Improving The Function of The Prabu Geusan Ulun Museum in as A Tourist A raction for Historical and Cultural Education

Deni Hermawan, Maylan Sofi an, Kuswara Institut Seni Budaya (ISBI) Jalan Buah Batu No. 212 Bandung STKIP Sebelas April Sumedang Gg. Budaya No.7, Kotakaler, Sumedang Utara, Kabupaten Sumedang

ABSTRACT

The museum of Prabu Geusan Ulun Sumedang has been in existence since 1950. How- ever, its existence has not been recognized widely among members of society, including among Sumedang community. To solve the problem, it is important to do some eff orts for improving the a raction of the museum by increasing its functions, not only as a place of storing ancient objects, but also as a tourist destination for history and cultural educations. To obtain this goal, a qualitative research has been conducted, in which its collecting data was undertaken directly in the fi eld by observations, interviews, and documentation with a digital camera. From the research, it can be concluded that improving the functions of the Prabu Geusan Ulun museum as a tourist a raction is need to be done by developing the supporting system of the museum. These include providing several media such as booklets and website, making labels for the museum objects, and developing museum activities. All of these activities lead to the ability of the museum as a tourist destination of history and culture educations.

Keywords: Prabu Geusan Ulun museum, educational tourism, history, and culture

INTRODUCTION visitors, in which it is only 10% of the in- A museum is a place for restoring inheri- habitants of Sumedang regency who know tance and historical objects as a heritage of and visit the museum. This includes the e- ancestors. From a number of museums in In- ducational community. From the number donesia, one of them is Prabu Geusan Ulun of schools in Sumedang that visited the mu- museum, which is located in Sumedang seum for learning, it is below 30%. In the Regency. This museum is a place for restor- meantime, when viewed from its potential, ing and maintaining ancient objects, which it is possible for Prabu Geusan Ulun Mu- are the inheritance of the Sumedanglarang seum to become a museum with a highly Kingdom, the old Sundanese Kingdom. competitive value as a cultural tourism as Although the museum has been existed it stores the inheritance objects of Sume- for a long time —established in 1950, but a danglarang Kingdom, as a successor of Pa- lot of Sumedang residents do not recognize jajaran Kingdom, which has an extensive the presence of the museum. Public under- autonomy to govern its own power (Lubis, standing of this museum is lacking. This 2000: 71). Therefore, West Javanese people can be seen from the statistic data of local have a strong historical connection with Panggung Vol. 27 No. 4, Desember 2017 320 this museum. Furthermore, this museum is research was conducted. Moreover, in the also recognized by foreign countries, which fi e ld of anthropology, museum has been is proved by the fact that some foreigners important subject of research and study have visited the museum. including in form of ethnographic work Museum Prabu Geusan Ulun as a place (Serena in Angrosino, 2007). Therefore, this for historical objects is highly connected to research gives important contribution to fi ll historical education. In fact, most people, the gap in the literature about museum and especially young generation, are not inte- education. rested in history. History classes at school From the description above, it is under- are similar to art and culture classes; less stood that a empts to make the Museum desirable lessons for students. They also Prabu Geusan Ulun as a vehicle for histori- tend to ignore traditional arts. Whereas, cal and cultural education should be con- history and culture (art) are very important ducted. This will a ract people to visit the to build a nation, as the nation will lose its museum frequently, either by a local com- identity if the people do not know about munity or those who come from outside their own history and culture. Sumedang city. This also will increase local Lack of public awareness of the impor- revenue for Sumedang government. tance of history and culture needs to be an- In undertaking the a empts for improv- ticipated soon. This can be done by making ing functions and a raction of the museum, a museum as an interesting place to visit, by there are two research questions: (1) what improving its functions, not only as a place a empts that should be undertaken to make for storing historical objects but also as a Museum Prabu Geusan Ulun of Sumedang tourist a raction for a historical and cul- regency can be more a ractive so that it is tural education tour destination. There are more frequently visited by society; and (2) several activities that can be used as media what a empts that should be undertaken for historical and cultural education, such to make Museum Prabu Geusan Ulun of as organizing art practices, performances, Sumedang regency can be more widely and art festivals; cultural exhibitions; semi- function, not only as a place for storing in- nars and workshops; and other activities, heritance objects, but also as a vehicle for which are carried out regularly. historical and cultural education. Museum and education are the two im- portant issues that are strongly connected METHOD to each other. These issues have been in- This research is designed as a qualita- teresting subjects of research for scholars, tive research, which is conducted in the especially in developed countries (see Ko- research site, that is the Museum Prabu ran and Koran 1986; Vallance, 2004; Tay- Geusan Ulun, Sumedang, . As a lor, 2008). Moreover, it is also important to qualitative research, the method used is a include museum education into schools’ qualitative one with the technique of col- curriculum (Hein, 2006). Furthermore, the lecting data consists of literature study, specifi c issue related to museum and art observations, interviews, and document (Walsh-Piper, 1994) as well as art museum study. In documenting objects, it is used education also got a entions as a subject of digital photo camera. The aim of this study research (Williams, 1984). While in Indo- is to gain objective description about Muse- nesia, this issue still has not got a ention um Prabu Geusan Ulun, especially related in the scholarship. This can be seen from to the a empts for improving the function literature that is diffi cult to fi nd when this and a raction of the museum as a vehicle Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 321 for historical and cultural education. These The name of Prabu Geusan Ulun is a empts will then improve the competi- quite familiar to Sumedang people because, tiveness of Museum Prabu Geusan Ulun in addition to being the last king, he is also among other museums both in and out of associated with several important events West Java. in history. One of those is handing over In this research, the object of the research the crown of Binokasih from the Kingdom is a Museum Prabu Geusan Ulun focused of Pajajaran to Prabu Geusan Ulun which on improving the function and a raction of make Sumedanglarang becomes a kingdom the museum as a vehicle for historical and which has wider territory. Thus, using the cultural education. As a result, the museum name of Prabu Geusan Ulun as the name of will be visited frequently in the future, either the museum makes Sumedang has a wider by Sumedang people or those from outside territory. of the city. The data obtained in this research The establishment of Museum Prabu came from variety of sources include: (1) li- Geusan Ulun is originated from Prince terature study, reading literatures concern- Soeria Atmadja, Regent of Sumedang ing the museum; (2) observation, observing (1882–1919), who on September 22nd, 1912 the existence of the museum; (3) interview, wrote a will of religious contribution. He interviewing management of the charitable gave away his own goods and other objects foundation—Yayasan Pangeran Geusan which were under his supervision, either Ulun, and also several members of soci- inheritance objects from his forefathers or ety, especially those from education area; other royal palace objects. The goods given (4) document study, collecting a number away were used by his heirs. At that time, of wri en or printed documents related to the person who was selected by Prince Soe- the museum; and (5) documentation, taking ria Atmadja as nazhir (offi c ial governments pictures of museum buildings, surrounding replacing his position) and appointed by places of the museum, and inheritance ob- Kangjeng Gubernemen (government of the jects stored in Museum Prabu Geusan Ulun Dutch East Indies) as the Regent of Sume- using photo camera. dang in 1948/1949 was Tumenggung R. Moh. Singer. This new regent did not see RESULTS AND DISCUSSION the benefactions existed in the palace as The Prabu Geusan Ulun Museum those objects had been kept and maintained The name of “Prabu Geusan Ulun Mu- by other parties. seum” is given as the museum possessed To regulate and save those benefactions, by Yayasan Pangeran Sumedang that is R. Moch. Singer a empted to recollect them located on Jalan Prabu Geusan Ulun No. and then he managed and maintained them 45 Sumedang 45311. It was taken from the properly. In managing the objects, the ma- name of a charismatic well-known person, nagement was then handed over to the heirs the last king of Sumedanglarang King- of Prince Aria Soeria Atmadja. In 1950, the dom, Prabu Geusan Ulun. On the fi rst es- heirs of Prince Aria Soeria Atmadja, after tablishment, the name of the museum was receiving those benefactions, established a Museum Yayasan Pangeran Sumedang or foundation, Yayasan Pangeran Aria Soeria YPS. Later, it was changed to the name of Atmadja (Yayasan PASA with notary cer- Prabu Geusan Ulun that was proposed by tifi cate Mr Soedja no. 59 August 28th, 1950). the elders of YPS and Wargi Sumedang in In order to be able to manage those bene- the Seminar on the history of West Java on factions much be er, then based on the March 13th, 1974. decree of the State Court of Sumedang on Panggung Vol. 27 No. 4, Desember 2017 322

March 26th, 1953 Number 29/1953 Yayasan objects of Sumedang; to introduce the heri- Pangeran Sumedang (YPS) was established tage objects as a collection of museum to with the notary certifi cate Mr Tan Eng Kiam the descendants and the wider community; number 98 on April 21st, 1955. Thus, nazhir to implement the complete research on mu- which was fi rst held by individuals, later seum collections; to arrange the organiza- on, it was conducted by some persons who tion of museums, the availability of labora- were united in a coraportion in the form of tory and storage collection; the availability a foundation. of service, maintenance and administration After the inheritance objects were col- SOPs (Standard Operational Procedures); lected, they were stored in Gedung Gen- the availability of maintenance tools, the deng established in 1850. The Gendeng is implementation of mutually benefi cial co- a place for storing main inheritance ob- operation with outsiders. Furthermore, the jects and considered as “Rumah Pusaka” establishment of the museum of wargi (fami- (Inheritance House). Then, to preserve the ly members of) Sumedang named Yayasan benefaction, and in the same time in or- Pangeran Sumedang (YPS) received a good der to develop activities of the foundation response from the Sumedang residents (In- which were benefi cial, especially for its terview with Rd. M. Iqbal, May 5, 2015). members, and for the people of Sumedang On March 7th–13th, 1974, Sumedang held in general, Yayasan Pangeran Sumedang a Seminar on History of West Java, which planned to build a museum. Because of was a ended by historians of West Java. On a large number of the inheritance objects that occasion, the elders of YPS and wargi which could be viewed as tourism objects Sumedang proposed a new name for the and could enrich insight and knowledge of YPS Museum and presented at the Seminar. his descendants, on November 11th, 1973, One of the results of Seminar is a decision the Gendeng building was inaugurated as a to give a new name for YPS Museum taken museum building. It was established as the from the name of a charismatic fi gure, the Museum wargi Sumedang with the name of fi r st and the last king of the Sumedangla- Yayasan Pangeran Sumedang (YPS). This rang Kingdom named Prabu Geusan Ulun. museum was originally opened only to the Thus, on March 13th, 1974, YPS Museum circle of descendants and ancestral descen- was renamed “Museum Prabu Geusan dants of Prince Sumedang. In addition to Ulun Yayasan Pangeran Sumedang.” the fi rst building of the museum, this Gen- Besides Gedung Gendeng (established deng building was also used as a storage in 1850 and renovated in 1955 and 1993), place of . in the area of the museum, there were also Shortly, still in the same year, a new Gedung Srimanganti (Srimanganti build- building as a donation from the Governor ing) and Gedung Bumi Kaler which later of DKI Ali Sadikin stood which was later became two additional buildings for Mu- became the gamelan storage and given the seum Prabu Geusan Ulun Yayasan Pange- name of Gedung Gamelan (Gamelan build- ran Sumedang. The Gedung Simanganti ing), which is also the second building of which was established in 1706 and formerly the YPS Museum. was the home of the Regent Dalem Adipa- YPS Museum was established with the ti Tanumaja and at the same time used as aim to take care, maintain, and introduce the offi ce of Pemda Sumedang, became the good relics of Sumedang ancestral to the third building as well as the main build- public. The purposes are the extent of main- ing of Museum Prabu Geusan Ulun which tenance and protection of ancestral heritage was rehabilitated in 1982 and 1993. Gedung Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 323

Bumi Kaler Building which was founded in were made between 1836-1882; metal wa- 1859 during the reign of Pangeran Soegih ter jars or containers which were made bet- and rehabilitated in 1982, 1993, and 2006, ween 1836-1882); the clothing of the regents and previously used as a homestay of the of Sumedang; Handwri en Quran which descendants of Sumedang ancestral de- was made around 1856; the book Waruga scent, became the fourth building of Mu- Jagat; the book of Advice I; the manuscript seum Prabu Geusan Ulun and used as a on Prabu Siliwangi; wawacan Pandita Sawang; museum collection room. wawacan Panganten Tujuh; wawacan Angling In 1997, the Museum Prabu Geusan Darma; wawacan Babad Sumedang; wawacan Ulun-YPS added another two buildings, Suluh Dua Pandita; etc. the Gedung Pusaka (Pusaka building) and In Gedung Bumi Kaler, it is stored heri- the Gedung Kereta (Kereta building). Ge- tage objects such as two pepetan or small cof- dung Puska which was built for 6 years fi n functions as a jewelry, which has existed (1990–1996) and inaugurated in 1996 on the since Bupati Pangeran Soegih (1836-1882); initiative of R. Hj. Ratjih Natawidjaja and a set of Jepara furniture made around 1900, wargi Sumedang became the fi fth build- consisting of a work table, chairs, a guest ta- ing. The Gedung Kereta, founded in 1996, ble, cupboards, and sketches, as a gift from became the sixth building. Thus, at last, R.A. Kartini’s father, R.M. Sosroningrat, to Museum Prabu Geusan Ulun has six build- R. Duke Aria Soeriaatmadja when he got ings as a collection showroom, namely: Ge- the title of Pangeran; three well-preserved dung Gendeng, Gedung Gamelan, Gedung tigers, Pangeran Kornel’s marble-topped Srimanganti, Gedung Bumi Kaler, Gedung desks built around 1791-1828; bed (and Pusaka, and Gedung Kereta. In addition to bed cover) of Pangeran Kornel; the paint- those buildings to store historical objects, ing of Pangeran Kornel shaking hands with the Museum of Prabu Geusan Ulun has also Daendels by Racmansjah S. Djajasoebrata other facilities and infrastructure, namely: (made in December 1977) whose statue is 1 offi ce building, 1 prayer room, 1 coopera- found in Cadas Pangeran; etc. tive store building, 1 library, 1 warehouse, 5 In Gedung Gendeng, it is stored heritage WC rooms, park, and a place for parking. objects such as miniatures of gamelan, gamelan The Museum Prabu Geusan Ulun players, sinden, and dancers; twelve kinds of Yayasan Pangeran Sumedang is listed in masks; souvenirs of silver—conveyance (del- the ICOM (International Council of Mu- man, horse), agricultural equipment, baker’s seums) Asia-Pacifi c Organization in 1993 place, pakinangan or betel venue, and candle with membership number 55. holder; Gayaman and Ladrangan keris (there The heirlooms belong to the Museum are about 100 k); spears; means of transac- Prabu Geusan Ulun are stored in the six tion or money from Bank Indonesia; jars of buildings. In the Srimanganti Building, China; tiger skulls; bear skulls; stirrups for among others, it is stored heritage objects horses; stick; Pangeran Aria Soeriaatmadja’s such as gamelan degung heirloom of Sari cap (1882-1919); telescope; ink and kalam Arum (made between 1836-1882) which be- place; ink and harupat places; wall decora- longs to Kanjeng Bupati Aria Soeriakoesoe- tion from Europe; etc. ma Adinata (Pangeran Soegih); the painting In Gedung Pusaka, there are heritage of Mahkota Binokasih which was made in objects such as mahkota Binokasih; crowns; 1978 and handed over by Titi Salmah to Pa- benter (belts); necklaces; bracelets; lightning ngeran Angkawijaya or Prabu Geusan Ulun; shoulders; gold-studded caps; combs; tri- spi oons or vases of metal fl owers which dent spears (15th century); spears for cere- Panggung Vol. 27 No. 4, Desember 2017 324 mony; spear eyes; tricular claws; keris (15th Museum Prabu Geusan Ulun can be cate- century); gobang (sword) (15th century); ma- gorized as a deserted museum of visitors. chetes; (one of ki Mastak’s swords belonging The educational community, especially stu- to King Tadjimalela (14th century), a keris Ki dents of kindergartens, elementary schools, Shaman belonging to Prabu Gajah Agung junior high schools, high schools, and col- (14th century), keris Panunggul Naga belong- leges rarely take time to visit the museum. ing to Prabu Geusan Ulun, two badik Curuk Schools and colleges in Sumedang regency Aul belongs to Mbah Jaya Perkasa, two keris also rarely have programs to visit museums Nagasasra); Ny. R. Hj. Ratjih Natawidjaja or activities related to museum visits. The family heirlooms; Kartasasmita family heir- results of the survey (statistical data) state looms; gobang cis; a set of silverware from that the number of community visits to the the Netherlands made of Silver (1836-1882); Museum of Prabu Geusan Ulun is far below rencong (Achenese dagger); etc. 10% of the Sumedang population. Mean- In Gedung Gamelan, it is stored heirloom while, the educational community less than objects such as gamelan Sangling (has existed 30% have visited the museum. since the reign of Pangeran Soegih); gamelan This worrying fact requires a solution Manggu (existed since the reign of Pangeran so the Museum Prabu Geusan Ulun get Soegih); gamelan Talun (existied since the more visitors in the future, especially stu- reign of Pangeran Kornel); gamelan Sekar dents, both coming from Sumedang and Oneng, created around 1656–1706 by Pange- outside Sumedang. In order to get more ran Panembahan in Sumedang; gamelan Se- visits, the functions and a ractions of the kar Manis; gamelan Panglipur made around museum must be enhanced, among others, 1625–1633 by Pa-ngeran Rangga Gede in by adding the functions of the museum of Sumedang as his grief relief for the loss of Prabu Geusan Ulun as a place with histori- his beloved son; gamelan Sari Oneng Mata- cal values as well as a vehicle for historical ram made around 1656–1706) in Mataram, and cultural education. as a gift from the Mataram Kingdom be- In order to make Museum Pabu Geusan cause of the victory of the kemiri (candlenu Ulun a ractive for visitors, it is necessary to tree) match of Senapati Sumedang versus improve its function. Hence, some actions Senapati Mataram in Mataram during the require to be implemented, as follow: reign of the regent of Pangeran Panembah- • Improving its function, by enhancing an (Pangeran Rangga Gempol III); gamelan its functions from a place to store heri- Sari Oneng Parakansalak made in 1825 in tage objects only to become a vehicle for Sumedang when Sumedang was a Cultural historical and cultural education. Center in West Java; puppet; paintings of As media for historical education, Bupati Sukabumi, etc. the label for each heirloom must be In Gedung Kereta, there are heritage ob- able to present adequate informa- jects such as three Kereta Nagapaksi; delman tion for visitors. (andong carts), given to Museum of King As media for cultural education, in Geusan Ulun on April 22nd, 1998; and delman addition to the Sundanese dance from Pasuruan (already existed since 1935). training activities (dance kasume- dangan), the museum should also Some Eff orts to Improve Functions and At- increase the cultural activities (arts), tractions of the Museum Prabu Geusan Ulun such as training, performances, fes- As described in the introduction, based tivals, seminars, workshops, etc. on data and facts obtained in the fi eld, • Increasing a ractiveness, by developing Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 325

booklets, making labels of heirlooms, Therefore, the museum can present and developing website materials. complete and accurate information by ma- The museum has already a booklet, but king booklet and labels of heirloom objects. the contents are not suffi cient. Suppos- The previous booklet of the museum was edly, a booklet contains complete infor- insuffi cient in which the booklet does not mation about the museum so it can at- adequately describe the condition of the tract the public interest to visit. museum, such as the subject of the tombs The museum does not have the la- of the king of Sumedanglarang (Tjut Nyak bel of heirloom objects that are visi- Dien’s grave, the tomb of King Prabu Aji ble and informative. Supposedly, Putih, Tomb of King Geusan Ulun); so does the heirlooms’ labels have a beau- information of the sites (Dayeuhluhur and tiful visual appearance that draws the site of the Great Tembong), which is visitors closer, and when visitors actually not in the Museum Prabu Geusan read the information on the label Ulun. Likewise, with the heirloom labels. they feel satisfi ed, feeling that they The heritage labels are also less informa- have acquired suffi cient knowledge tive, the contents are very limited which about heirlooms. is inadequate as a source of information. The museum has already a website, Based on this situation, booklets and labels but the contents are not complete. are made for the museum items. Supposedly, the website not only 1) Development of Booklet showcases the streets of the mu- This newly created booklet is en- seum but also, most importantly, titled “Museum Prabu Geusan Ulun”. It displays the heirlooms of the muse- contains various information about the mu- um’s collection. seum with the subtitles of the booklet, as follow: Implementation of the ideas on how to a) “Operational Time.” It contains make Museum of Prabu Geusan Ulun not information about the open- empty of visitors is as detailed below. ing time of Museum of Geusan Ulun for visitors, namely: Tues- a. The Museum Prabu Geusan Ulun as a day-Thursday, 08.00–14.00; Sa- Historical Education Tour Destination turday and Sunday, at 08.00– To improve its ability as a vehicle for 12.00. In addition, information historical education, the Museum Prabu about the price of admission to Geusan Ulun must be able to provide infor- the museum, namely: children mation about the existence of the museum SD–SMP: Rp 2.000; general: itself, the wealth of historical objects owned Rp 3.000; and foreigners: Rp by the museum, and the activities under- 10.000. taken by the museum. In addition, informa- b) “Museum Service.” It contains tion on historical objects presented by the information about visits from museum should also be clear, suffi cient to schools and groups that must be used as material knowledge or historical reserve a special time slot to the reference for visitors or students interest- museum’s manager via phone ed in knowing the history of the kingdom number: 0261-201714. In ad- and the heirlooms of the Sumedanglarang dition, it also contains the ad- Kingdom; and heritage objects of Sume- dress of Museum Prabu Geusan dang regency. Ulun: Jl. Prabu Geusan Ulun Panggung Vol. 27 No. 4, Desember 2017 326

Sumedang No. 40, Srimangan- tains information on the build- ti, Sumedang West Java. Tel. ing period, in 1706 during the 0261-201714; and website of the reign of Bupati Tanumadja; and Museum Prabu Geusan Ulun: heritage objects, among others: www.museumprabugeusa- photo Bupati Sumedang, clothes nulun.org; and facebook of the majesty of Bupati Sumedang in Museum Prabu Geusan Ulun: the past, gamelan Sari Arum, the Museum Prabu Geusan Ulun. heritage of Pangeran Soegih, c) “Brief History of Sumedang.” ancient manuscripts, and can- It contains information on the nons VOC relics. origin of the word ‘Sumedang’, g) “Gedung Bumi Kaler.” It con- which is derived from InSUn tains information about the con- MEdal insun maDANGan. Insun struction period of the build- means me, Medal means birth, ing, which was in 1850 during Madangan means to enlighten. the reign of Pangeran Soeria So, Sumedang can be meant “I Koesoemah Adinata/Pangeran was born to illuminate.” In ad- Soegih who ruled Sumedang dition, it also contains informa- in 1836–1882; and heritage ob- tion about origin-established in jects, among others: a photo of 1850 which was later restored/ a meeting between Pangeran renovated in 1955 and rehabili- Koesoemadinata IX (1791–1828) tated back in 1993. Sumedang be er known by the name of origin, originally from the Tem- Pangeran Kornel and the Dutch bong Agung Kingdom which Governor-General Herman Wil- was founded by Prabu Guru Aji lem Daendles (1815–1818) in Putih (678–721 AD), son of Aria relation to the event of making Bima Raksa or Ki Balagantrang Cadas Princes road, preserved Senapati Galuh, grandson of tigers, marble chairs and tables, Wretkandayun, the founder of cabinets, beds, and pepeten. Galuh Kingdom. h) “Gedung Gamelan.” It contains d) “The Museum Prabu Geusan information about the construc- Ulun Collection.” It contains tion period of the building, which photographs of a small portion was held in 1973, by Sumedang of heirlooms, among others, Regional Government as a do- comprising of the crown of Bino- nation from the Governor of kasih, a set of drinking utensils, DKI Jakarta, Ali Sadikin; and some gamelan instruments, vari- heirlooms, the gamelan. ous weapons (keris, machetes, i) “Gedung Pusaka.” It contains spears, knives, majesty clothes information on the status of Regent Sumedang, etc.). the building, ie as a new build- e) “Museum Activities.” It con- ing; and various types of heri- tains photographs of tembang tage relics of the ancestors of Sunda cianjuran and classical Sumedang. Kasumedangan dance which is j) “Gedung Gendeng.” It contains held every Sunday. information about the building f) “Gedung Srimanganti.” It con- period, which was in 1850 dur- Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 327

ing the reign of Pangeran Soeria geran” (Pangeran Sedayu) and a princess Koesoemah Adinata/Pangeran of the palace. Soegih; and the heirlooms, name- b) Pepeten ly: various types of weapons, Pepeten or botekan of the temple is a relic gamelan, and other objects. of Pangeran Aria Soeria Koesoemah Adi k) “Gedung Kereta.” It contains Nata (1836–1882), which was used when he information about the building married the daughter of the Chinese trader, period, which was in 1990; the Pit Nio, which was in the future, after be- heirlooms, namely kereta Naga coming a queen, the princess was renamed Barang, which is a replica of as Ni Raden Ayu Mustikaningrat. Pepeten Kereta Naga Paksi, the relic of or botekan of the temple is one of the mixed Pangeran Soeria Koesoemah dencent Chinese bridal room equipment to Adinata/Pangeran Soegih, and store the bride’s jewelry. Pepeten is decorat- other kereta. ed with carvings of swatika and fl owers on each side (except the front and back). The 1) Label Creation philosophy of a rectangular shape with four In making the labels of the heir- legs represents a solid, strong, unshakeable looms of the Museum Prabu Geusan Ulun, relationship; and its conical shape resem- in the fi rst research phase, ten heirloom ob- bles a mountain is an invocation for a pair jects were taken as samples. These ten heir- of brides to make their family life stronger. looms are as described below. c) Gamelan Degung Sari Arum a) Keris Naga Sasra Gamelan degung Sari Arum (degung Sari Keris Naga Sasra (Naga Sasra dagger) Arum gamelan) belongs to Kanjeng Bupati is the heritage of Majapahit Kingdom. Pangeran Aria Soeriakoesoema Adinata Named keris Naga Sasra because this keris (Pangeran Soegih), one of the regents who has a keeper named Kyai Naga Sasra. This was very fond of the arts. He also had a fa- heirloom is famous for its powerful and vorite song “Tembang Sonteng.” Gamelan magical power (sakti mandraguna), it has degung Sari Arum was made around 1836– also effi cacy as a carrier of blessing, royalty, 1882. Gamelan degung uses the degung pe- dignity, and salvation. natonic scale, with the instruments used, According to its history, keris Naga among others are saron, bonang, jengglong, Sasra/Nogo Sosro heritage with 13 curva- goong, and kendang. tures and gold colored was made in Ma- Gamelan degung Sari Arum has a certain japahit Kingdom era, during the reign of motif with many symbols, among others: King Brawijaya V (1466–1478). The maker is Pangeran Empu Sedayu (Empu Supa the green color that symbolizes peace and Mendagri/Empu Pitrang). The name of yellow that symbolizes wealth. The middle Empu Sedayu is associated with the suc- motif like a fl ower bloom shows about lead- cess of the Empu in carrying out his duty ership. The upwards only have one branch, to bring back keris Kyai Ageng Puworo or while the more down the more branches are Kyai Sengkelat. Upon his fortune, the Empu instructed from the one above. This shows received an award in the form of a parcel of the kingdom must be led by one person and land in the northern coastal area (Gresik) its implementation must be implemented which was later known as the region with and supported by all. From this, it is clear the name Sedayu. It was from Sedayu the that the heritage objects always have sym- Empu obtained the title of nobility “Pan- bols and meanings. Panggung Vol. 27 No. 4, Desember 2017 328

d) Meriam Kalangtaka term from 1945–1946 (his fi rst term was Meriam Kalangtaka (Kalangtaka canon) from 1937–1942). This clothes was used was donated by VOC to Kanjeng Pangeran during the period of Adipati Aria Soeria Rangga Gempol III (Pangeran Panembahan) Danoe Ningrat, or known as Tumenggung who ruled from 1656 until 1706 to overcome Soeria Soemantri, he was later inaugurated the open a ack of the Sultanate of Banten. as Tumenggung Soeria Soemantri, when At the time of his reign, there was an event his government began to experience a tran- on Friday, October 18th, 1978, which was sition from Dutch colonialism, Japan, to the to coincide with Idul Fitri (Islamic feast at Republic of Indonesia. However, the infl u- the end of the Ramadhn fasting month). ence of Mataram was still a ached until Banten troops a acked Sumedang when all then. The ti le of raden for the descendants Sumedang residents were performing Idul of the Sumedang Kingdom is still used by Fitri prayers at the Tegalkalong mosque. some members of the Sumedang commu- At that time there was a ba le and many nity who are descendants of the Sumedang people of Sumedang became victims. But, Kingdom. Pangeran Rangga Gempol III could es- Since 1960, the occupation of Bupati cape to Indramayu. Due to this occurrence, Sumedang is no longer the king’s descen- Pengeran Rangga Genpol III vowed to no dants. Anyone can become a bupati as long longer perform Idul Fitri prayers in Sume- as he can be trusted by the community. dang if coinciding with Friday. It was a pro- There is combination terms, resulted from hibition for the Bupati to stay in Sumedang the infl uence of Mataram with those deve- on every Idul Fitri day when it falls on Fri- loped in Sumedang, such as all the descen- day. This oath is always carried out by the dants of the kings of Sumedang can use the Regent of Sumedang until now. Ultimately, title of Raden, while the child whose father the Kingdom of Sumedang can be taken or mother becomes the Regent of Sume- over by Prince Rangga Gempol III in 1979. dang/King of Sumedang can use Aom so e) The offi cial clothes of the Regent Adipati that the term Aom becomes a pride because Baju dinas (the offi cial clothes) of Regent not all raden can be called Aom. Adipati Aria Soeria Danoe Ningrat was g) Mahkota Binokasih used in 1937–1942. This offi cial clothes ori- According to hereditary sources, mah- ginally belonged to the Sukabumi Regent’s kota Binokasih (the crown Binokasih) was offi ce which was donated by the family of made on the initiative of Sanghyang Buni- Bupati Sukabumi to him because Bupati sora Suradipati, King of Galuh (1357–1371). Raden Adipati Aria Soeria Danoe Ningrat This crown was used by later Kings of the is still a descendant of Kangjeng Bupati Kingdom in the inauguration ceremony Pangeran Aria Soeriakoesoema Adinata of the new king and became the kingdom (Pangeran Soegih). This offi cial clothes has heirlooms until the Kingdom of Sunda col- a very strong nuances of Java motif. Relics lapsed. of the Mataram Kingdom is very infl uen- When the capital of the Kingdom of tial on the development of relics in Sunda, Sunda in Pakuan Pajajaran was invaded including the clothes of Bupati Aria Soeria- by Banten troops (1579), the crown was re- koesoemah Adinata. scued by the rulers of the Sunda Kingdom f) The official clothes of Bupati Tumenggung who escaped. They were Hawu, Térong Baju dinas (the offi cial clothes) of Bupati Péot, and Kondang Hapa. This crown was Tumenggung belonged to Raden Tumeng- brought to Sumedanglarang and given to gung Soeria Soemantri during his second Prabu Geusan Ulun with expectations ot Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 329 replace and to continue the existence and Cirebon. At the time of the banquet, Haris- glory of the Sunda Kingdom. Since then, baya who was the wife of Sultan Cirebon this crown became the heirloom of the King was interested and fallen in love with King of Sumedanglarang, and then the Regents Geusan Ulun, so did the King Geusan Ulun of Sumedang. Since the reign of Bupati had the same feeling. To calm down the Pangeran Soeria Koesoemah Adinata or situation, King Geusan Ulun asked to rest Pangeran Soegih (1937–1946), the crown Bi- in the mosque, not in the guest room. The nokasih was used for the decoration of the reason was for praying to calm his heart. head of the Sumedang Regent’s family. But at night, Harisbaya came to Prabu Geu- Crown Binokasih and Siger Gold be- san Ulun, and expressed her feelings to come the a raction of visitors who come the King Geusan Ulun. At that time Prabu to Museum Prabu Geusan Ulun Sume- Geusan Ulun suggested her to return to the dang. The crown Binokasih, which has Sultan Cirebon, but Harisbaya threatened full name Makuta Binokasih Sanghyang if the King Geusan Ulun did not take her Pake, is one of the symbols and relics of the away, she would kill herself. Prabu Geu- Kingdom of Pajajaran (Sunda). Until now, san Ulun was confused because it was like the crown is included in the ancestral trea- eating simalakama fruit, if he took away sure of Sumedang and becomes a relic of the Queen Harisbaya, the Sultan Cirebon King Geusan Ulun (1578–1601). This crown would be angry, and if she did not taken is stored in Gedung Pusaka in the area of away, Harisbaya would kill herself and still Museum Prabu Geusan Ulun, in octagonal Sultan Cirebon would blame him. Consi- glass cabinets with extra security. It is done, dering that, and on the support of the four because the crown is the original crown of patih (vice regents), Ratu Harisbaya was the last king of Pajajaran before the King- fi n ally brought to Sumedang. As a result, dom of Pajajaran collapsed. the ba le could not be dammed anymore. h) Keris Panunggul Naga From this incident, there are many histori- Keris Panunggul Naga is a relic of Prabu cal events, among others: the name of Pasir Geusan Ulun who ruled the Kingdom of Peda, Hanjuang in Kutamaya, and the dis- Sumedanglarang from 1578–1601 which placement of the kingdom from Kutamaya was centered in Kutamaya and then moved to Dayeuh Luhur resulting in a less harmo- to Dayeuh Luhur. This keris is a legacy of his nious relationship between Prabu Geusan mother, namely Ratu Pucuk Umun (wife of Ulun and his patih (Mbah Jayaperkosa). Pangeran Santri), Queen of Sumedangla- This event cannot be separated from the si- rang who ruled from 1530–1578. lent witness of the keris Panunggul Naga. Panunggul comes from a single word i) Pedang Ki Mastak which means leading or supreme. While Pedang Ki Mastak (Ki Mastak sword) is naga is a sacred animal that can hold up the a legacy of King Tajimalela, the founder world so that this keris has the power as the of Sumedanglarang Kingdom which was supreme ruler to hold up kingdom to be centered in Cihideung, Lembur Situ, Dar- stronger. This keris is one of the silent wit- maraja District. It is not known how long nesses of Sumedanglarang displacement he reigned, but he was expected to rule from Kutamaya to Dayeuh Luhur, and a in the mid-10th century. The kingdom of silent witness of the ba le of Sumedangla- Sumedanglarang during the time of King rang with the Sultanate of Cirebon. The oc- Tajimalela, known as Prabu Resi Cakrabua- currence of the ba le began with the visit na, ruled around 950 AD. The words “Ki of King Geusan Ulun to the Sultanate of Mastak” is Hindu infl uences name which Panggung Vol. 27 No. 4, Desember 2017 330 means head, so that the sword of Ki Mastak to be a king. Because they did not want to can be used as a symbol of the ruler, King be a king, fi nally King Tadjimalela decided Prabu Tajimalela as ruler of the Kingdom Lembu Agung as a king. Lembu Agung ac- of Tembong Agung which was the forerun- cepted the decision, but at the end he hand- ner of the Sumedanglarang Kingdom. The ed the throne of his kingdom to his brother. word “Ki” in Sundanese societies means Due to this story, King Gajah Agung was the most appreciated person for having a also known as Prabu Gajah Agung Pang- great deal of knowledge, and also it is used gulingan, which means the gift king from to describe the male fi gure. his brother. j) Keris Ki Shaman Back on the sword Ki Shaman. “Ki” is Keris Ki Shaman (Ki Shaman dagger) is a call for men who are highly appreciated owned by King Gajah Agung (son of King and have extensive experience. Shaman is a Prabu Tajimalela) who continued his father’s force or can be interpreted as a magic per- leadership, he became the King of Sume- son. Prabu Gajah Agung has keris Ki Sha- dang-larang at the end of the 10th century. man, his keris is named Ki Shaman because King Gajah Agung as the King of Great Tem- Prabu Gajah Agung is considered magical. bong is estimated to reign in 980 AD. King The naming of weapons in Sunda is diff er- Gajah Agung changed the name of the Great ent from that of Java. The naming of weap- Tembong into the Kingdom of Himbarbua- ons in Sunda is based on the courage of na. Sumedanglarang Kingdom itself began the owner, while in Java is based on pamor to develop when it was under the leadership (painting motif on the keris). of King Geusan Ulun. Naming of Ki Shaman itself can be interpreted as a dagger that is 2) Development of Website Contents used by men, and it has a miracle. Museum Prabu Geusan Ulun has a web- King Gajah Agung was crowned as the site www.museumprabugeusanulun.org. successor of his father became the King of But, the contents are not complete yet. Ac- Sumedanglarang, although he was not the tually, the site that has been made is good fi r st child, but the second. When the ap- because it has been using virtualization pointment of the heir to the royal throne, system so that the image that is displayed King Tadjimalela did not immediately ap- has a three-dimensional shape. However, point the fi rst son, Lembu Agung, as a king, the contents of the site are limited to the but his two sons were told to meditate. Af- existing streets in the museum. While the ter completing their meditation, they per- museum’s collection of objects itself is not formed the second task, which was spli ing yet published on the website. Therefore, in the young coconut. Whosoever his coconut this study, the website contents are added split contained water, then he was the one by entering the ten labels of heirlooms: who was entitled to be a king. When the co- a) Keris Naga Sasra conut was split, the coconut split of Gajah b) Pepeten Agung contained water, while the coconut c) Gamelan Degung Sari Arum split of Lembu Agung did not contain wa- d) Meriam Kalangtaka ter. Therefore, the Gajah Agung was the e) Baju Dinas Bupai Adipati rightful king. However, Gajah Agung re- f) Baju Dinas Bupati Tumenggung fused to be king with the reason that the g) Mahkota Binokasih fi r st son should be a king. On the contrary, h) Keris Panunggul Naga Lembu Agung refused to be a king be- i) Pedang Ki Mastak cause he thought his brother was entitled j) Keris Ki Dukun Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 331

b. The Museum of Prabu Geusan Ulun as Yudawiyata dance with Senggot accompa- Cultural Education Tour Destination niment; (11) Turkey dance (social dance) As media for cultural education, Mu- with the accompaniment of a special song seum Prabu Geusan Ulun serves not only of Turkish dance; and (12) Renggong Buyut as a storage place of historical objects for dance (social dance) with Renggong Buyut historical education but also has to function accompaniment. as a place for various cultural activities, in The dance coaches and gamelan players this case, arts for cultural education needs. Dangiang Kutamaya are paid by Yayasan In this regard, the Museum Prabu Geusan Pangeran Sumedang. The salary received Ulun newly held art activities, namely the every month is not in the form of money but dance course of tari kasumedangan complet- in the form of rice. The rice received are a- ed with gamelan accompaniment performed djusted for their length of service, at most 1 on every Sunday from morning until noon. quintal and at least 30 kg. In addition, if there As a result of this training, trainees who are many participants who practice dancing, have been considered capable of perform- they get wages/money from the participants’ ing certain dances are usually participated contribution. The amount of money received in performances in various events such as is divided by the number of nayaga (gamelan the anniversary of Sumedang District, wed- players). If there is the amount of money left, ding and circumcision celebrations, as well it will be kept as cash. as dance festivals held at the regional level The whole number of dance instructors, of Sumedang District as well as in West dance practitioners, and gamelan players Java Province. In fact, there are some peo- are 200 people. However, in the usual prac- ple who continue to study at art colleges tice of dancing, it is between 40–50 people such as ISBI Bandung, UPI, and art colleges every week. The age of the trainees varied, outside West Java Province. They come from ranging from age 3 to adult. For 3-year-old the dance course of the Museum Prabu Geu- participants, they are not required to be san Ulun. profi cient in dancing but are introduced The name of the dance and gamelan to a dance, dancing movements, and most group is Dangiang Kutamaya. The num- importantly they are taught to love dance. ber of gamelan players and singers are 17 Each participant who is participated in persons with varying ages, from about the dance practice is charged Rp 35.000,00 40–70 years old. The dances and its musi- training fee, and training fee for every week cal accompaniment consist of 12 dances, is Rp 6.000,00. namely: (1) Topeng dance with Gonjing To perform at a stage, the age of the Kelana accompaniment; (2) Ekalaya dance dancers is selected based on the abilities and with Angle accompaniment; (3) Jayengrana readiness of the dancer. If they are children dance with Tumenggung accompaniment; of 5 years-old but have good dance move- (4) Gatot Gaca dance with Bendrong ac- ments, they will be selected to perform. companiment; (5) Jakasona dance with Ma- In addition to the gamelan group called can Ucul accompaniment; (6) Suraning Pati Danging Kutamaya, the Museum Prabu Geu- dance with Eling-eling accompaniment; (7) san Ulun has also a group of degung which Ganda Manah dance with Macan Ucul ac- is also named Dangiang Kutamaya. The companiment; (8) Gawil dance with Gawil players (including the singers) consist of 10 Kakacangan accompaniment; (9) Keurseus persons. The museum Prabu Geusan Ulun dance with Lenyepan (Udan Mas, Reng- in its function as a vehicle for cultural tour- gong Bandung, etc.) accompaniment; (10) ism nowadays has only a program of dance Panggung Vol. 27 No. 4, Desember 2017 332 exercise course. Hence, recommendations Bibliography from the researchers are that in the future Dadang Supardan is expected other activities such as regular 2007 Ilmu dan Aplikasi Pendidikan. Ban- performing arts every month, art festivals, dung: Tim Pengembang Ilmu Pen- cultural exhibitions, seminars, and cultural didikan FIP-UPI. art workshops can be held in the museum to a ract the community to visit. Edi Dimyati 2010 47 Museum Jakarta. Jakarta: PT. Gra- CONCLUSION media. The research that is conducted is based on two questions about: (1) the eff orts that Hein, George E. must be done to improve the Museum Pra- 2006 “Progressive Education and Museum bu Geusan Ulun of Sumedang regency to Education.” Journal of Museum Edu be more a ractive to have more visits; and cation 31, no. 3 (2006/09/01 2006): 161-73. (2) eff orts to be made to make the Museum Prabu Geusan Ulun of Sumedang regency I Gede Ardika can function more widely, not only as a 2008 “Perkembangan dan Kebijakan Pa- storage place of heritage objects but also riwisata Budaya.” Materi Presentasi as a vehicle for historical and cultural edu- pada Pelatihan Pengolahan Pariwi- cation. Based on the research results, both sata Budaya. Bandung: Pusat Peren- questions are basically can be answered. In canaan dan Pengembangan Kepari- order to make the Museum Prabu Geusan wisataan ITB. Ulun of Sumedang Regency more a rac- tive, the function of Museum Prabu Geu- Koran, Jr., John J. and Mary Lou Koran san Ulun has been expanded, in addition 1986 A Proposed Framework for Explor- to functioning as a storage place of heritage ing Museum Education Research objects, also serves as a vehicle for historical The Journal of Museum Education and cultural education. Vol. 11, No. 1, Museum Education In the eff orts to improve its function as a Research: Future Directions (Win- vehicle for historical education, three things ter, 1986): 12-16 have been done: (1) developing a museum booklet by completing its contents; (2) ma- Nanda, Serena king the heirlooms’ labels to be more a rac- 2007 “Using a Museum as a Resource for tive, informative, and meaningful; and (3) Ethnographic Research” in Michael developing museum websites by incorpo- V. Angrosino, Doing Cultural Anthro- rating new materials-labeling of heirlooms. pology. Long Grove, Illinois: Wave- Further, in the eff orts to improve its func- land Press. Inc. tion as a vehicle for cultural education, one thing has been done: (1) improving art ac- Nina H. Lubis, dkk. tivities that have been done in the museum 2000 Sejarah Kota-kota Lama di Jawa Barat. such as the practice of tari kasumedangan Sumedang: Alqaprint J a tinangor. and playing gamelan; and (2) creating new cultural activities such as holding regular Sugiyono performing arts, festivals, seminars, and 2011 Metode Penelitian Kuantitatif, Kualita workshops on arts continuously. tif, dan R&D. Bandung: Alfabeta. Hermawan, Sofi an, Kuswara: Improving The Function of The Prabu Geusan Ulun Museum 333

Taylor, Edward W., and Amanda C. Neill Walsh-Piper, Kathleen 2008 “Museum Education.” Journal of 1994 Museum Education and the Aesthe- Museum Education 33, no. 1 (2008/03/ tic Experience The Journal of Aesthe- 01 2008): 23-32. tic Education Vol. 28, No. 3, Special Issue: Aesthetics for Young People Vallance, Elizabeth (Autumn, 1994), 105-115, DOI: 10.2 2004 “Museum Education as Curriculum: 307/3333404 Four Models, Leading to a Fifth.” Studies in Art Education 45, no. 4 Williams, Be y Lou (2004/07/01 2004): 343-58. 1996 “An Examination of Art Museum Education Practices since 1984.” Studies in Art Education 38, no. 1 (1996/10/01 1996): 34-48.