be said that the birth and de- religious values ​​of the influence of Islam velopment of Kubrosiswo art in Magelang are proven by the existence of hundreds of regency are considered as the part of agra- Islamic boarding schools (126 buildings) rian world and religiosity which is belie- scattered in 21 sub-districts of the region. ved as cultural identity of its supporting Among the number of Islamic boarding society. That is, Kubrosiswo traditional art schools, some of them are quite influential supporting society perceives and responds at the national level. For example, Islamic to the arts as entities which are basically in Boarding School named Darussalam, Wa- line with the background of the daily life as tucongol Gunungpring Muntilan founded an agricultural community which is in line KH Nahrowi Dallar, and API (Islamic Bo- with its religiosity. As a peasant as well as arding School) Tegalrejo which was es- the religious community, the supporters of tablished on September 15th, 1944 by KH. the traditional arts consider them as both Chudlori who is a scholar coming from the entertainment that can create fun and Tegalrejo Village. There is an Islamic Bo- a medium that facilitates their prayers and arding School named Darul Qiyam which hopes (Irianto, 2016a). is a branch of modern Islamic Boarding School Darussalam Gontor located in Ga- The Nature and Function of Kubrosiswo dingsari, Mangunsari Village, Sawangan, Art for Its Supporting Society Magelang Regency which is established As described above, Kubrosiswo’s by Hj. Qoyyumi Kafrawi. Indeed, during nature and function of art are fundamen- this time, the role of a number of scholars tally close-related to the background of the in Magelang District has made a valuable supporting society’s response to the art. As contribution to the Republic of Indonesia. a peasant society, for example, they main- For example, KH Nahrowi Dallar (Wa- tain and develop Kubrosiswo traditional tucongol) who belongs to a charismatic art as an integrative needs and it is func- chaplain, and he is known as one of God’s tionally related to the culture that prevails most famous trustees in the land of Java. in the society. Kubrosiswo’s traditional art Similarly, KH Hasan Asy’ari or better kno- is seen by the supporting community as wn as Mbah Mangli is a name of scholars one of the means to legitimize the existen- who are well known in this archipelago. ce of the community and to maintain their Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 5

Table 1. The Spread of Kubrosiswo Art in Magelang Regency Sub-district Name of Kubrosiswo Art Group

Bandongan Kubro Mino Muda, Siswo Mudo Borobudur Krido Siswo, Siswo Mudo, Ginar Siswa, Putra Jaya, Siswo Mudo Bumen, Budi Siswo, Wargo Siswo, Bhumi Sembhara Budaya, Bronto Mudo, Suka Siswo, Siswo Mudo Sumberrejo, Wargo Mudo, Madyo Siswo Candimulyo Krido Siswo Dukun Mudo Budoyo, Bangun Mudo, Siswo, Siwo Mudo Grabag Bintang Siswo Kajoran Sinar Remaja, Wargo Santoso Kaliangkrik Siswo Utomo, Hakaryo Iromo, Edi Siswo Bulusari, Edi Siswo Wonosari, Ku- bro Budi Mulyo, Sarisiswo Madyo Utomo, Seni Utomo, Sabo Gumboro Mertoyudan Suko Siswo, Tetro Siswo, Sinar Mudo, Andy Putro, Moncer Siswo Mungkid Siswo Mudo Cabean, Siswo Mudo Gondang, Bina Mudo Muntilan Panca Mudo, Siswo Mudo Cangkrang, Bnagun Muda, Sapta Muda, Bronto Mudo, Transaca Muda, Siswo Mudo Bludru, Kubro Seni Mudo, Siswo Mudo Semawe, Siswo Muda Krandon, Ngablak Siswo Mudo Keditan, Suryo Mudo Ngluwar - Pakis Siswo Mudo Salam Sinar Siswo Salaman Margo Siswo, Kubro Seni Mudo. Panca Siswo, Siswo Mudo Kedung, Suko Siswo Rukun Siswo Sawangan Suryo Mudo Kopeng, Setyo Muda, Argo Mudo, Konco Mudo, Bangun Mudo, Permata Muda, Bintang Jaya, Sinar Mudo Payakan, Rekso Mudo, Sinar Surya, Sinar Muda Ngentak, Tunas Muda, Sinar Muda Kapuhan, Rukun Mudo, Karya Muda Kenayan, Cahyo Eko Budaya, Sekar Siswo, Sekar Mudo, Karya Muda Sobowono Secang Siswo Mudo Krajan, Bintang Siswo, Asri Mudo, Srumbung Siswo Mudo Nggambrengan, Topeng Ireng Bina Muda, Krido Mudo Tegalrejo PKK Nurul Huda Tempuran OR Elvita 92, Siswo Mudo Kiringan Windusari Rukun Siswa, Mugi Utomo, Mudhosono, Kesenian Rakyat Islami Source: Processed from art organization data at the Department of Education and Culture Malang Regency 2016 identity. As one of the means to sustain its profit, they work in the fields more to pro- identity, the supporting community will vide for their simple family needs or the always pass it on to the next generation right to subsistence life (Irianto, Suharyo, either verbally or through direct practice. & Hermintoyo, 2015). It is associated with Based on interviews with a number the knowledge of the peasant society that of informants, the supporting society re- is essentially more social than economic. tains Kubrosiswo art since they have long The findings suggest that the values ​​and been tied up in a bond of tradition and attitudes of the peasant community tend feeling. By continuing to hold on to such to favor peace and tranquility without traditions and feelings, they consider that having to impose more desires than what the world of agriculture and art is a close- they have had (Irianto & Thohir, 2004). ly intertwined part. Instead of solely for On the other hand, as revealed by 6 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12 a number of informants, Kubrosiswo is a lam, in Indonesia. Da’wah is etymological- traditional art whose background is the ly derived from Arabic, al-Da’wā, which is outspread of Islam in Java. Etymologically derived from the term al-du’ā ‘ which me- ‘kubro’ means immense and ’siswo’ means ans asking or begging. Terminologically, student or pupil. Therefore it can be in- da’wah is the expression of a request or in- terpreted that God’s disciples are imple- vitation from someone to others to uphold mented in the show that always upholds the truth. The spread of Islam in Indone- the greatness of God. Terminologically, sia is way different from the way that was Kubrosiswo is the abbreviation of “Ar- done in the Arabian Peninsula. The contact tistry of Body and Physic Change” or art between the three pre-Islamic beliefs (ani- that moves the body and soul, which me- mism, Hinduism, and Buddhism) conti- ans that humans’ life must be well balan- nues to color Islam in its teachings and ri- ced between the world and the hereafter. tual activities. The acculturation of Islamic Based on interviews with a number teachings with the values ​​of local culture of informants, the nature of Kubrosiswo’s then happened. This is the form of inter- traditional art performances is an expres- connection between the Islamic teachings sion of the soul and human behavior. It is with local wisdom (Jailani, 2014) expressed through the form of limb move- The process of acculturation is a con- ments, and this form of body movement cept to illustrate the long process of two or is believed to contain symbolic meanings more values encounter​​ between Islam and about conflict as well as how to resolve it. local values ​​in which individuals, groups Traditional art is performed because it is and communities reside with the culture one of the human aesthetic expressions to they have. (Widiana, 2015). Islam in Java, meet integrative needs (Coates, 2017). The for example, is heavily influenced by the fulfillment of integrative needs arises be- Indian (Hindu and Buddhist) religions cause there is a human impulse that essen- that first existed in the archipelago. The tially always wants to reflect its existence diversity of the Islam propagation in Indo- as a moral, intelligent, and callous being. nesia is not only apparent in the diversi- According to one informant, initial- ty of groups and Islamic identity, but also ly Kubrosiswo’s musical accompaniment variants and changes in the values ​​and only used traditional acoustic instruments principles embraced by Muslim Indonesi- such as flute, tambour,bedug and kendhang an. Traditional art performance and local- (drum-like instrument), and bendhe (little traditional expression in the propagation gong). However, in line with the demands progress has led the search for noble va- of entertainment and variations of the song lues ​​of Indonesian Islam significantly (Su- being played, Kubrosiswo dance accompa- warno, 2014). nist also uses musical instruments such as Kubrosiswo traditional art, according organs, guitars and modern drums. Furt- to a number of informants, is the accultu- hermore, the informant said: ration art among Java, Islam, and Colonial. “Kubrosiswo art carries around 25 dan- It can be seen from the costumes worn by cers. At first, all Kubrosiswo dancers are the players. The musical accompanist, for male, but now it also involves female instance, the majority of men wears beskap dancers. The duration of this art perfor- (traditional Javanese long-sleeved shirt) mance is about 5 (five) hours, featuring with (Javanese customary ). a number of marching dance-line dan- ce compositions accompanied by music Meanwhile, female dancers wear a or that adopts songs with Islamic preach- (head coverings for Muslim women). ing nuance. “ Although they wear Javanese traditional top or also Islamic head covering, As mentioned in the description abo- the costumes worn by each player at the ve, Kubrosiswo is a traditional art with a waist down resemble a soccer player. One background of propagation or da’wah of Is- of the informants added: Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 7

In addition to a number of costumes, Taatkanlah lelupa selalu there are one or two male players whose Karena takut Allah Tuhanku. role as a singer. The singer wears a Dutch Para Muslimin sama senang, puji syukur Colonial army captain who is considered a kehadirat Allah dance leader and always carries a whistle. Bulan rajab tanggal 27 Allah memanggil Rasulullah, Nabi Muham- The function is to mark the start and end mad menerima perintah of each dance movement per composition. Menjalankan kepada kewajiban As a traditional art which has pro- Menjalankan sholat 50 waktu, buat bekal pagation function, the lyrics of the songs meminta restu (saat kita mati) contain solicitation to others to establish 50 waktu tinggal lima, untuk meringankan the truth, as well as to run a religious or- semua manusia der. Lyrics of the songs are written in Sholat itu kewajiban yang mulya, tidak berat among Arabic, Indonesian and Javanese. dan tidak menyulitkan For example, the song lyrics below: Poro Muslimin podo bungah, puji syukur Dengarkanlah saudara-saudaraku, aku akan ing Gusti Allah bercerita padamu Sasi rejeb tanggal pitulikur Menerangkanlah rukun agamamu, agar sau- Allah animbali kanjeng Rosul, Nabi Mu- dara siapa tahu hammad kedawuhan anindaake marang ke- Lima perkara banyak rukun Islam, agama wajiban suci di seluruh alam Nindaake sholat 50 waktu, kanggo sangune Ashaduala iilaha illallah nyuwun pangestu Serta Muhammad utusan Allah 50 waktu mung kari limo, kanggoa ngen- Rukun pertama selesai sudah. teng-ngenteng poro manungso Sholat iku wajibe kang mulyo, ora abot lan Kedua kali mendirikan sholat, lima kali se- ora rekoso hari beribadah dengan pernah membaca ka- limah Dengarkanlah saudara-saudaraku, aku akan Membayar zakat rukun yang ketiga, sesudah bercerita padamu cukup seni sehartanya Menerangkanlah rukun agamamu, agar sau- Puasa Ramadhan yang keempatnya, dari dara siapa tahu awal sampai hari raya Lima perkara banyak rukun Islam, agama Sekarang satu lagi penghabisan, pergi ke suci di seluruh alam Makkah mencari kesempurnaan Ashaduala iilaha illallah Sudah cukuplah agaknya sekian, salam dan Serta Muhammad utusan Allah maaf kami ucapkan Rukun pertama selesai sudah. Bahagia kito muda Islam, muda yang tunduk Kedua kali mendirikan sholat, lima kali se- pada peraturan hari beribadah dengan pernah membaca ka- Bersembahyang pada siang malam, untuk limah ingat pada nikmat Tuhan Membayar zakat rukun yang ketiga, sesudah Sholat yang wajib lima waktu dalam sehari cukup seni sehartanya Dikerjakan dengan sungguh-sungguh Puasa Ramadhan yang keempatnya, dari Taatkanlah lelupa selalu awal sampai hari raya Karena takut Allah Tuhanku. Sekarang satu lagi penghabisan, pergi ke Makkah mencari kesempurnaan Translation: Sudah cukuplah agaknya sekian, salam dan All moslem are together delighted, prai- maaf kami ucapkan se upon the God The month of Rajab on 27th Bahagia kito muda Islam, muda yang tunduk God summoned the Messenger, Prophet pada peraturan Mohammed accepted the order Bersembahyang pada siang malam, untuk To carry out 50 times of prayer, to beg ingat pada nikmat Tuhan the blessing over (when we die) Sholat yang wajib lima waktu dalam sehari 50 times become five, alleviating human Dikerjakan dengan sungguh-sungguh entire 8 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12

Prayer is a glorious duty, neither bur- recently, almost 99 percent of the 21 sub- densome nor complicate districts in Magelang District are still acti- vely maintaining traditional Kubrosiswo Listen to my fellow man, I will tell you a art as their cultural identity. It is reflected tale of mine for instance by the Argo Mudo art group About the pillars of your faith, just so you understand from Gunung Lemah Village, Gondowan- The very five Islamic pillars, the sacred gi Village, Sawangan Sub-district—the faith throughout the universe existence of traditional arts is still growing, Ashadualla illaha illallah supported by the younger generation both And Mohammed is the messenger of Al- men and women. Even every week the lah Argo Mudo group is always invited to per- The first pillar has been cited out form in various occasions, such as marri- age ceremonies, circumcisions, recitation, The second for putting up prayers, five and Islamic as well as National day com- times each day reciting the verse memoration. Thirdly paying the alms, as much as the fortune serves And fourth do fasting in Ramadan, from Kubrosiswo Development Strategy Fac- the day one until the last ing Capitaliasi Demands Each da’wah step which requires me- Based on the research of Pujiati dia and art (performance art) is a very ef- (2012), the lyrics of traditional art song in fective medium to support the act. Each Kubrosiswo basically contain three catego- phase surely requires adjustment to the ries of the message: the message of aqidah changing times, society and human cha- (faith), the message of shari’ah (rules), and racter (Jabrohim, 2012). That is, a traditio- akhlak (morals). Da’wah which contains the nal art that has been addressed as a cul- message of creed in Kubrosiswo poem is tural identity of society and becomes an delivered through the lines about the faith effective means for the purposes of da’wah, in God regarded His favors and obligato- basically have to adjust to the changing ry prayers for the followers of Islam. The times (Pereira, 2017). Economic globaliza- message of shari’ah is in the form of prai- tion demands—especially the birth of the sing God and about the pillars of Islam as tourism industry for example—is a neces- well as the religious guidelines. On the ot- sity that must be faced for the growth and her hand, the message of morality is about development of traditional art. In the cur- knowing the greatness and goodness of rent situation, when the cultural identity Prophet Muhammad as the exemplificati- that refers to local wisdom must clash with on for his people. global values ​​demanding the capitalizati- The result of observation and in- on of art and tradition, each supportive so- terview with a number of informants ex- ciety will seek to develop a strategy to deal plains that the essence and function of this with it (Radzuan, Fukami & Ahmad, 2014). art is not only as entertainment containing The demand of the tourism industry religious propaganda element, but also as has had a significant impact on the - exis an effective means to solve social prob- tence of traditional art (Himawan, 2014). lems, both concerning environmental con- Impacts that occur, among others, created dition and social conflict among members the transfer of the value of art from sacred of the surrounding community. For this to profane, mass production of traditional reason, the majority of supporters who artworks, the creation of individualization are farmers from generation to generation of art that originally was the integration maintain Kubrosiswo art. They strive to of religious and collective identity of so- preserve Kubrosiswo by establishing Kub- cial groups, and the creation of changes in rosiswo art groups, as well as recruiting the making of traditional artwork that is young people, both men and women. Until more decorative. Economists often argue Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 9 that the tourism industry is able to create tional performing arts is needed so it can unemployment for people around tourism be watched outside the live performance. objects which are undeniable. On the ot- By doing audiovisual documentation, it is her hand, they also argue that traditional expected for traditional performing arts art which has been the integrative needs to create awareness for people to get to of supporting societies can be used as at- know, deepen knowledge, review history, tractions supporting the attraction. The ar- and criticize the development of art cultu- gument is undeniable, but it must be reali- re and its supporters (Utami, 2010). zed that it shows that that traditional art is Traditional art Kubrosiswo, based on merely the object of capitalization and also its nature and function other than cultural positioned as a tourism industry suppor- identity for supporting people, is also as a ter. Traditional art is regarded as a “direct means to invite others to uphold the truth object” from the tourism industry, but as (dakwah). As a means for dakwah, a concept has been disclosed in previous discussions and strategy that can be accepted by Indo- of traditional art, traditional art is emerged nesia, which has a multicultural society, and developed standardized through the is needed as a development strategy of traditions of a society, and it is used to sus- Kubrosiswo (Jailani, 2014). By considering tain and maintain social collectivity (Irian- that condition, a development strategy for to, 2005). Kubrosiswo as a traditional art that con- Tourism industry as the object of tains islamic preaching should be done. economic global demands the standar- In this contemporary era, Basit (2013) sug- dization of traditional art performances. gests that there are four things that can be These traditional art demands change the done while preaching. The first is make perspective of supporter society towards dakwah as an object of science that can be the existence of traditional art. It is not investigated and developed in accordance only addressed as the cultural identity with the needs and demands of society. Se- which accommodates the ritual demands cond, change the paradigm of dakwah into of the society supporters. In this time, the the communication of Islam by synthesi- existence of traditional art is also required zing theories of communication with the- to be an entertainment commodity which ories of dakwah built upon the teachings of contains commercial aspects. The deve- Islam. Third, set a da’i that can adapt with lopment of the tourism industry demands the development of science and technolo- some commodities which are expected to gy. Fourth, make use of communication be traded and consequently impact on cul- and information media that are widely tural commodification (Irianto, 2016b). used by society. Ideally, the interaction between tra- The existence of traditional art, in ditional art and tourism industry should this era of postmodernism, is in between strive to be always in equity relationship the determination of communication framework, which is hoped to grow a di- technology and media globalization. The versity of choice in appreciating many development of information technology forms of art. To create an ideal interacti- gives various choices and also influences on between traditional art and tourism the existence of traditional art to be insecu- industry, a comprehensive culture com- re, and even forgotten. Meanwhile media modification is needed. The problem is globalization influences every aspect of so- traditional art – like Kubrosiswo – can be ciety, including socio-cultural (Surahman, appreciated and enjoyed only when it is 2016). being performed; its form will dissolve af- Based on these considerations, this ter the performance ends. Literature can be research about Kubrosiswo does not only read over and over again, fine arts can be stop at the written report of description kept and enjoyed for a long time. That is about a traditional art from Magelang. This why audiovisual documentation of tradi- research has produced a model in the form 10 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12 of a documentary about Kubrosiswo, con- Kubrosiswo, a traditional art, has cerning its historical background, the na- moderate popularity in Magelang, Central ture and functions of this art, along with its Java, Indonesia. All this time, this traditio- preservation strategy. In DVD format, the nal art has always been addressed as a part audio-visual depiction of this traditional of the agrarian world and as an expression art has been done by the researcher.With of the supporters’ religiosity. The nature the subject of the Argo Muda group study and function of this traditional art, other from Gunung Lemah Village, Kelurahan than as entertainment that consists of reli- Gondowangi, Sawangan District, Mage- gious dakwah for farmers, is as an effective lang District, the research has completed a medium to solve social problems invol- 25-minute documentary film entitled “The ving both environment and members of Magic of Kubro Dancer”. the surrounding society. The film documentary is one of the In this postmodernism era, the exis- strategies to reveal the truth based on what tence of traditional art Kubrosiswo is in happened on the field and is hoped to cre- between the determination of communica- ate awareness to get to know – to deepen tion technology and media globalization. the knowledge of Kubrosiswo. Just like The development of information techno- literature that can be read over and over logy gives chances for various choices to again or fine arts that can be enjoyed mul- exist and influences the existence of tradi- tiple times, the documentary film of tradi- tional art to be insecure, and even forgot- tional art Kubrosiswo can also be appre- ten. This research has produced a model in ciated at different times during the show. the form of a documentary about Kubrosis- Moreover, as a traditional art with dakwah wo, concerning its historical background, (preaching), Kubrosiswo film documenta- the nature and functions of this art, along ry can invite, push, and call people who with its preservation strategy. The film do- watch it uphold the truth without force. It cumentary is one of the strategies to reveal is hoped to create an alternative revitaliza- the truth based on what happened on the tion of a traditional art group that is in a field and is hoped to create awareness to death process facing global economics. It get to know – to deepen the knowledge of can be set as a model in instilling the sense Kubrosiswo. of pride reflectively and intuitively. Tradi- tional art revitalization in the form of the REFERENCES documentary film gives a significant cont- ribution in the aspect of art, especially in Basit, A. (2013). Dakwah Cerdas di Era the form of a creative industry, which is in Modern. Jurnal Komunikasi Islam, accordance with today’s globalization era. 3(1), 76-94 Coates, E. (2017). The Poetics of Physics in CONCLUSION Dance. PAJ: A Journal of Performance and Art, 39 (2), 7–21. Indonesian traditional art, for Creswell, J. W. (1994). Research Design. example, has been addressed as an expres- Qualitative & Quantitative Approaches. sion and cultural identity; it is also based USA: SAGE Publication. on local wisdom and uniqueness of so- Denzin, N. K. & Lincoln, Y. S. (1994). ciety. It defines as no matter how simple Handbook of Qualitative Research. a man’s life is, there are chances to express USA: SAGE Publication. and harness the beauty of art while trying Himawan, W. (2014). Citra Budaya Me- to fulfill their primary needs. Furthermore, lalui Kajian Historis dan Identi- a traditional art that is existed and develo- tas: Perubahan Budaya Pariwisa- ped is standardized through the traditions ta Bali Melalui Karya Seni Lukis. of a society, as well as to sustain and retain Journal of Urban Society’s Art, 1(1), social collectivity. Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 11

74-89 Kearifan Lokal: Studi Kasus Eksis- Irianto & Thohir, M. (2004). Ekosistem Di- tensi Industri Pariwisata dan Kes- eng dan Kebijakan Daerah Kabupaten enian Tradisional di Jawa Tengah. Wonosobo. Research report. Sema- Jurnal Theologia, 27(1), 212-236. rang: Puslit Sosbud LPPM Undip Irianto, A. M. (2017b). Kabupaten Magelang, Irianto, A. M. (2005). Erotika Petani Jawa Menuju Kota Masa Depan. Presented Memuja Dewi:Tayub, Antara Rituali- on Seminar at Pedopo Kabupaten tas dan Sensualitas. Semarang: Leng- Magelang, Magelang, 29 Maret 2017. kongcilik Press. Jabrohim, (2012). Pemanfaatan Srandul Irianto, A. M. (2008). Power Contestation Of Sebagai Salah Satu Alternatif Pen- Television Programs, Study On Info- dukung Dakwah Islam Melalui tainment Broadcasting Program. Diser- Karya Seni. Jurnal Kajian Seni Budaya tation. Post Graduate Program, De- Islam TSAQAFA, 1(1), 55-73. partment of Anthropology, Faculty Jailani, I. A. (2014). Dakwah dan Pemaha- of Social And Politics Sciences, Indo- man Islam di Ranah Multikultural. nesia University. Jurnal Penelitian Sosial Keagamaan Irianto, A. M. (2009). Media dan Multikul- Walisongo. 22(2), 413-432 turalisme. Multikulturalisme Yogya- Kuswarsantyo. (2013). Seni Jathilan: Ben- karta dan Identitas Keindonesiaan. Sri tuk, Fungsi, dan Perkembangannya Rahayu Budiarti dan Muslimin A. R. (1986-2013. Disertation. : Effendy (Eds). Jakarta: Departemen Fakultas Bahasa dan Seni, Universi- Kebudayaan dan Pariwisata Repub- tas Negeri Yogyakarta. lik Indonesia. Panjaitan, L. M. & Dadang S. (2016). Irianto, A. M., & Suharyo, & Wiranto. Pelestarian Nilai-Nilai Civic Culture (2010). Model-Model Pengembangan dalam Memperkuat Identitas Bu- Atraksi Kesenian Tradisional Wonosobo, daya Masyarakat: Makna Simbolik Sebagai Strategi Pemahaman Wawasan dalam Pelaksanaan Perkawi- Wisata Masyarakat Lokal. Research nan Masyarakat Toba di Sito- Report. Semarang: LPPM Undip. rang. Journal of Urban Society’s Art, Irianto, A. M. (2013). Mass Media Reality 3(2), 64-72. In Indonesia: The Local Wisdom That Pereira, C. (2017). Religious dances and Were Marginalized By The TV Broad- tourism: perceptions of the ‘tribal’ cast. Presented in The International as the repository of the traditional Seminar on Education as Media of in Goa, India. Etnográfica. Revista Socialization and Enculturation of do Centro em Rede de Investigação em Local Culture. Held by the Graduate Antropologia, 21(1), 125-152 School of Education and Human De- Pujiati, N. (2012). Pesan–Pesan Dakwah velopment, Nagoya University, Juni Dalam Syair Kubrosiswo. Skripsi. 25th. Semarang: Fakultas Dakwah Institut Irianto, A. M., Suharyo, & Hermintoyo. Agama Islam Negeri Walisongo (2015). Mengemas Kesenian Tradision- Radzuan, I. S. M., Fukami, N., & Ahmad, Y. al Dalam Bentuk Industri Kreatif, Studi (2014). Cultural heritage, incentives Kasus Kesenian Jathilan. Research Re- system and the sustainable commu- port. Semarang: LPPM Undip. nity: Lessons from Ogimachi Village, Irianto, A. M. (2016). The Development of Japan. Geografia: Malaysian Journal of Jathilan Performance as an Adaptive Society and Space, 10(1), 130-146. Strategy Used by Javanese Farmers. Smith, P. (2001). Cultural Theory: An In- Harmonia: Journal of Arts Research and troduction. Oxford & Massachusetts: Education, 16(1), 38-48. Blackwell Publishers. Irianto, A. M. (2016b). Komodifikasi Buda- Surahman, S. (2016). Determinisme ya di Era Ekonomi Global Terhadap Teknologi Komunikasi dan Global- 12 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-12

isasi Media Terhadap Seni Budaya bagai Media pelestari Tradisi. Jurnal Indonesia. Jurnal Rekam, 12(1), 31-41. Penelitian Seni Budaya Acintya, 2(1), Suwarno, P. (2014). An Islamic Search Of 7-13 Noble Values: The Prevalence of Widiana, N. (2015). Pergumulan Islam Modern Principles and the Resil- dengan Budaya Lokal: Studi Kasus ience of Local Traditions in Indone- Masyarakat Samin di Dusun Jepang sian Da‘wa. Jurnal Penelitian Sosial Bojonegoro. Jurnal Teologia. 26(2), Keagamaan Walisongo, 22(2), 253-278. 198-215 Utami, C. D. (2010). Film Dokumenter Se-