Artikel Untuk Litera Uny

8/11/2019 Artikel Untuk Litera Uny

1/14

PERTUNJUKAN KESENIAN TRADISIONAL DULMULUK: REVITALISASI DAN

APRESIASI MAHASISWA1

Nurhayati, Subadiy!, a!d Didi Suh"!di(Indonesian Language and Literature Education Study Program, Faculty of Teacher

Training and Education, Sriwijaya University,

!urhayatibi##y$yah%&' !P "#$%&'&'%##)

Ab(tra)

Penelitian ini *ertujuan untu+ melaor+an uaya untu+ mem*iasa+an mahasiswa

-eguruan dan Ilmu Pendidi+an Universitas Sriwijaya dengan teater tradisional, .ulmulu+

dan mening+at+an aresiasi mere+a terhada +inerja seni lo+al yang enting terse*ut/ !al

itu dila+u+an dengan mengga*ung+an metode +ualitatif dan +uantitatif/ Pengumulan data

dila+u+an dengan mengguna+an o*servasi dan +uesioner/ Tanggaan ada engalaman

menonton dan mela+u+an teater tradisional dilaor+an dalam enelitian ini/ Pening+atan

aresiasi 01 mahasiswa terjadi ada tiga ase+2 si+a, engetahuan, dan si+omotor/

.ilihat dari ase+ si+omotori+, mere+a mamu mela+u+an ertunju+an .ulmulu+

se*elumnya dengan $/"0" enonton/ !al ini menunju++an ening+atan aresiasi

mahasiswa dari teater tradisional yang hamir mati/

-ata3+ata +unci2 .ulmulu+, ravitalisasi, aresiasi/

DULMULUK TRADITIONAL ART PER*ORMAN+E: REVITALIATION ANDSTUDENTS- APPRE+IATION1

Ab(tra&t

This study was aimed to reort the efforts to familiari4e student of Teacher Training and

Education Faculty of Sriwijaya University with traditional theater, .ulmulu+ and imrove

their areciation of such imortant local arts erformance/ It was done *y com*ining

5ualitative and 5uantitative methods/ The data collection was underta+en using o*servation

and 5uestionnaires/ 6esonses on the e7eriences of watching and erforming the

traditional theater are reorted in this study/ Imrovement of the 01 students8 areciationoccurred in three asects2 attitude, +nowledge, and sychomotor/ 9iewed from the

sychomotor asect, they were a*le to erform a .ulmulu+ show *efore with $"0"

viewers/ This indicates an imrovement of the students : areciation of a dying traditional

theater/

-eywords 2 .ulmulu+, revitali4e, areciation

1 The article was presented in The International Journal of Arts and Sciences (IJAS)

Conference on 26-3 !a"# 21$ in %oston# !assachusetts# &SA'
mailto:[email protected]:[email protected]


2/14

INTRODU+TION

Palem*ang is the caital of South Sumatra Province/ This city used to enjoy .ulmulu+, a

traditional theater erformed to entertain viewers of all ages in $0"s to $#"s/ !owever, this

traditional art erformance is increasingly forgotten/ Lelawati (1"") oints to lac+ of romotion,

governance, and regeneration/ There used to *e 1# .ulmulu+ grous in the ast twenty years and

now five of them survive/

.ulmulu+ carries a cultural function/ It is necessary to revive the e7istence of .ulmulu+ and

introducte such art erformance to young generation/ Efforts to retain and revitali4e it need to *e

done (;urhayati, Su*adiyono, Suhendi, 1"$%a2$)/ Such efforts cannot *e searated from the

younger generation/ .ulmulu+ today is virtually un+nown *y the younger generation/

It is shown from the data survey conducted in 1"$1 *y ;urhayati, Su*adiyono, and Suhendi

(;urhayati, 1"$rou .iscussion (F>.) has done (;urhayati, Su*adiyono, Suhendi, 1"$1) /

F>. is +nown to *e a way necessary for .ulmulu+ revitali4ation/ Fifty students of Teachers

?ollege, Sriwijaya University were introduced to .ulmulu+/ Later on they *ecome high school

teachers, they are e7ected to introduce the traditional theater to junior and high school students/

In conjunction with the revitali4ation efforts, fifty two students of Teachers ?ollege,

Sriwijaya University were offered the .ulmulu+ course/ The urose was to train them to *e

a*le to write a variety of stories to *e adated *y .ulmulu+ grous/ They resented their storiesthe general u*lic and staged the lays they had written/ Plays of @*dul Aulu+ written *y 6aja

!aji @li are referred/ Selection of the .ulmulu+ stories, usually written in the form of oems

were staged in front of the u*lic/

6usyana ($#12') defines areciation as introduction of higher values/ ;atawijaya

($#12$) states that areciation is the areciation and understanding of the arts or cultural

2


3/14

wor+s/ Similar feelings were e7ressed *y !arto+o ($"210) who says that areciation is an

act of giving value rewards/ Furthermore , the areciation of not only the range of rewards , *ut

also a dee understanding even an increase in a more ositive attitude to literary wor+s/

Bemarjati ($$20') e7lains that areciation is related sensitive resonses something

sensitive or understanding something/ ?omlementing this oinion, Effendi (1""1) states that

areciation is a friendly activity to understand literature seriously/ In the rocess of recognition,

intimacy, understanding, areciation, and enjoyment occur and after that their alication/ @s

defined *y Aoody:s ($#20) areciation can ($) hel develo language s+ills, (1) increase

cultural +nowledge, (%) develo creativity and taste, and (. in the revitali4ation of the lay/ F>. suggests to focus on the following

elements of ($) the length of time the show was shortened just one hour, (1) the e7istence of a

lay rimarily for conservation uroses, (%) the resence of a director who can rovide

interretation and colors of the role and erformance, (


4/14

the resence of lighting arrangements that suort the story, () there is a sound system use

including the music that suorts the story, and ($") the resence of an audience (;urhayati,

1"$


5/14

students thin+ of the imortance of revitali4ation there is a need for .ulmulu+ retention as an art

form/ The revitali4ation efforts are as follows/

E7hi*ition of routine .ulmulu+ erformances/ For e7amle, every two months, .ulmulu+

theater is dislayed in the media that can *e watched *y u*lic on television/ In addition, it can

also *e *roadcast on the radio/ In addition to the media, it can *e staged at various events, for

e7amle on the indeendence day of the 6eu*lic of Indonesia and in various cultural arts

festivals/ Thus, this way, .ulmulu+ can still survive in society/

Teaching of how to stage .ulmulu+ at schoolDuniversity/ .ulmulu+ can *e taught to all

students, esecially students of a teachers college/ It is intended that the student teachers who

later *ecome a teacher can teach .ulmulu+ or at least introduce it to his or her students/ In

addition, scrits of .ulmulu+ can *e *ased on the materials of local content/ Furthermore, for

teachers who have served in the field can understand and teach .ulmulu+ in the erforming arts

class/ The teachers incororate .ulmulu+ erforming arts in school su*jects, such as su*jects

through Indonesian and local content/

.ocumentation of .ulmulu+ Performances/ .ocumentation is related to the staging of

.ulmulu+ custody and retention efforts/ The documents are the most valua*le historical

evidence/ In addition, there should *e research on .ulmulu+ with the aim of imroving and

understanding of the audience reactions/ @ction research hels imrove it/

Promotion of .ulmulu+ as an art/ .ulmulu+ art is more meaningful when romoted to

audiences living outside the Palem*ang ?ity, either outside the region or a*road/ The tradition

theater of this city carries cultural values that outsiders can learn from/This is clearly related to

regeneration/ The most essential factor is the young generation who can lay an imortant role in

the romotion of .ulmulu+/ .ulmulu+ can survive in a more conducive environment and its

otential continuing e7istence guarantee cultural sustaina*ility/ Finally, culture is not an

a*stract entity without footing, *ut it rests on the suorting conditions/ Thus, this art

erformance is increasingly recogni4ed and loved *y the community/

The ortion of the reosition .ulmulu+ as Imortant to Society/ .ulmulu+, art of the local

culture, can *e +nown nationally and glo*ally/ To reosition the cultural issues in the ward of a

disintegrating nation, the need for imlementation of regional cultural develoment olicy that

really aid attention to e7isting cultural treasure/


6/14

See+ing the status of .ulmulu+ in >overnment PolicyD6elated @gencies/ .ulmulu+

revitali4ation needs to *e imlemented with the strategic lans and olicies with clear and

realistic goals, and they can actually *e achieved/ In order to +ee the reservation of local

culture, it can *e romoted nationwide, to *e suorted esecially *y agencies that handle

cultural issues in the area/ In addition, the culture as a tourism asset should *e develoed

creatively to maintain virtuous values of the regional area/

Appreciation in the Aspect of Attitue

The data was collected from the same 01 students who too+ .ulmulu+ course/ The

o*servation was carried out to find out the attitude of students for watching and the staging of

.ulmulu+ grou/ The students watched the activities carried out in the airing of .ulmulu+ in

?./

Cased on o*servations, when watching the ?. show, the students loo+ed *ored/ It was

shown *y their *ody language as seen in their agitated feeling, unfocused attention, sour faces

when there were no funny scenes/ @dditionally, the students8 resonses indicated negative

areciation towards those imressions with disaointed tones/ ;egative resonses were heard,

for e7amle2 huh, a chea oera/ Bnly a few students seemed enthusiastic and entertained/ @fter

watching .ulmulu+ from the ?., the students comleted 5uestionnaires related to their attitudes

towards the content D su*stance .ulmulu+/ In general, #0 = of the students stated that the content

of the story is less interesting, less creative, and monotonous/ In the characteri4ations, the

characters showed no originality/ This is shown *y facial e7ressions, voice, and enthusiasm/ In

the arrangement of the stage, the stage was *are, not showing the setting of a alace/ The vocals

of the erformers were almost entirely unclear/ The costumes did not fit each character/ The

dancer costumes, the core of a erformance, were too simle/ The ma+e3u did not suort the

characters/ Female characters were layed *y men/ Even though the ma+e3u was done

rofessionally, characteri4ations were not strong enough/ They still loo+ed the men/ From the

5uestionnaire related to the students8 attitudes towards .ulmulu+, the fifty students stated that

.ulmulu+ art should *e reserved / .ulmulu+ should *e taught from generation to generation so

it does not *ecome e7tinct with age/ In addition, they (the rosective teachers) are also ready to

go into the community, esecially in education, to develo and reserve this traditional theater/

!owever, the retention should *e in line with the dynamics of the students/ 6etention should ay

6


7/14

attention to the rinciles of a good management that includes asects of artistic erformances

and non3artistic asects such as organi4ational management/

The 5uestionnaire also indicated that of 01 students who were as+ed, %0 eole (&'=) of

them stated that they have a ositive attitude towards the rocess of staging .ulmulu+ lay if

they were to hold it/ They would ractice .ulmulu+ if they were given the chance to erform it/

Furthermore, all the students ($""= of 01 eole) showed a ositive attitude *y stating that when

they learned the staging of .ulmulu+/ This e7erience indirectly fostered a love and concern for

the traditional arts/ The 5uestionnaire data showed a ositive attitude of the students in terms of

resonsi*ility and cooeration/ The students felt a sense of resonsi*ility towards the assignment

to underta+e in order to achieve successful staging/ In staging ractice, they were resonsi*le for

their role and resected other roles/ They divided the wor+ tas+ as well as ossi*le *ased on the

otential of each/ They reali4ed that the staging of .ulmulu+ needed great sense of resonsi*ility

and greater cooeration/ To erform .ulmulu+, they needed to wor+ together and their wor+ had

to *e shared/ In other words, it re5uired a shared resonsi*ility/ >ood interersonal relationshis

among the layers were highly re5uired/ Btherwise they might fail their fellow erformers/ Each

had the same mission that staging needed to *e conducted successfully/ @ll had to wor+

otimally to do their tas+ in hand/ They also reali4ed that the disciline asect layed an

imortant role/ For e7amle, the layers who oted for secific leaders should adhere to regular

e7ercise schedules/ In addition, the disciline in colla*oration with other fellows guaranteed a

+ey to their success/

Appreciation in Aspects of !no"le#e

@sects of +nowledge are related to the the students8 understanding of .ulmulu+/ the

5uestionnaires contained $" statements/ The data showed the following2 $1 eole (1%=) chose

the answer yes to the 5uestion relating to whether they understood the concet of dramaturgy,

esecially in .ulmulu+ staging , training methods, understanding of management, as well as the

artistic mastery of the tas+, and roduction/ Aeanwhile, a num*er of


8/14

the *eginning of the data related to the time suita*ility of the show, the students argued that the

show was not aroriate *ecause the story content deicted characteristics of the emire with

clothing and groove/ ?onformity refers to the similarity of clothing, esecially in terms of

materials, the tyeDfa*ric used *y the u*lic now/ Even so, some students critici4ed the clothes

and ma+eu/

Preliminary data also indicated that the students that the cast .ulmulu+ wore clothing that

was too simle showing oor and marginali4ed condition of the layers/ 6elated to general

asects of the highlights of the students as a :sectator: it was mentioned a*out the content/ In

general, the students e7ected the story content imrovised and adated to today:s current issues

or issues that are *eing hotly discussed *y the community/ Increased areciation was shown *y

the students toward the end of the 5uestionnaires/ It was a*out the field tests in which the

students had to erform their roles in a .ulmulu+ show held on Bcto*er , 1"$1/ The final field

tests raised asects of the attitudes and +nowledge of students in staging .ulmulu+/ @nother

5uestionnaire was administered after the students *egan the training rocess and and ended in the

staging of .ulmulu+/ Cased on the final results of the field test, the results o*tained with a

5uestionnaire a*out .ulmulu+ +nowledge sharing asects and asects of attitudes towards

staging .ulmulu+/ Two asects were outlined *elow/ The 5uestionnaires related to asects of

cognitive (+nowledge) o*tained the following data/ Bf the 01 students,


9/14

Appreciation in the $s%chomotor Aspects

The initial art of the 5uestionnaires were to as+ a*out relevant 5uestions2 whether or not

they ever watched .ulmulu+ erformance/ Bf the 01 students,


10/14

the show, &" sectators chosen as the resondents were as+ed to comlete a 5uestionnaire/ They

were comrised of $" academics, $" artists, $" students, $" students, $" officers structural, and

$" general u*lic who had watched .ulmulu+ on that day, a develoment of the alication of

the model I/ !ere is the descrition of the results of the 5uestionnaire/

The data show that #%= of the resondents (0" eole) who watched the show thought that

for $ hour was a suita*le time/ This means that the show is not too long and not too fast/ Ghen

comared to traditional .ulmulu+ aearance that lasts all night long/ .ulmulu+ is designed to

last $ hour/ The one3hour erformances covered the entire @*dul Aulu+ oems and summari4ed

in $# sections/ In addition, #"= of the resondents (


11/14

were interesting things, esecially during the action scenes layed *y Siti 6afeah/ In addition,

there was a funny scene dislayed the rinces of !industan and alace servant3wage earner/

@s many as #%= of the resondents (0" eole) stated that the character in the show

.ulmulu+ layed *y the actors or actresses were much as the total areciation/ For e7amle, the

role of the rince, the rincess wife of Sultan @*dul Aulu+, as well as the roles of the +ings and

5ueens were very reflective of the real +ingD5ueen of the true +ingdom/ There were some figures

who showed the imrovisation, for e7amle, *y figure Siti 6afeah when she was riding a horse/

Bn the other hand, some of the characters layed their roles according to the scenario/ The

resondents stated that the motive or reason for the actions of the characters in most of the

scenes loo+ed o*vious/ Aotives were aroriate to the story lines and the characters they

layed/ !owever, the the resondents indicated some characters were layed not logically, for

e7amle, they created a jo+e scene that was so e7cessive that could damage the contents and

messages of the story contained in .ulmulu+/

In the asect of the setting, '"= of the resondents (


12/14

clima7 was very easy to gras/ The resondents noted that changes had *een good and well3

se5uenced they deicted storyline and chronology clearly/ The resondents stated that the turn

round and scenes were consistently maintained/

Fifty ercent of the resondents (%" eole) stated that the music was less ac+ed as the

atmoshere should go with the story/ ;onetheless, clear voices were caught and they ade5uately

descri*ed the scenes/ In the asect of language, as much as &0= of the resondents (% eole)

stated that the language and dialogues were deemed aroriate to the characters/ The figures

used the language well, though somewhat e7aggerated *y figures such as wage earnerDladies who

loo+ed too sassy/ Bverall, '#= of the resondents gave ositive resonses to the .ulmulu+

show/ Aeanwhile, the negative resonses were roduced *y 11= of the resondents, more

articularly on the setting and the music/

CONCLUSIONS

This research ends with three conclusions/ First, the data related to the attitude 5uestionnaire

initially sounded negative resonses of the students to the erforming arts .ulmulu+/ @ general

asect of the highlights roduced *y the students as sectators was that of content/ The students

e7ected imrovised story content and tailored to the growing issues today/ Aeanwhile, with

regard to the final 5uestionnaires a*out their attitudes toward the rocess of staging of .ulmulu+,

all the students ($""=) stated that the study of .ulmulu+ staging could foster a love and concern

for this traditional theater/ In addition, all the resondents stated that .ulmulu+ art erformance

should *e reserved, and taught continuously and widely regardless of different generations/

Second, *ased on a 5uestionnaires related to asects +nowledge, the data showed the

imrovement of lay writing and understanding of dramaturgy/ Bnly a small ercentage of the

students have not *een a*le to write a lay well/ Li+ewise there are students who do not +now

the concet of dramaturgy which is directed in .ulmulu+ staging drama, training methods,

management, as well as artistic mastery and roduction tas+s of .ulmulu+/ Third, *ased on

asects of sychomotor, increased the students8 areciation increased/ They are a*le to erform

.ulmulu+ *efore the u*lic/ In other words, the student s8 cometence in .ulmulu+ and its

various asects imroved/

12


13/14

&I&LIO'RA$()

?reswell, Hohn/ G/ 1""/ Research Design: Qualitative, Quantitative, and Mixed MethodsApproaches/ (%rd Ed)/ Los @ngeles US@2 S@>E Pu*lications, Inc/

Effendi, S/ 1""1/Indonesian Language and Literature in Prose Literature Appreciation/ Ha+arta2

>ramedia/

!arto+o, .ic+/ $". Introduction to Literature/ Ha+arta2 >ramedia/

Igama, 6/ 1""/Dulmuluk are r!ing to Relive/ www/*eritamusi/com / @ccessed ;ovem*er 1&,1""/

Lelawati, ;ursiah/ 1""/ Brgani4ational management and .ulmulu+ traditional art erformance

in Palem*ang/ hesis.Palem*ang2 Sriwijaya University >raduate Program/

Aoody, !arold/ Leonard /Circh/ $#/ he eaching o" Literature/ London2 6outledge -eagan

Paul/

;atawijaya, S/ Parman/ $#1/Appreciation o" Literature and #ulture. Ha+arta2 Intermasa/

;urhayati, Su*adiyono, and ./ Suhendi/ 1"$1/ 6evitali4ation .ulmulu+ erforming arts, uni5ueart Palem*ang2 .eveloment of traditional literary colla*oration with the structural theory

and reader resonse in creating locally3*ased creative industries/ Research Report.

Indralaya2 Sriwijaya University/

;urhayati, Su*adiyono, and ./ Suhendi/ 1"$%a/ .eveloing a model for revitali4ing thetraditional erformance of .ulmulu+ *y the alication of structural and reader resonse

theories/ Paers on he $inth %ustaina&ilit! #on"erence!iroshima Haan in Hanuary 1"$%/

;urhayati, Su*adiyono, and ./ Suhendi/ 1"$%*/ Revitali'ation Dulmuluk Per"orming Arts/

Jogya+arta2 Leuti+ario/

;urhayati/ 1"$%/ .ulmulu+ retention in relation to the develoment of creative industries *asedon local culture/ Paers onIndonesian ( #ongresson 1#3%$ Bcto*er 1"$%/

;urhayati/ 1"$


14/14

Documents

Artikel Untuk Litera Uny