Proceeding Department of Cultural Anthropology ISBI Bandung

PROCEEDING

THE 1ST INTERNATIONAL CONFERENCE
ON SOCIAL SCIENCE AND HUMANITIES

BASED ON LOCAL WISDOM

“SOCIAL CHANGES, CULTURAL RESILIENCE,
AND CREATIVE INDUSTRIES

IN THE POST COVID-19 PANDEMIC OF INDONESIA”

DEPARTMENT OF CULTURAL ANTHROPOLOGY
FACULTY OF CULTURE AND MEDIA
ISBI BANDUNG
OCTOBER, 27TH 2021

Publisher:

Sunan Ambu Press
2021

Proceeding The 1st International Conference on Social Science and Humanities
Based on Local Wisdom: “Social Changes, Cultural Resilience, and Creative Industries
in the Post Covid-19 Pandemic of Indonesia”

Diterbitkan pertama kali 2021
Cet. I Bandung: vi+292 halaman; 21x29.7 cm
ISBN: 978-623-6857-23-6
Cetakan Pertama, 2021

Editor: Neneng Yanti K. Lahpan
Rufus Goang Swaradesy

Susunan Panitia Pelaksana:
Penganggung Jawab: Sriati Dwiatmini
Ketua Pelaksana: Dadi Suhanda
Sekretaris: Annisa Arum Mayang
Dokumentasi: Vicky A.
Anggota Pelaksana: Tim Panitia Antropologi Budaya ISBI Bandung
Reviewer: Deni Hermawan, Enok Wartika, Imam Setyobudi

Steering Commttee:
1. Prof. Dr. Made Mantle Hood (Tainan National University of Art,

Taiwan)
2. Dr. Sharyn Graham Davies (Monash University, Australia)
3. Drs. Bambang Sundayana (Indonesia Anthropologhy Association,

Indonesia)
4. Prof. Dr. Arthur S. Nalan, S.Sen., M.Hum. (Institute of Indonesian

Arts and Culture Bandung, Indonesia)
5. Dr. Sri Rustiyanti, S.Sen., M.Sn. (Institute of Indonesian Arts and

Culture Bandung, Indonesia)
6. Apip, S.Sn., M.Sn. (Institute of Indonesian Arts and Culture Bandung,

Indonesia)

Diterbitkan pertama kali
Oleh Penerbit Sunan Ambu Press
Jalan Buah Batu 212 Bandung - Jawa Barat - Indonesia

@Hak pengarang dilindungi oleh Undang-undang.
Dilarang memperbanyak sebagian maupun seluruh isi buku ini dalam bentuk apapun tanpa
izin dari penerbit.
Pasal 44
1. Barang siapa dengan sengaja dan tanpa hak mengumumkan atau memperbanyak suatu

ciptaan atau memberi izin untuk itu, dipidana paling lama 7 (tujuh) tahun dan/atau denda
paling banyak Rp. 100.000.000,00 (seratus juta rupiah).
2. Barang siapa dengan sengaja menyiarkan, memamerkan, mengedarkan, atau menjual
kepada umum suatu ciptaan atau barang hasil pelanggaran Hak Cipta sebagai dimaksud
dalam ayat (1), dipidana dengan pidana penjara paling lama 5 (lima) tahun dan/atau denda
paling banyak Rp. 50.000.000,00 (lima puluh juta rupiah).

FOREWORD

The Covid-19 pandemic has had far-reaching consequences beyond the spread of the dis-
ease itself and efforts to quarantine it, including political, cultural, and social implications.
Changes in people’s behaviour occur along with the spread of the virus. These changes arise
in the most socio-cultural structure of society and the community members. The spread of the
Covid-19 outbreak has demanded people to quickly make adjustments in various fields. The
pattern of adapting to new habits in society is one way to deal with this Covid-19 pandemic.
Bourdieu’s concept of habitus explains the internalisation of the structure of the social world as
a result of the interaction of society in a certain space and time. In the context of the Covid-19
pandemic, the adaptation of new habits such as washing hands, maintaining distance and wear-
ing masks are massively practiced among society.

However, for certain groups of people this new habit have not fully accepted and imple-
mented. Social and cultural backgrounds are among the problems. On the one hand, there are
several groups who have their own local traditions and habits in dealing with this Covid-19
pandemic situation. For example, in some traditional Islamic boarding schools there are several
ways and practices based on their religious belief in reducing and overcoming the spread of this
virus. The similar practices also can be found in some traditional community groups. The ex-
ploration of traditional values and local norms of some communities in dealing with this disease
outbreak needs attention, even though in some cases it is against existing health regulations, but
it is also believed to be quite effective in reducing the spread of the Covid-19 outbreak.

Traditional artists are much sufferer in this situation. Their limited access to technology and
internet network even makes the situation among them worst. They mostly live in remote are-
as where such advanced technology cannot be afforded. Therefore, there are some adaptation
strategies needed.

Moreover, the biggest impact of the Covid-19 pandemic to communities is in the econom-
ic sector. Restrictions on the space for people to move have caused economic activity to be
disrupted. This brings to an increase of unemployed due to the fact that many companies are
bankrupt. However, some sectors of the online-based economy are growing fast and still sur-
vive amidst restrictions imposed by the government. The online-based creative industry is an
alternative solution for the community to survive in this Covid-19 pandemic situation.

The rapid social change in society with new habits in everyday life and behaviour and the
community’s strategy in responding to the situation during this pandemic has become an inter-
esting topic to discuss among scholars on social issues. One of the concerns is the traditions of
the community in dealing with situations of disease outbreaks and how the local people survive
in this pandemic situation, including among traditional performing artists.

This proceeding is an outcome from the 1st International webinar of Social Sciences and
Humanities based on Local Wisdom, with the theme “Social Changes, Cultural Resilience, and

i

Creative Industries in the Post Covid-19 Pandemic of Indonesia”, as part of our yearly event,
Festival Budaya Nusantara IV, held on 27-28 October 2021.

This proceeding contains 32 articles with various topics ranging from performing arts,
visual arts, education, design, film, rituals, and so on which are mostly related to covid-19 is-
sues. Among 32 articles, 10 of them are written by our students from Department of Cultural
Anthropology at ISBI Bandung. This is something new when S1 students are actively involved
in this seminar. This is good start to create new habit and academic environment to our students
to be actively involved in academic activities such as webinar at international level.

We hope that articles in this proceeding could give significant contributions to different
fields, and enhance studies regarding problems during pandemic which are conducted by aca-
demics and students from different universities.

Bandung, December 2021
Neneng Yanti K Lahpan
Editor

ii

TABLE OF CONTENTS

Adya Mulya Prajana
MOTION GRAPHIC AS MEDIA OF INFORMATION FOR
A PRIVATE SCHOOL IN THE PANDEMIC ERA ............................................. 1

Aji Firdaus Alamsyah
THE KEDURAI APEM AS A PREVENTION RITUAL
DURING PANDEMIC ................................................................................................ 9

Alis Triena
APPLICATION OF THE INTEGRATIVE LEARNING MODEL
IN CULTURAL ARTS SUBJECTS FOR ELEMENTARY SCHOOL
STUDENTS .................................................................................................................. 17

Andi Aryani
THE VALUES OF LOCAL WISDOM IN THE VIRTUAL STAGE
“BANGNGI SINAKKUKI” FOR TRADITIONAL PERFORMING
ART MAESTROS ...................................................................................................... 25

Annisa Rosiana
THE SUNDANESE RITUALS AS A PANDEMIC RELIEF .............................. 33

Ayu Andini Yustika, Farra Ainun Naida, Yeremia Namora Pakpahan
THE POST-COVID-19 EDUCATION: A CASE STUDY
OF WORKING STUDENTS IN BANDUNG ........................................................ 43

Bagus Prayogi, Chika Maryam Oktaviani
GENEALOGY OF MADURA AND JAVA COMMUNITIES:
A STUDY OF PEDHALUNGAN CULTURE IN JEMBER REGENCY .......... 53

Cece Sobarna, Asri Soraya Afsari, Santy Yulianti
THE NAMING PATTERNS OF BADUY COMMUNITY ...................................... 69

Debora Christina Ayomi, Maghfira Bunga Ridia, Mita Munawaroh Maelasari
THE SURVIVAL STRATEGY OF TRADITIONAL ARTISTS
DURING THE COVID 19 PERIOD ...................................................................... 79

Diani Apsari, Sri Maharani Budi, Gilang Pandu Ramadhan, Muh. Dika Nurdiani
A PICTURE BOOK FOR MUSEUM SULTAN MAHMUD
BADARUDDIN II: HOW VISUAL STORYTELLING UNLOCK
CHILDREN’S CURIOSITY FOR HISTORY ...................................................... 85

Djuniwarti, Yupi Sundari, Annisa Arum Mayang
GADOD WEAVING TRADITION IN NUNUK BARU VILLAGE,
MAJALENGKA REGENCY, WEST JAVA ......................................................... 95

iii

Fahma Filbarkah Aziz, Imam Setyobudi, Sriati Dwiatmini
IDENTITY OF THE JEMBER: DISCOURSE AND ITS EFFECTS .............. 101

Faraz Tesalonica Sinaga, Samantha Yasmine V K, Feby Fauziah Ahmad
THE ROLE OF YOUTH VOLUNTEERS IN PROMOTING
COVID-19 VACCINE ............................................................................................... 111

Hanin Annisa Nuradni

TYPOGRAPHY IN “MAYOUTFIT” ADS AS A COMMUNICATION
STRATEGY TO ATTRACT COMSUMERS IN PANDEMIC TIMES ............ 119

Hendrik Leonard Simanjuntak, Kartini Ruth Maduma Manalu,
Lono Lastoro Simatupang, Viktor Ganap, Nyak Ina Raseuki
ELEMENTS OF LOCAL TRADITIONAL MUSIC IN INDONESIAN
CLASSICAL MUSIC ................................................................................................ 127

I Komang Arba Wirawan, Nyoman Lia Susanthi, Made Rai Budaya Bumiarta
THE APPLICATION OF MISE EN SCENE IN GUNDALA FILM ................ 141

I Putu Udiyana Wasista, Ni Luh Kadek Resi Kerdiati
THE BIOPHILIC DESIGN CONCEPT WITH BALINESE IDENTITY
ON BUILDINGS IN BALI ......................................................................................... 149

Luki Lutvia, Arleti M. Apin
BUILDING CHILDREN’S CHARACTER THROUGH
TRADITIONAL GAMES ........................................................................................... 167

Mohamad Sajili

CHALLENGES AND OPPORTUNITIES OF ONLINE LEARNING

IN HIGHER EDUCATION IN THE NEW NORMAL ERA 171
DURING COVID-19 PANDEMIC ..........................................................................

Muhammad Ridzky S, Sriati Dwiatmini
CHLIDREN CHARACTER BUILDING BY USING
TRADITIONAL SUNDANESE GAMES ............................................................... 177

Muhammad Shidiq
THE COLLABORATIVE ROLE OF PARENTS IN EDUCATION
IN THE ERA OF DIGITAL LEARNING .............................................................. 183

Ni Made Dian Widiastuti
PENYU MATALUH TRADITIONAL GAME FOR CHILDREN
IN THE PANDEMIC TIME .................................................................................... 193

Nyoman Dewi Pebryani, Tjok Istri Ratna CS, A.A. Rai Remawa, I Made Radiawan
THE IMPROVEMENT OF ENDEK WEAVING PATTERN DESIGN
WITH DIGITAL APPLICATION AT PERTENUNAN ASTITI IN BALI
THROUGH A STRUCTURED TRAINING .......................................................... 199

iv

Retno Dwimarwati, Yani Maemunah, Dyah Kuncoroningtias 209
THE EMPOWERMENT OF KARANG PARANJE DESTINATION
WITH LOCAL GENIUS PROGRAM IN KARYASARI VILLAGE,
CIBALONG, GARUT REGENCY .........................................................................

Rufus Goang Swaradesy
THE COVID-19 PANDEMIC ON BASIS MAGAZINE COVER:
A REVIEW OF ROLAND BARTHES’ SEMIOTICS ......................................... 219

Siti Ayu Lestari
ZAKAT ONLINE IN THE TIME OF PANDEMIC:
ANALYSIS AT BADAN AMIL ZAKAT NASIONAL (BAZNAS) ..................... 227

Siti Nurlaela
HEALTH PROTOCOLS AS A NEW HABIT FOR
NEW CULTURAL LIFE AFTER COVID-19 ....................................................... 235

Siti Ulfah Nurazizah, Neneng Yanti Khozanatu Lahpan, Yuyun Yuningsih
THE CHANGES OF TEREBANG SHALAWAT FUNCTION
IN RANCAKALONG VILLAGE SUMEDANG REGENCY ............................ 247

Soni Sadono, Paramitha Pebrianti
THE IMPACT OF THE COVID-19 PANDEMIC ON THE REAK TIBELAT
ART GROUPS IN EAST BANDUNG .................................................................... 255

Sri Rustiyanti, Wanda Listiani, Fani Dila Sari, IBG. Surya Peradantha
ETHNOESTHETIC OF INDONESIAN FOLKLORE
IN ONLINE LEARNING DURING PANDEMIC ................................................ 263

Suryanti
BUNDO KANDUANG TITLE: PERSPECTIVE WOMEN
IN THE VIEW OF MINANGKABAU CUSTOMS .............................................. 279

Widya Zahra, Kurnia Nur Amalia, Siska Apriyani
CULTURAL CHANGES AND THE TRANSITION OF
HUMAN INTERACTION DURING THE COVID-19 PANDEMIC................. 285

v

vi

MOTION GRAPHIC AS MEDIA OF INFORMATION
FOR A PRIVATE SCHOOL IN THE PANDEMIC ERA

Adya Mulya Prajana
Telkom University

[email protected]

Abstract

Reflecting on the new academic year in 2020/2021, where many private schools lack of pro-
spective students due to the protracted pandemic period, if usually prospective students come
directly for surveys, ask questions to find information about school conditions and administra-
tion. During the pandemic, this is not comfortable to do so because Bandung Regency is still
a red zone. SMP Bina Taruna Bojongsoang is a private junior high school which in the new
academic year 2020/2021 lacks of students. This become a serious problem because SMP Bina
Taruna Bojongsoang as a private school cannot depend on government assistance, the school
must continue to survive even though the interest of prospective students is reduced. Therefore,
the purpose of this research is to design a motion graphic video as an information medium for
SMP Bina Taruna Bojongsoang. This research will be observed using STP analysis, SWOT
analysis with qualitative descriptive methods. The results of this study are expected to help to
provide solutions to the problems faced by SMP Bina Taruna Bojongsoang in providing infor-
mation about schools to prospective new students.

Keywords: Motion Graphic Design, Information Design, Information Media

Abstrak

Berkaca pada tahun ajaran baru 2020/2021, di mana banyak sekolah swasta kekurangan calon
siswa akibat masa pandemi yang berlarut-larut. Jika biasanya calon siswa datang langsung un-
tuk survei, ajukan pertanyaan untuk mencari informasi tentang kondisi sekolah dan administra-
si. Selama pandemi, hal ini tidak nyaman dilakukan karena Kabupaten Bandung masih menjadi
zona merah. SMP Bina Taruna Bojongsoang adalah SMP swasta yang pada tahun ajaran baru
2020/2021 kekurangan siswa. Hal ini menjadi masalah karena SMP Bina Taruna Bojongsoang
yang notabene merupakan sekolah swasta tidak bisa bergantung pada bantuan pemerintah, se-
kolah harus tetap bertahan meski minat calon siswa berkurang. Oleh karena itu, tujuan dari
penelitian ini adalah untuk merancang video grafis gerak sebagai media informasi untuk SMP
Bina Taruna Bojongsoang. Penelitian ini akan diamati dengan menggunakan analisis STP, anal-
isis SWOT dengan metode deskriptif kualitatif. Sehingga hasil penelitian ini diharapkan dapat
membantu memberikan solusi atas permasalahan yang dihadapi SMP Bina Taruna Bojong-
soang dalam memberikan informasi tentang sekolah kepada calon siswa baru.

Kata kunci: Desain Grafis Gerak, Desain Informasi, Media Informasi

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 2
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

INTRODUCTION that have been described, a media is needed
Due to Covid-19, the world is facing an un- that can provide information to prospective
new students for the 2021/2022 academic year.
precedented global health and socioeconomic
crisis. Social restrictions and school closures Video profile motion graphic is an au-
have an impact on the education system and dio-visual media that can convey information
the business units within it. This impact was effectively. The concept of motion in motion
felt by private schools who screamed and graphics has provided many benefits in en-
complained about the difficulty of covering gaging sensory experiences that facilitate the
school operational needs to paying teachers’ audience’s ability to access and process infor-
salaries (Sarasa, 2020). Not only that, due to mation (Krasner, 2008:74). The potential for
the Covid-19 pandemic, many private schools video profile motion graphics is needed by
are short of students ahead of the new school SMP Bina Taruna Bojongsoang to support the
year (Totoh, 2021). This was felt by SMP Bina continuity of the school in providing informa-
Taruna Bojongsoang. tion to prospective new students. The use of
motion graphic media is expected to facilitate
SMP Bina Taruna Bojongsoang is a pri- the delivery of information received by par-
vate junior high school that was established ents and prospective new students.
in 1986. Based on observations and inter-
views with the Principal and Management Based on the background that has been
of the Bina Taruna Bojongsoang Junior High presented above, it is necessary to design a
School Foundation, he explained that there motion graphic as a medium of information
were several problems faced before the new for the private school of SMP Bina Taruna
academic year 2021/2022, namely the decline Bojongsoang. So that the results of the design
in prospective students. The principal of SMP can be a solution to the problems that are be-
Bina Taruna Bojongsoang explained that the ing faced by SMP Bina Taruna Bojongsoang
Covid-19 pandemic had a significant impact in conveying information to prospective new
on the sustainability of the school. Moreover, students.
SMP Bina Taruna Bojongsoang which inci-
dentally is a private school cannot depend on METHOD
government assistance, the school must con- The research to be carried out is applied
tinue to survive even though there is little in-
terest from prospective students. research where the results of data analysis are
used as a basis for synthesizing design con-
It was also explained that access to school cepts. This design research is a qualitative
information for prospective students was con- descriptive study which is to explain the prob-
strained due to the impact of the pandemic. lem by understanding the thoughts of the ob-
Usually (before the pandemic) prospective stu- ject under study and putting forward ideas that
dents and survey parents directly come to the are framed by data and approaches (Setiawan,
school to ask questions and dig up information 2018: 33).
about school details. During this pandemic,
prospective students are constrained to come a. Data collection echniques
directly due to the policy of limiting physical In this design research, there are 4 types of
and social interaction. Related to the problems
data categorization, namely: 1) SMP Bina Ta-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 3
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

runa Bojongsoang Data, 2) Habituation Pro- the revalization of Sundanese culture and its
grams, 3) Extracurricular Data, and 4) Study implementation in education. 2) Improve the
Tours that are usually carried out to increase skills and appreciation of students in the fields
students’ insight. The data were obtained of science, technology, social, culture and art
through interview techniques and field obser- through “Constructivism Learning” and glob-
vations. al interactions. 3) Growing Faith, Faithful-
ness, Intelligence, through guidance and Reli-
b. Data Analysis Techniques gious Activities as well as character building.
The next stage is to develop a design con-
Figure 1. Gate and basketball court SMP Bina
cept using Segmentation, Targeting, Position- Taruna Bojongsoang.
ing (STP) analysis, and SWOT (Strengths,
Weaknesses, Opportunities, Threats) analysis. (Source: Adya Mulya Prajana, 2021)
The design concept is also known as the design
concept, in the form of a written or verbal con-
cept. The analysis stage is supported by a the-
oretical basis related to the discussion, namely
by connecting the visual elements displayed, as
well as parsing the results between the relation-
ship elements (Soewardikoen, 2019: 89).

RESULT AND DISCUSSION Every student of SMP Bina Taruna Bo-
Through the results of interviews and ob- jongsoang is required to take part in a habitua-
tion program, which is a congregational Dhu-
servation of data obtained regarding the pro- ha prayer that is carried out before the learning
file of SMP Bina Taruna Bojongsoang is a pri- process begins. Then proceed with reading
vate junior high school that was established and memorizing the Koran, which is expected
in 1986 and has been accredited B. SMP Bina to result in students getting Tahfidz Quran 30
Taruna is located on Jl. Ciganitri No. 306 Ci- Juz. The extracurriculars at SMP Bina Taruna
pagalo Village, Bojongsoang District, Band- Bojongsoang are Scouts (which is a compul-
ung Regency. sory extracurricular for all students), Karate,
Futsal, Lab. Language, Dance. By holding
SMP Bina Taruna received support from this extracurricular, it is hoped that every stu-
foundations and government assistance dent can channel their interests and talents in
through the School Operational Assistance the school. The Study Tour conducted by SMP
(BOS) fund. The number of SMP Bina Taruna Bina Taruna Bojongsoang aims to increase
Bojongsoang teachers is 26 teachers who in students’ insight into the outside world. Grade
the 2020/2021 school year teach 453 students. 7 students go on a study tour by visiting mu-
seums in the city of Bandung or West Java.
The vision of SMP Bina Taruna Bojong- Grade 8 - 9 students go on a study tour to visit
soang is the realization of people who are Cre- Borobudur Temple and its surroundings.
ative, Innovative and Noble. Mission of SMP
Bina Taruna Bojongsoang l 1) Instilling noble
values o​​ f regional and national culture, foster-
ing national character and character through

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 4
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

a. STP Analysis (Segmentation, Targeting, identified as Targeting in the form of early ad-
Positioning) olescents (boys, girls) aged 12-15 years as the
primary segment and parents of students 35-
Segmentation is done by observing con- 45 years old as a secondary segment who use
sumer characteristics, such as geographic, cellphones and have social media accounts.
demographic, and psychographic character- The determination of positioning is the act of
istics. In this design research, a benefit seg- designing the company’s offer and image so
mentation approach is used, where the target that it occupies a distinctive position (com-
segment is divided into a variety of different pared to competitors) in the minds of target
benefit packages (benefits) that consumers customers (Kottler & Keller, 2007: 374-375).
want from competing products and brands In this design using an informative approach
(O’Guinn, et al., 2009: 208). Based on data by conveying the advantages and activities
from observations and interviews conducted, contained in SMP Bina Taruna Bojongsoang.
STP analysis is used to divide the market into
smaller segments by categorizing, classifying, b. SWOT (Strengths, Weaknesses, Oppor-
classifying all potential targets. tunities, Threats)
• Geographic segmentation of SMP Bina
Strengths
Taruna Bojongsoang is the area of B​ ojong- Strengths, conducted to observe the
soang, Ciganitri and surrounding areas. strengths of SMP Bina Taruna Bojongsoang.
The size of the area is Bandung Regency • Has a variety of activities that can build
which is affordable by prospective stu- the potential of every student who attends
dents of SMP Bina Taruna Bojongsoang. SMP Bina Taruna Bojong soang.
• Demographic segmentation of SMP Bina • The cost of education is quite cheap when
Taruna Bojongsoang, 1) primary age compared to private junior high schools in
group 12 – 15 years and secondary age the Bandung Regency area.
group (parents) 35 – 45 years, 2) male • There are young teachers and teachers
and female gender, and 3) middle to lower who have long experience teaching at
economic class. SMP Bina Taruna Bojongsoang.
• Psychographic segmentation in this design • The location of SMP Bina Taruna Bojong-
are early teens who already use mobile soang is strategically close to the educa-
phones with internet access and already tion center in the Bandung Regency area.
have at least one social media account
Line, Whatsapps, Facebook, Instagram or Weaknesses
Youtube. Weaknesses were carried out to observe
• Behavioral segmentation in this design are the weaknesses of SMP Bina Taruna Bojong-
teenagers who are looking for schools near soang.
their homes, students who are looking for • Private schools cannot depend on gov-
cheap private schools in which there are ernment assistance, schools must survive
various activities. even though there is little interest from
prospective students.
From the description of the segmentation
that has been carried out, the results can be

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 5
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

• The Covid-19 pandemic brought the busi- c. Creative Application
ness units in the Bina Taruna Bojongsoang Information Flow
Middle School to a halt because teaching
and learning activities were carried out at The information presented in this motion
home. graphic design is divided into three structures,
namely opening, content and closing. The mo-
• Operational costs that must be borne tion graphic video opened with the year the
during the pandemic such as salaries of SMP Bina Taruna Bojongsoang was founded
teachers and maintenance of school infra- and then conveyed the address and vision and
structure. mission. In the content section, information is
given about the activities and facilities avail-
• The absence of effective information me- able at SMP Bina Taruna Bojongsoang. The
dia that can be accepted by prospective information presented in the Closing video
new students. motion graphic is a point of contact for par-
ents of prospective new students to obtain
Opportunities more information.
Opportunities, conducted to observe op-
portunities from SMP Bina Taruna Bojong- Script
soang. The following is a motion graphic video
• The location of the school is in a residen-
tial area, making it easy to identify and script design as an information medium for
access. SMP Bina Taruna Bojongsoang.
• Because it is located in the Education area,
it can attract students who graduate from Scene 1
elementary schools in the same area. “SMP BINA TARUNA BOJONGSOANG”
• It has been established since 1986, so that
children from the alumni of SMP Bina Ta- Scene 2
runa Bojongsoang can be targeted. “Sekolah swasta Yang sudah berdiri sejak
• The development of social media as a me- tahun 1983 ini beralamat di Jl. Ciganitri
dium for distributing information to the No. 306 Desa Cipagalo keacamatan Bojong-
public.
soang kabupaten bandung .
Threats Dan terakreditasi B
Threats, conducted to observe Threats Scene 3
from SMP Bina Taruna Bojongsoang.
• The number of private schools with much “SMP Bina Taruna memiliki Visi Terwujud-
better facilities. nya Manusia yang berjiwa kreatif, inovatif.
• The unfinished Covid-19 pandemic.
• The impact of the Covid-19 pandemic on Dan berbudi luhur”
the national economy has caused many Scene 4
parents to prefer their children to be sent
to public schools because it is free. “ Adapun misi dari SMP Bina taruna Bo-
• If the quota for public schools is not limit- jongsoang adalah :
ed, private schools will close one by one. (Displayed Visually)
Scene 5

”Jumlah siswa aktif dari SMP Bina Taruna
saat ini adalah 587 siswa”

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

Scene 6 Figure 2. SMP Bina Taruna Bojongsoang
“SMP Bina Taruna juga didukung oleh tena- student character illustration.
ga pengajar yang berjumlah 26 orang yang
berkompeten di bidangnya masing masing” (Source: Adya Mulya Prajana, 2021)

Scene 7 In addition to the two teenage characters
“Untuk mendukung terwujudnya Visi dan above, there are also characters who repre-
misi, SMP Bina taruna Juga memiliki pro- sent teachers who teach at SMP Bina Taruna
Bojongsoang. The gestures of the two teacher
gram pembiasaan bagi siswa siswinya characters give a friendly and familiar impres-
seperti: sion to prospective new students. In addition,
the SCNE is strengthened by the text of com-
Sholat Dhuha berjamaah dan tahfidz 30 Juz” petent teaching staff.
Scene 8
Figure 3. SMP Bina Taruna Bojongsoang
“selain itu, SMP bina taruna juga memiliki teacher character illustration.
kegiatan Ekstrakurikuler seperti :
(Source: Adya Mulya Prajana, 2021)
Pramuka,Karate,Fustal,Lab.Bahasa Dan
seni tari” And the last, there are characters to con-
Scene 9 vey the various activities that are held at SMP
Bina Taruna Bojongsoang. Gestures of each
“tidak hanya itu, Ada juga kegiatan Study character are adapted to the activity being car-
Tour yang dilaksanakan setiap tahunnya” ried out.

Scene 10
“SMP bina taruna juga dilengkapi fasilitas

penunjang seperti:
Perpustakaan,Unit Kesehatan sekolah, Lab.
IPA, Lab.Komputer dan Bahasa,serta bimb-

ingan konseling”
Scene 11

“Tunggu apa lagi,ayo bergabung dan belajar
Bersama kami di SMP Bina taruna Bojong-

soang”
Scene 12
“Untuk Info lebih lanjut, Hubungi kontak
dibawah ini”

Character Illustration Figure 4. SMP Bina Taruna Bojongsoang
There are two early teenage characters who activity illustration

represent the students of SMP Bina Taruna Bo- (Source: Adya Mulya Prajana, 2021)
jongsoang. The characters of the two teenag-
ers are made with active and cheerful gestures. All characters made in motion graphic
The gesture aims to convey that the students videos as information media for SMP Bina
of SMP Bina Taruna Bojongsoang are always
active with various activities in the school.

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 7
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

Taruna aim to support the message conveyed
and as an approach to the characteristics of the
target audience.

Typography Figure 7. Motion graphic layout for
The type of typography chosen is a type SMP Bina Taruna Bojongsoang

of typography that is not rigid and has a good (Source: Adya Mulya Prajana, 2021)
level of legibility in accordance with the pur-
pose of the motion graphic video, which is to CONCLUSION
convey information about the advantages of During the design process, a lot of research
SMP Bina Taruna Bojongsoang. Therefore,
we chose the type of sans serif typography and observations were carried out so that the
that has a dynamic and simple impression, work produced could be accepted by the SMP
namely the Avenir font. For the headline, the Bina Taruna Bojongsoang to attract new pro-
Avenir font is made bold so that the informa- spective students in providing information. In
tion conveyed can attract the attention of the compiling material content that discusses the
audience. activities contained in the school, the authors
identify so that the information conveyed is
Figure 5. Typography used in motion graphics easy to digest by the target audience. From the
(Source: Adya Mulya Prajana, 2021) design of this research, the lesson learned is
that an illustration is not only an element to
Color attract the attention of the audience, but can
In designing motion graphics as infor- guide information content to be more interest-
ing and varied. Therefore, it is hoped that this
mation media for SMP Bina Taruna Bojong- motion graphic video can be a solution to the
soang, many use blue elements. This color is problems that are being faced by SMP Bina
the identity color of SMP Bina Taruna Bo- Taruna Bojongsoang. The drawback in this
jongsoang. The color in the character illustra- motion graphic video is that the duration that
tion is adjusted to the identity of the character. the target is interested in tends to be too short
The colors used in typography are made to so that the information provided cannot be too
contrast with the background so that the read- detailed.
ability value is good.

Figure 6. The dominant color used.
(Source: Adya Mulya Prajana, 2021)

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 8
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

REFERENCE
Kotler, P., & Keller, K.L., (2007). Manajemen

Pemasaran, Edisi 12, Jilid 1. Jakarta: Pe-
nerbit Erlangga.
O’Guinn, T.C., Allen, T.C., & Semenik, R.J.,
(2009). Advertising & Integrated Brand
Promotion. Mason: South Western Cen-
gage Learning.
Sarasa, Agung Bakti, (2020) Dampak Pan-
demi Ratusan Sekolah Terancam Tu-
tup. Retrieved from https://edukasi.
sindonews.com/read/125320/144/
dihimpit-dampak-pandemi-ratu-
san-sekolah-swasta-terancam-tu-
tup-1596719310?showpage=all 28 Sep-
tember 2021.
Setiawan, Agus, (2018) Metodologi Desain.
Arttex.
Soewardikoen, Didit W. (2019), Metode pene-
litian Desain Komunikasi Visual, Pener-
bit PT Kanisius.
Totoh, Asep, (2021). Ancaman “Matin-
ya” Sekolah Swasta. Retrieved from
https://kumparan.com/asep-totoh/an-
caman-matinya-sekolah-swasta-1wL-
wLet3Ma4/1 28 September 2021

THE KEDURAI APEM AS A PREVENTION RITUAL
DURING PANDEMIC

Aji Firdaus Alamsyah
Indonesian Cultural Arts Institute (ISBI) Bandung

[email protected]

Abstract

Plague and culture are two things that are interrelated. Outbreaks demand changes in all as-
pects of culture prevailing in society as a new adaptation process in the face of unexpected
events. On the other hand, culture tries to provide solutions that are considered more realistic.
The realistic view of a community group is of course based on the process of understanding and
knowledge it has. As was done by the Rejang indigenous people, who still adhere to ancestral
traditions, they tried to overcome the virus outbreak by holding a ritual to reject the Kedurai
Apem reinforcements as an effort to ask for protection from God Almighty to avoid calamities
such as disease outbreaks . Basically the Kedurai Ritual is carried out to remember the incident
in Trasmambang Village which was flooded and to pray to avoid a similar disaster. In its de-
velopment, this ritual later became an agricultural ritual and refused reinforcements, including
asking for protection from the Corona virus. The continuity of this ritual needs to be maintained
and preserved to maintain the cultural values, history, traditions, customs, and philosophical
meanings contained in it as a medium of learning for future generations.

Keywords: Kedurai Apem, Corona, ritual, reject reinforcements.

INTRODUCTION higher than prices during normal times. Eco-
The presence of the Corona Virus out- nomic activities, both local and global, imme-
diately became paralyzed, so that many casual
break in the 21st Century has colored the pace workers, day workers and manual workers
of development of the history of human civi- had to limit themselves in the portion of time
lization. The Corona virus is one of the black to work to be shorter or even not allowed at
records that limits all human activities as all. Problems also come from factories and
creatures that are always moving or dynam- workers who have to be laid off, at least half
ic, which later gave birth to various new reg- of the total number of existing employees. Of
ulations as an effort to suppress the massive course, this is detrimental to many parties and
spread of the Corona virus. All forms of social increases the number of existing unemployed.
activities or activities that invite or present
crowds and direct contact must be eliminated All efforts to suppress the spread of the
in an uncertain period of time following the Corona virus outbreak are carried out by
development of the spread of the epidemic. government structures and with all social re-
The health protocol as a new rule in the ear- strictions, both small and large scale, to the
ly days of its implementation was quite com- isolation of the city by closing access in and
plicated for many parties, where all medical out of the city. Thus limiting people who can
equipment in pharmacies or in shops sudden- enter the city with all the necessary require-
ly became scarce and prices rose many times ments such as swab or rapid test results that

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 10
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

show negative or non-reactive to the Corona the Almighty, not as an escape or resignation

Virus. Recommendations for distance, wear- in accepting the existing fate, on the contrary,

ing masks, staying at home, washing hands humans do their best and as much as possible

with soap, and other health regulations are en- with the help of the Almighty.

forced by the government by preparing strict The multicultural Indonesian society with

sanctions for violators in the form of fines, various ethnic groups has its own way of per-

social sanctions such as cleaning the area of​​ forming the ritual of rejecting reinforcements

public space facilities and physical punish- in accordance with the original beliefs that

ment such as push-ups and the like. efforts to they hold or the influence of a certain belief

strictly follow up the violators to provide a that they embrace with the nuances of the pre-

deterrent effect so as not to ignore the health faith influences that they now hold. Diversi-

protocols that the government recommends ty, plurality, and plurality are conditions in a

and must carry out. society consisting of various ethnic groups,

Not only the government structure is try- groups, religions, races and cultures. Indone-

ing to overcome the problem of the Corona sia is a diverse, diverse country consisting of

virus outbreak, but also various parties are more than 500 tribes (Ramdani Wahyu: 2007).

trying to suppress the spread of this deadly ep- In everyday life, culture, religion, and ethnic-

idemic, such as what traditional communities ity, together with the guidelines for the life of

or indigenous peoples do who still adhere to the nation and state, color our behavior and

their ancestral customs and habits by holding activities (Usuf et al.: 2014). Not to be missed,

a ritual of rejecting reinforcements. The ritual when we are facing a disaster or disaster, the

of rejecting reinforcements is carried out as role of local culture plays a role in maintain-

an effort to ask for protection from God Al- ing the stability of the community, namely by

mighty in order to avoid the dangers that can holding a ritual of rejecting reinforcements.

arise from an event that is not expected to be One of the many traditional Tolak Bala ritual

present, be it disease outbreaks, natural con- processions is the KEDURAI APEM a ritual

ditions such as long droughts and/or natural performed by the Rejang community.

disasters that may occur. So in this paper the author tries to describe

The ritual of rejecting reinforcements in the various elements contained in this ritual

traditional society has a strong influence as such as the history of the origin of the Kedurai

a fortress and protection given by God Al- Apem ritual, the process of administering the

mighty from all disasters, dangers and ca- Kedurai Apem ritual, and its meaning and so-

lamities. Mystical belief and the embodiment cial function for the Rejang community.

of man as a creature who needs the Essence RESULT AND DISCUSSION
of God above him who is greater and more The life of traditional communities or in-
powerful as a support for humans when facing
something beyond human reach to overcome. digenous peoples cannot be separated from
That way, human hope can still be maintained the customs or habits that have been passed

and the spirit of living life with hope and de- down from their ancestors, in which there are

termination is still there. However, it should elements of religious values ​a​nd religiosity.

be underlined that the human attitude requires Religion and culture seem to be two things

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 11
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

that are interrelated and inseparable from the title “ Embes Apem Tradition “ (Tracking the
life of each individual in social life, although Original Religion of the Lebong Community)
of course religion and culture have their re- “ . He said that the Embes Apem Tradition is
spective positions and functions according to one of the rituals that contains religious his-
their capacities and portions. The values c​​ on- torical value which is carried out by the Leb-
tained in religion affect belief systems and life ong community, especially Lebong Tengah
practices, on the other hand culture can also and Lebong Sakti as a means to reject logs, a
influence religion, especially in terms of how gathering event and a media for thanksgiving
religion is interpreted and how religious ritu- before the planting season begins so that the
als are carried out. resulting harvest is good.

The rituals carried out, especially those Reported from RMOL Bengkulu
in Indonesia, have various styles and types, (15/3/2018) dozens of Lebong residents again
especially when the Hindu-Buddhist religion held the traditional kedurai agung ritual or
entered the territory of Indonesia. This im- muang apem on Thursday, March 15 2018.
migrant culture then influenced the local tra- Residents came to Pasir Lebar in Bungin
ditions of the people of the Archipelago, but Village, Bingin Kuning District, Lebong Re-
it did not mean eliminating the old cultural gency to ward off disasters or Reject Bala.
values o​​ r traditions, but rather becoming an In addition, in another article as reported by
acculturation process between these two cul- kompas.com (18/03/2020) the Rejang Tribe
tures which then gave birth to a distinctive Indigenous people in Lubuk Kembang Vil-
new cultural style. Likewise, when Islam en- lage, North Curup District, Rejang Lebong
tered the archipelago, which influenced local Regency, Bengkulu carried out the Kedurai
traditions, there had been acculturation with Apem ritual on March 17, 2020 as a form of
Hindu-Buddhist culture. Then there was an in- gratitude. for the grace of the Almighty and
teraction between two different cultures which asking for protection from the plague, includ-
gave birth to several new cultures as a form of ing the corona virus. These people are led by
integration as was the case when Hindu-Bud- a kutei leader or traditional leader who sits in
dhist influences entered the archipelago. The a semi-circle on a blue tarp. Then Adinsyah
new culture is then adopted and passed down as the Customary Chief of the local commu-
from generation to generation by the commu- nity began to read prayers to God Almighty.
nity and has become a belief such as mystical “To God Almighty, we pray. We also convey
rituals, namely rejecting reinforcements. to our ancestors that at this time our village is
under threat, there is a terrible epidemic at-
One of the many rituals of rejecting rein- tacking Indonesia, namely Covid-19, this dis-
forcements is the Kedurai ritual found in the ease is contagious and deadly.”
Rejang community. This tradition is carried
out by the Lebong indigenous people every This tradition or ritual has been carried out
year. The Kedurai Agung Ritual Celebration by the Lebong people since hundreds of years
or also often known as the Kedurai Apem Tra- ago. As a form of effort to preserve the culture
dition is usually held one day in October be- that has existed since the time of the ancestors
fore people plant rice or under certain condi- and as an effort to resist reinforcements or ca-
tions. As has been written by Ismail under the lamities or dangers that come.

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

The Origin of the Kedurai Apem At the time of preparation for a feast or par-
Tradition ty, a sida (sakti) named Tateak Sekilan arrives
who then turns himself into an ugly person and
The early history of the emergence of this makes people who see him feel disgusted and
ritual is based on a story that developed in the throw insulting words. Because he is often hu-
Rejang community where precisely to the east miliated in his physical form, Tateak Sekilan
of Pasir Lebar in Semelako Village, Lebong also said “ what advantages do you have here?,
Tengah District now, there are seven (7) Rio do any of you here have magical knowledge?
brothers, children of Ki Patih, namely: Rio “ . Then he stuck seven sticks in the ground
Cande, Rio Mamboa, Rio Celik. , RiobUlung, and challenged everyone to pull them out but
Rio Scissors, Rio Pijar and Rio Bas. none of the residents could. The only person
who can revoke lidinya are people who stick ya
In short, they went on a trip to the Palem- own, where Tateak Sekilan with a relaxed and
bang Sultanate area by bringing one fighting calm he pulled out one by one from the seventh
cock to then be complained or matched with rib which he plugs. Then from every stick that
the fighting cock belonging to the Sultan of has been pulled out comes a very heavy water.
the Palembang Sultanate. Seeing the ability Seeing this astonishment, all the residents were
of fighting cocks and the supernatural pow- happy and said: “ joyful te ngen tun kidek ye,
ers of the Tuhjuah Rio brothers made the Sul- it’s lok kejai, lok pulo bioa tun rami “ means:
tan of Palembang admit his defeat by giving “ We are happy with ugly people, we want to
two things that could be useful to them and hold a kejai event also need water for hemp
the people of Lebong, namely the Sultan who people “ . However, the water is getting heavi-
would pay with a magic keris called Mancar er day by day, causing Trasmambang village to
Rawang where only the dagger was given sink due to flooding.
while the head of the keris was given. kept
in the Palembang Sultanate. This is intend- On the other hand, Rio Pijar and Rio Bas
ed that if one day there are descendants of went to see the flood disaster from Pematang
Lebong who are in a difficult situation, then Pungguk Peninjeu, where when he witnessed
they may ask for help from the descendants the very large flood, an object moved strange-
of Palembang on the condition that they must ly. Then it didn’t take long for Rio Pijar to
bring the eye of the keris, so there is a strong jump over and pick up the strange object
bond between the descendants of the Sultan which turned out to be a large snake which
of Palembang and the descendants of Lebong. gradually turned into a Keris Muncar Rawang
The second, the Sultan will pay for his defeat given by the Sultan of Palembang.
with the Palembang Sultanate heirloom ring.
Long story short, one day in the Pasir Lebar Rio Pijar then sat back down accompanied
area which is now called Trasmambang Vil- by Rio Bas at Pematang Pungguk Peninjeu. Just
lage, the Rio brothers agreed to hold a party as they sat down, there was a sound of thunder
and feast for the wedding of a bikau child in so strong that they were startled. Then a slender
Trasmambang Village for 9 days and 9 nights. Rio was seen in the rushing water in front of
them accompanied by an echoing voice:

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 13
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

“O my two brothers, listen to the five of us: “ However, basically the Kedurai Apem tra-
if you find a yellow banyan tree, underneath dition since it was first implemented until now
it grows a clump of lemongrass, and there is has never changed the place of its implementa-
a mark on the side of the foot “ then that is tion which is always held in Pasir Lebar/Sabo
the place where the apem kedurai is held and which is located in Bungin Village, Bingin
incense is burned. That is a sign for the safety Kuning District, Lebong Regency. This tra-
of your offspring in the future. Bring 44 regu- dition was initially not determined when the
lar apem and 4 large apem. Call for 7 pairs of implementation time, so that residents were
diwo children to bring the apem, burn incense confused when the Kedurai Apem Tradition
to call our spirits and also to call the nine sa- should be carried out. Until the agreement of
cred watchers “ all parties involved, this ritual is then carried
out every year in October before planting rice.
After the echoing voice disappeared, the
two Rio brothers remembered Rio Celik’s Before holding the Kedurai Apem Tradi-
words which said “ go to the prayer hall, pray tion, there are conditions that must be met in
two rak’ahs there “ . Finally they rushed to advance by the Kutai officers by preparing the
carry it out after they had prayed. Then over procedures and materials that must be brought
time the Kedurai Apem Ritual was born as when the ritual is carried out in Pasir Lebar,
a form or way of refusing reinforcements namely, special apem cakes and apem cakes
or calamities that could hit the village again from residents, shower water magic, 7 pieces
(Syaiman: 2010). of bamboo, betel, betel nut, cigarettes, twelve
kunik, kuak minyok, incense/sugar, god’s
Kedurai Apem Ritual Procession children in pairs (usually this diwo child is in
In the Kedurai Apem ritual process, of pairs up to 5 pairs) and all officers involved in
the ritual must wear traditional clothes Leb-
course, there are aspects in it that there has ong (Metri:2021).
been a syncretism of the religion embraced by
the Lebong people. Syncretism that combines All the requirements that have been pre-
Islamic teachings with animistic beliefs and pared are then brought to Pasir Lebar by the
dynamism that is believed by the communi- Children of the Gods to be offered to the an-
ty even though they do not know the occult cestral spirits on the day the ritual is carried
in detail. This is what gives rise to a unique out. Before arriving at the location, the offi-
phenomenon, namely the relationship that cers involved in the ritual first purify them-
the community has with sacred tombs is an selves in a magical shower by washing their
institutional relationship, not an emotional face, hands and feet. Then the ritual is con-
one (Wolf, 1991). Of course this has more or tinued by the Kue Kunci/Kutai interpreter to
less influenced the practice of daily social ac- call the guardian gods of the sabo area that the
tivities whose aspects are still influenced by ingredients have been collected and then per-
animist beliefs and how the phenomenon of form a prayer asking for safety or rejecting the
syncretism occurs in their social life, includ- balance.
ing in this ritual of rejecting reinforcements
(Fakhrozi: 2016). After the apem cake has been prayed for,
the next event is the throwing of the apem
cake and with enthusiasm the people with a

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 14
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

sense of joy will fight each other to get the the banyan tree is like an umbrella that pro-
apem cake. tects a person from the scorching heat or from
the wet rain. The banyan tree is also a sign
This Kedurai Apem tradition, apart from of a connecting place that brings together an-
being a gathering place and asking for Reject cestral spirits and their living descendants, as
Bala prayer, is also a traditional ritual to com- well as a means of meeting between residents.
memorate the sinking of Trasmambang Vil-
lage which is believed to be the place of origin Ajai Shower Water , interpreted as self-pu-
of the ancestors of the surrounding communi- rification physically and mentally. This water
ty (Ismail: 2010). is also believed by local people to never dry
up even during the dry season.
The Philosophical Meaning of the Kedurai
Apem Ritual Seven pieces, has a meaning as a symbol
of respect for the 7 Rio brothers who had a
Every structure or aspect that is created role in their time as people who contributed to
in a society in the form of a culture or tradi- maintaining security in Trasmambang.
tion has its own meaning and value contained
in it as a medium for conveying messages to Betel, areca nut, cigarettes, and frankin-
the community . The meaning or message is cense/sugar, symbols as a form of respect for
in accordance with the intention of the com- ancestral spirits to show good faith, the intent
municator and (expected) to be well captured and purpose of this ritual is carried out which
by the other party. The meanings contained is also used as a medium during the Kedurai
in the symbols passed down through history. Apemagar ritual. followed by prayer asking
Culture is a system of inherited concepts and for safety and rejection.
expressed in the form of symbols by which
humans communicate, perpetuate and devel- Kuak Minyok with Belas kunik, has a
op knowledge about this life (Sobur: 2013). meaning that shows gratitude for the harvest.
Likewise with the Kedurai Apem Ritual,
where every element presented in the ritual Anak Diwo, symbolizing boys and girls
has a deep philosophical meaning. The fol- who are still clean and holy where they have
lowing are some of the meanings contained in not yet experienced puberty/Akil Baligh. In
this ritual: this case, it is they who will bring Apem to the
location of the Kedurai Apem Tradition cere-
Apem, as a symbol of asking for forgive- mony in Pasir Lebar/Sabo and wear tradition-
ness from the God of the Universe, which if it al Rejang tribal clothes.
is associated with the meaning in the linguis-
tic aspect, the word apem itself is an absorp- Kedurai Apem. Ritual Communication
tion from Arabic, namely afwan which means Function
forgiveness/sorry. Asking God for forgiveness
can prevent a person or a people from calami- Intercultural communication in the Kedu-
ty or calamity that could come. rai Agung ritual in Taba Tembilang village,
Argamakmur district, North Bengkulu can at
The banyan tree is interpreted as a place of least be analyzed by looking at the function
shelter, where when viewed in terms of shape, of intercultural communication itself, namely
looking at personal functions and social func-
tions (Yupita, et al: 2018).

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 15
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

The Personal Functions include Social The ritual was carried out in the middle
Identity, Integration and Adding Knowledge. of unplanted rice fields and the people present
Then there is the Social Function which con- then sat in a circle to say a prayer. The head
sists of Supervision, Bridging, Socialization, of the Rejang Tribe, M Adinsyah, said the rit-
and Entertaining functions. ual was colored by praying to God and paying
homage to ancestors in the Rejang language.
Each individual is aware of the importance
of supervising each other during the imple- “To God Almighty, we pray. We also con-
mentation of the Kedurai Apem ritual which vey to our ancestors that at this time our vil-
takes place as expected. People with different lage is under threat, there is a terrible epidem-
cultures already understand the customs in the ic attacking Indonesia, namely Covid-19, this
Kedurai Apem ritual in the village where they disease is contagious and deadly,”.
live. The habit of the community in holding
this ritual, apart from gathering to establish Myths and beliefs that exist in society in
friendship between fellow people who live in society develop into something more com-
the same area, is also a separate entertainment plex. In the Kedurai ritual, where this ritual
for the community even though they are of was held for the first time, it was to remem-
different ethnic groups, thereby increasing the ber the flood incident in Trasmambang Village
sense of unity and solidarity among members and pray to avoid a similar disaster. Over time,
of the community. this ritual developed become an agricultural
ritual in addition to the ritual of rejecting rein-
CONCLUSION forcements. Then when there was an outbreak
The ritual of rejecting reinforcements that of the Corona virus, he asked for protection
from the Corona virus, which was also one of
exists in traditional society seems to have the reasons for carrying out this ritual.
been formed from the beginning to be able to
survive and adapt to the times that are increas- The continuity of this ritual needs to be
ingly advanced with technology. As is the maintained and preserved to maintain the cul-
case with the Kedurai Apem ritual of the Re- tural values, history, traditions, customs, and
jang Tribe community where when facing the philosophical meanings contained in it as a
Covid-19 outbreak, the community performs medium of learning for the next generation.
this ritual to ask for help and protection from
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Kendurai Apem Pasir Lebar Semela-
ko-Bungin, Kecamatan Lebong Tengah, han-ditinggalkan/ ] pada 3 Juni2021.
Kabupaten Lebong. Editor: Ade Aprian-
syah, SE. Bambang.2018. Tradisi Mengenang Teng-

gelamnya Desa Trasmambang, 5 Desa di

Lebong Gelar KedureiApem. diakses dari

[ https://kontrastoday.com/2018/10/28/

tradisi-mengenang-tenggelamnya-de-

sa-trasmambang-5-desa-di- lebong-

gelar-kedurei-apem/ ] pada 3 Juni 2021.

Firmansyah.2020.Melihat Ritual Suku

Rejang Menangkal Covid-19 dan

Dampak Pertambangan.diakses

dari [ https://regional.kompas.com/

read/2020/03/18/09303761/me-

Artikel Internet lihat-ritual-suku-rejang-menang-

Wikipedia.Kedurai Agung. diak- kal-covid-19-dan-dampak-pertamban-

ses dari [https://id.m.wikipedia. gan?page=all&jxconn=1*yio6jt*oth-

org/wiki/Kedurai_agung#:~:text=Kedu- er_jxampid*LW5oa1YwNlZBZUl6N-

rai%20agung%20(alternatif%20penge- mQ2X0dPRmZyMnVieHFpT1JDYVN-

jaan%3A%20k%C3%AAdurai,un- LNktIR09iWUlNcHhaQU53dXh6RX-

tuk%20berkomunikasi%20dengan%20 FiU0Z5aFhJVGlVMA..#page2 ] pada

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ritual-ritual-tolak-bala-usir-coro-

na- di-berbagai-daerah-bunyikan-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 17
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

APPLICATION OF THE INTEGRATIVE LEARNING MODEL
IN CULTURAL ARTS SUBJECTS

FOR ELEMENTARY SCHOOL STUDENTS

Alis Triena Permanasari
Universitas Sultan Ageng Tirtayasa

[email protected]

Abstract

This article is aimed at applying the concept of integrated learning in arts dan culture subjects
for elementary school students. The concept of integrative learning combines several learning
models and is thematic, and it is used to solve problems through an exploratory and investi-
gative approach. Cultural arts subjects are subjects that provides a balance of rational, emo-
tional, intellectual, and sensibility by developing students’ appreciation and creation activities,
which include the fields of music, dance, and fine arts. The application of this learning model
can be done during a pandemic by using materials and tools that are around the children. The
use of the tools and materials has values in the environmental context. The teacher provides
various stimulations to students so they can practice it to achieve the goals of learning, namely
expressive and creative. Thus, the application of integrated learning in arts and culture subjects
is expected to be an interesting and fun activities in order to develop the potential of students
optimally according to their needs. The activities also can encourage students to study from
home in more interesting ways during the current pandemic.

Keywords: Integrative Learning, Cultural Arts Subjects, Elementary School.

INTRODUCTION play, express and creative. Without realizing
Art is a work that aims to express life ex- it, children learn many things through art ac-
tivities. This is important for educators to pay
periences and artistic awareness that involves attention to, especially in evaluating the re-
the ability of intuition, sensory sensitivity and sults of children’s creations, so that the results
taste, intellectual abilities, creativity and tech- are not judged by the standard of adult ability.
nical skills through certain media. Art activ-
ities or activities in this case are subjective, The function of art in education is differ-
individual, spiritual and creative which are ent from the function in professional work.
expressed in the form of painting, sculpture, Art for education functions as a medium to
dance, music, wayang, theater or drama, op- fulfill the function of children’s development,
era, poetry, prose, and so on. both physically and mentally. The art in pro-
fessional work is used to improve abilities in
In the context of the individual functions the field of expertise in a professional manner
of art, there are characteristics that distinguish as well.
art for children from art for adults because
their physical and mental characteristics are In art activities for children, educational
different. Art for children is a fun activity to values ​a​ re found, known as the concept of ed-

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 18
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

ucation through art proposed by Herbert Read od or tool to achieve educational goals, so in
which was developed from Plato’s thought its implementation it emphasizes the process,
that art should be the basis of education not the product. The emphasis on the process
(Pekerti, 2009: 1.24). Furthermore, Lowen- aspect does not expect students to be good at
feld and Brittain (1980) explain that artistic drawing, singing, or dancing. Art education in
activities play a role in developing various ba- schools does not expect students to become
sic abilities in him, such as physical, percep- artists, but as a place for expression and imag-
tual, intellectual, emotional, creative, social, ination, to be creative as well as to be creative.
and aesthetic abilities. Along with the age of The implementation of educational approach
the child, all the basic abilities of the child can learning through art emphasizes exploration
develop in an integrated manner. and experimentation, stimulates curiosity and
becomes a fun activity for children.
Art as a learning can be divided into two
approaches, namely art in education (art in ed- As stated in the purpose of art education
ucation) and education through art (education in general, especially art education or KTK in
through art). This approach to art in educa- elementary school, it is as a means to help pre-
tion is generally realized or cannot be found pare children to be creative, innovative, and
in the family environment. Usually parents have high sensitivity. There are two important
who are artists pass on their knowledge and things related to the function of art education,
skills to their children, with the hope that their namely the development of attitudes and abil-
children can continue their profession. At the ities in this case is appreciative education and
level of formal education, the art approach creative education. Appreciative education
provides opportunities for students to master is intended as a means of providing students
a particular field or art skill. Therefore, in the with experience in responding to works of art
implementation of the art approach in educa- which ultimately can give appreciation to the
tion matters relating to technical skills are pre- work of art, so that they can appreciate the
sented in stages. environment they face. Creative education is
intended as a personal cultivation effort that is
The concept of education through art has always innovative in creating new works, or
an important role and function for education in in other words involving the cognitive, affec-
general. As stated by J. Dewey that art should tive and psychomotor domains which can be
be a tool to achieve educational goals and not seen from the product/work and the process of
for the sake of art itself (Syafii, 2007: 1.6). being busy creatively.
With this approach, art education is obliged to
direct the achievement of educational goals in Learning art in general has benefits that
general which provides a balance of rational, can be felt directly or indirectly by students.
emotional, intellectual, and sensibility. Thus, The function of art learning can be felt direct-
art education in schools will also meet the bal- ly as a medium of self-expression, communi-
ance of rational, emotional, and motor activi- cation media, playing media and channeling
ties, among others, through music, dance, and the interests and talents of children. As for
visual arts. indirectly, it can be found in the education-
al aspect of art in developing various basic
The approach to education through art is abilities of children. In addition, through art
basically the use of art education as a meth-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 19
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

a child will be trained in subtlety because art 2. Physical Condition
cultivates sensitivity to the surrounding nature With regard to physical development,
and things related to beauty (Ki Hajar Dewan-
toro in W. Pekerti, 2009: 1.27). Kuhlen and Thomson (Yusuf, 2004: 101)
suggest that individual physical development
Given that art has a very important pur- includes four aspects, namely: 1) the nervous
pose and function in education, especially system, which greatly influences the develop-
children who are still in development, the ment of intelligence and emotion; 2) muscles,
research conducted is art learning which is which affect the development of strength and
carried out through an integrative education motor skills; 3) doctrinal glands, which influ-
model. Integrative education is a learning ence the emergence of various new behaviors,
model by combining or combining various and 4) physical structure/body which includes
cognate subjects. The concept of integrative height, weight, and proportion.
learning is often referred to as learning with a
correlated curriculum. Elementary school is a time when chil-
dren are in the process of very rapid physi-
The implication for teachers in learning cal growth. At this time children like physical
art education is to choose art learning materi- activities. Based on Rosseau’s theory (Yusuf,
als and methods that are oriented towards ha- 2004: 22) elementary school children are in
bituation of social behavior in children. in art the second stage, namely the period of physi-
learning is expected to bring togetherness, de- cal education and the five senses. The implica-
pendence between them, harmony, and build a tion of this theory in relation to art education is
sense of socialization among children. that art education can be used as a medium for
physical education and the five senses. That
1. Perceptual Condition is, the materials and learning methods applied
The term perception contains the meaning are in line with the child’s development. In
other words, learning art education provides
of the evoked and the response of our feel- opportunities for children to move, play, and
ings to information that comes from outside. engage in physical activities in the arts.
Perceptual is a combination of cognitive and
affective. Based on the cognitive way, percep- From all forms of basic abilities and con-
tual is defined as a person’s ability to grasp or ditions of child development, it can be used as
understand various information. As for the af- an approach that can be used in art learning. In
fective point of view, perceptual implies a per- addition, the diversity of children’s characters
son’s impression and response to everything is also something that needs to be considered
that comes from outside his body. in the learning process. Integrative educa-
tion is an educational effort by combining or
At this time, the implication for the teacher combining two separate subjects. The con-
is to try to take advantage of everything that is cept of integrative education is often referred
around the child or the knowledge that has been to as education with a correlated curriculum
previously owned. In art learning, it can be done (Syafii, 2007: 1.35). Art education applies the
by giving art appreciation to children which concept of integrative education, because in it
aims to get responses from children based on there is an amalgamation of subjects of fine
their level of knowledge and understanding. arts, crafts, music and dance which are con-

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 20
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

sidered as one art family. The term used is in- namics, expression and musical form. In ad-
tegrated learning. dition, music also provides opportunities for
the development of children’s creative think-
Collin and Hazel in Yuliani (2009: 88) state ing and artistic creativity, as well as children’s
that integrated learning is a form of learning world.
that combines authentic events through the
selection of themes that can encourage chil- The following are characteristics that
dren’s curiosity to solve problems through an should appear in children’s music according
exploratory and investigative approach. When to Pamadhi (2008: 3.25), namely:
children do an activity, children can develop a. Music matches interests and integrates
several aspects of their development at once.
As stated by Humpreys in Yuliani (2009: 88), with children’s daily lives.
integrated learning aims to enable children to b. Musical rhythms and short melodic pat-
explore their knowledge in various fields re-
lated to certain aspects of their environment. terns make it easy to remember.
The integrated learning model that moves c. The song or song must also contain other
from a theme that attracts children is intended
so that children are able to recognize various musical elements, such as tempo, dynam-
concepts easily and clearly, so that learning ics, sounds, and musical expressions that
becomes more meaningful for children and can be processed and replaced and ex-
arouses children’s interest. pressed by children.
d. Children’s music provides opportunities
As previously stated, art learning can be for children to move.
done through a child development approach
to an integrative education model. Therefore, 2. Characteristics of Dance for Elementary
the art learning that will be carried out by the School
author is a combination of these approaches.
Art lessons that will be given to children are At this age, a child’s psychomotor skills,
music, dance, and fine arts. both gross and fine motor skills, are consid-
ered to be developing steadily with an even
Before carrying out learning, a teacher greater frequency. Children are very dynamic
must pay attention to the characteristics of art and very physically active. With the character
learning for elementary school children that of motion like this, children are able to dance
are adapted to the child’s developmental stage. with simple dynamic movements.

1. Characteristics of Music for Elementary The scope of the content of dance subject
School Children matter in elementary school is the aesthetic
sensitivity of dance, including study material,
Children’s music must be adapted to the self-expression through simple movements,
nature of children, children’s development in expression of motion based on the song, ex-
terms of biology, soul, thinking power, and pression of movement in pairs with rhythmic
interests of children. Children’s musical char- accompaniment while singing, expression of
acter can be found not only in all aspects of movement in groups, expression of movement
music but also in every aspect of music, such in groups with property, demonstrating educa-
as aspects of sound, tone, rhythm, tempo, dy- tional dances in the form of groups and hold-
ing performances (Syafii, 2007: 7.34).

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 21
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

3. Characteristics of Fine Art for Elemen- study were obtained from the implementation
tary School and various relevant libraries.

The visual works created by children at Research Time and Place. This research
elementary school age are expressive and was conducted on fourth grade elementary
dynamic, which are strong, honest, direct school students at SD Negeri Rangakasbitung
expressions, and come from within without Barat 1. The purpose of the research was to
being covered up or innocent. In developing develop students’ creativity to gain artistic ex-
fine art subject matter for elementary school perience with the tools around them. The use
students must have the principle of learning of these tools and materials refers to learning
activities that attract children. Interesting ac- in an environmental context. In a pandemic
tivity for children is working while playing. situation like this, learning is carried out at
Thus, art activities not only emphasize cre- home, thus the media used is also by utilizing
ative activities, but also recreational activities. the tools and materials that are around/the stu-
This recreation is a form of entertainment for dent’s environment at home.
children, as a balance for other subjects that
emphasize the logic aspect. Data, Instruments, and Data Collection
Techniques. The data collection techniques
The next principle is to stimulate creativ- used in this study were 1) observation, 2) in-
ity. It is for exploring and experimenting and depth interviews, and 3) literature study. The
imagining. Another principle is the principle data collection procedure is by collecting var-
of practicality which is based on the offer of ious literatures related to research data, then
utilizing the potential of the environment and documenting them.
local content (Syafii: 2007: 4.49). In addition,
there is also the principle of relevance, namely Data analysis technique. To analyze us-
the selection of materials in accordance with ing interpretive analysis, namely the data ver-
the curriculum. ification process is carried out directly in the
data collection process. The data that has been
Conceptually, art education learning can obtained is organized in such a way as to be
be combined through the same theme in ap- sorted and grouped based on the nature and
plying learning to fine arts, music, and dance, type of data. According to Miles and Huber-
for example environmental themes, animals, man, activities in qualitative data analysis are
plants, and others. These themes are linked carried out interactively and continuously un-
into a series of learning activities, so that all til complete, so that the data is saturated.
elements of art can be implemented.
RESULT AND DISCUSSION
METHOD When viewed in terms of age, ele-
This research is a case study research,
mentary school children according to Piaget
where the analysis of the discussion uses a (Nuraini, 2009: 81) are in the Concrete Oper-
qualitative approach. This method was chosen ational stage: ages seven to eleven or twelve
because according to the researcher it is ap- years. At this stage it allows children to think
propriate to use it to describe what it is about about solving problems with conservation and
a variable, symptom or event, without testing reversibility, and can coordinate information
certain hypotheses. The data sources in this obtained from more than one source in solv-

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 22
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

ing problems. Children who are at the stage of Rangkasbitung Barat 1. The lessons are in
concrete operational thinking have the abili- accordance with current conditions, carried
ty to think for a certain period of time which out at their respective homes. Art lessons that
also describes adult thinking as long as they will be given include visual arts, music, and
are able to manipulate objects so that they can dance which are carried out in an integrative
think with a thought based on reality. Thus, way. The art material is in the form of making
in learning art for elementary school children pre-works in the form of a Kecrek musical in-
there are three aspects that are the main points strument, which will be used in music art ma-
in terms of understanding aesthetic values, terials, then through this musical instrument,
namely productive, critical, and cultural abili- children are stimulated to have sensitivity to
ties (Eisner in Syafii, 2007: 1.22). Productive the sound obtained from the instrument. This
experiences are related to creation activities, sensitivity will be a stimulus for children to
critical experiences are related to understand- move.
ing activities, and cultural activities are relat-
ed to appreciation activities. 1. Learning Fine Arts
Fine art has various branches of art that
Given that art has a very important can be realized through various media. There
purpose and function in education, especial- is an important thing in making it happen,
ly children who are still in development, the namely the use of elements and principles of
research conducted is art learning which is fine art so that the resulting artwork meets
carried out through an integrative education aesthetic rules. The activity of forming and
model. Integrative education is a learning building or assembling is an activity related to
model by combining or combining various the activity of creating three-dimensional art.
cognate subjects. The concept of integrative The material that will be given is designing
learning is often referred to as learning with a disposable objects in the form of a simple per-
correlated curriculum. cussion instrument, namely “kecrek”.
The learning process is as follows:
Conceptually, art education learning hopes a. Children are given a stimulus to care about
can be combined through the same theme. the environment around them with a lot of
Thus, the theme that will be determined in the garbage.
learning of fine arts, music, and dance is “My b. One form of waste is drink bottle caps that
environment”. The possibility that will be de- are left scattered around. Thus, it is hoped
veloped is that students pay attention to the that students can participate in cleaning it
surrounding environment, namely the amount up, and the waste is recycled into some-
of waste from scattered drink bottle caps and thing useful.
wood remnants that will be processed into c. The caps of the drink bottles are collected
musical instruments and materials to be dec- as much as possible. In addition to bottle
orated. The percussion instrument with the caps, the tools used included pieces of
name Kecrek becomes a tool that will be used wood, wire, large tacks, and hammers.
in processing motion in order to develop stu- d. The cap of the bottle is perforated by a nail by
dents’ skills from the motor aspect. hammering it, then it is flattened into plates.

This art learning is implemented in 4th
grade elementary school children at SDN

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 23
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

e. The plates are arranged in a large thumb- In practice, the dance lessons carried out
tack with a length of 5 cm. are as follows:
a. Students who have been given rhythmic
f. The nail containing the slab is then at-
tached to a 15 cm long piece of wood. patterns can explore the motion of the
rhythm obtained from the rhythm that is
g. This tool will be used in learning the art sounded.
of music. b. The teacher guides students’ exploration
activities into a movement that is in accor-
2. Musical Arts Learning dance with the rhythm pattern.
The art lesson that will be given is an un-
derstanding of the “kecrek” percussion instru- 4. Motion Materials
ment. How to play it is by shaking or com- Motion adapted to the beat of the crackle
plaining between one kecrek and another. The sound:
learning material focuses on children’s sensi- 1) Movement I: right foot steps to the right
tivity in playing “kecrek” which is adjusted to side on the 1st and 5th counts of the hands
the beat. above, the creak is sounded by crossing it
The process of learning the art of music crosswise, the left foot is on tiptoe, both
carried out is: hands on the side on the 2nd and 6th counts,
a. After the child makes a “kecrek” percus- the left foot steps forward left side on the
sion instrument, students are stimulated 3rd and 7th counts, hands on top, kecrek
to play it individually. This is to stimulate sounded with a cross, right foot on tiptoe,
children’s creativity. both hands opened on the sides on the 4th
b. The teacher prepares the sheet music and 8th counts. Do as much as 2 x 8 count.
which is an indication of how the students 2) Movement II: on the 1st and 5th counts,
play the instrument. the right foot is stepped to the right side
c. Students are trained repeatedly and try to while sounding the creak that is com-
count each beat themselves through vid- plained on the right side, on the 2nd and
eos shared in groups. 6th counts, the left leg is opened, both
d. Then students in groups recall the rhythm hands are straight on the side, on the 3rd
pattern motifs that have been given to and 7th counts, the left foot is stepped
make the video. Students are free to ex- to the left while sounding the creak that
press themselves with the rhythms that are is complained on the left side, on the 4th
played. and 8th count, the right leg is opened, both
hands are straight on the side, performed
3. Learning the Art of Dance for a count of 2x8.
After the child’s sensitivity in playing ke- 3) Movement III: on the count of 1 to 4, the
crek with a different rhythm pattern, then the right foot is stepped on tiptoe forward, the
child can express it through motion. The re- left foot is behind, the arms are crossed
sulting motion can come from the results of above with the creaking, on the count of
children’s exploration guided by the teacher. 5 to 8 the feet jump backwards, the hands
The movements are arranged so that they can are straight on the back. front of the chest,
become a dance. performed 2x8 count.

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 24
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

4) Movement IV: on the 1st count the right REFERENCES
foot is stepped forward, on the 2nd count Ahmadi, Abu, dan Widodo Supriyono. (2004).
still, on the 3rd count, the left foot is
stepped forward, the 4th count is silent, Psikologi Belajar Edisi Revisi. Jakarta:
both hands on the side, on the 5th count PT. Rineka Cipta.
and 7th, right foot jumps backwards, both Djamarah, Syaiful Bahri, dan Aswan Zain.
hands on top, 6th and 8th count, left foot (2010). Strategi Belajar Mengajar. Ja-
jumps back, both hands on the side, per- karta: PT. Rineka Cipta
formed 2x8 count. Masunah, Juju dan Tati Narawati. (2003). Seni
dan Pendidikan Seni. Bandung: P4ST
5) Movement V: the position of both hands UPI.
beside the body, on the 1st and 5th counts, Pamadhi, Hadjar, dkk. (2008). Pendidikan
step right foot, 2nd, 4th, 6th, and 8th Seni di SD. Jakarta: Universitas Terbuka.
counts stay in place, 3rd and 6th count of Pekerti, Widia, dkk. (2009). Metode Pengem-
left foot step, do 2x8 count. bangan Seni. Jakarta: Universitas Terbu-
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6) Movement VI (switching for repetition Sujiono, Yuliani Nurani. (2009). Konsep
of motion I to V): both hands on top, feet Dasar Pendidikan Anak Usia Dini. Ja-
running while turning backwards. karta: PT. Indeks.
Syafii, dkk. (2007). Materi dan Pembelajaran
7) The movements are arranged into a dance Kertakes SD. Jakarta: Universitas Terbu-
form. ka.
Yusuf, Samsu. (2004). Psikologi Perkemban-
8) Students are trained repeatedly in order to gan Anak dan Remaja. Bandung: PT
memorize the motion and be sensitive to Remaja Rosdakarya.
the rhythm that is played.

9) The results of the creativity of students’
movements individually or if possible,
students in groups made videos.

CONCLUSION
Developing children’s sensitivity to art

can be done through learning in a formal envi-
ronment that is oriented to child development.
The learning applied to elementary school stu-
dents uses an integrative approach by combin-
ing play models and creative models. Cultural
Arts subjects which include music, dance, and
fine arts are carried out with the same theme.

Art activities for students are interesting
and fun activities by prioritizing the process
rather than the results. In art learning, it is
strived to be able to develop the potential of
students optimally which is oriented to the
needs of students.

THE VALUES OF LOCAL WISDOM
IN THE VIRTUAL STAGE “BANGNGI SINAKKUKI”
FOR TRADITIONAL PERFORMING ART MAESTROS

Andi Aryani
Graduate School of Institute of The Indonesian Arts Yogyakarta

[email protected]

Abstract

Traditional performing arts in Indonesia are characterized by the attendance of the audience at
the venue, even sometimes the involvement of the audience in the performance. However, the
spread of Covid-19 pandemic has limited access to all live-stages and forced the artists to use
the virtual stages instead. The new challenge of digital culture is at the core of today’s perfor-
mances. This challenge was also felt by the performing arts maestro in Makassar, South Su-
lawesi, namely Daeng Serang Dakko, the maestro of traditional drums, Daeng Aca, the maestro
of the performing arts and theater of Kondobuleng, as well as H. Sattu Daeng Tutu, the maestro
of traditional lute music. This research provides information about the role of local wisdom
during the Covid-19 pandemic situation through a qualitative approach, with the purpose is that
in the future the maestro of traditional performing arts can survive amid the rapid development
of technology through Bangngi Sinakkuki virtual performance.

Keywords: Covid-19 pandemic, maestro, performing arts, the value of local wisdom.

Abstrak

Seni pertunjukan tradisional di Indonesia ditandai dengan kehadiran penonton di tempat terse-
but, bahkan terkadang keterlibatan penonton dalam pertunjukan. Namun, penyebaran pandemi
Covid-19 telah membatasi akses ke semua tahap live dan memaksa para seniman untuk meng-
gunakan panggung virtual sebagai gantinya. Tantangan baru budaya digital adalah inti dari
pertunjukan saat ini. Tantangan ini juga dirasakan oleh maestro seni pertunjukan di Makassar,
Sulawesi Selatan, yaitu Daeng Serang Dakko, maestro drum tradisional, Daeng Aca, maestro
seni pertunjukan dan teater Kondobuleng, serta H. Sattu Daeng Tutu, maestro musik kecapi
tradisional. Penelitian ini memberikan informasi tentang peran kearifan lokal selama situasi
pandemi Covid-19 melalui pendekatan kualitatif, dengan tujuan agar ke depan maestro seni
pertunjukan tradisional dapat bertahan di tengah pesatnya perkembangan teknologi melalui
pertunjukan virtual Bangngi Sinakkuki.

Kata kunci: Pandemi Covid-19, maestro, seni pertunjukan, nilai kearifan lokal.

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 26
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

INTRODUCTION distinctive culture and local wisdom. Like-
How to keep the arts alive is a big question wise, the Bugis-Makassar tribe which still has
a strong local wisdom value this day, namely
when talking about traditional performing Sipakainga, Sipakatau, and Sipakalabbiri. The
arts, especially in South Sulawesi today. If we enthusiasm carried out by the I Lologading
mention traditional performing arts in Makas- Paropo Art Studio Makassar to adapt to dig-
sar, we will refer to names such as Daeng Aca, ital culture in the midst of the Covid-19 Pan-
Daeng Serang Dakko, and H. Sattu Daeng demic can be seen by the important roles of
Tutu. Daeng Aca is a performing arts maestro Sipakatau, Sipakainga, and Sipakalabbiri.
in Makassar, whose works are always eager-
ly awaited by the public, one of which is the According Joesoef in Syarif (2016, 14),
Kondobuleng People’s Theater. Furthermore, nilai budaya yang merupakan landasan karak-
Daeng Serang Dakko is a traditional drum ter yang penting untuk ditanamkan dalam
maestro, with the beauty of his distinctive setiap individu agar setiap individu mampu
drumbeat has brought him overseas. Then, H. lebih memahami memaknai dan menghargai
Sattu Daeng Tutu is the maestro of traditional serta menyadari pentingnya nilai budaya da-
lute music of Makassar. They are the perform- lam menjalankan setiap aktivitas kehidupan.
ing arts maestro who today are afflicted with
anxiety since the Covid-19 pandemic forced They took the initiative to carry out on-
the closure of the artistic performances. More- line performances or live streaming through a
over, traditional performing arts are always digital platform by presenting the performing
identified with live audiences. arts maestro from the city of Makassar, enti-
tled “Bangngi Sinakkuki” (Night Gathering of
Covid-19 pandemic has limited the move- Tradition Artist) with the main stage located
ment of people around the world. This phe- in Kampung Budaya Paropo, Makassar. The
nomenon is certainly influential on the artistic research was carried out through observation
process that needs to involve collectivity in of the practices from the beginning of the
its creation. Artists continue to look for new emergence of ideas, performances, to the end
breakthroughs and innovations so that art can of the show. This research will answer what
continue to be preserved, especially the tradi- the role of the cultural values ​o​ f Sipakainga,
tional arts. Under these conditions, the move- Sipakatau, and Sipakalabbiri is in the Bangn-
ment of young people is absolutely necessary gi Sinakkuki virtual stage for traditional per-
so that art can continue to live amid the lim- forming arts in Makassar.
itations of traditional artists who barely know
the digital culture. This desire was then car- METHOD
ried out by the I Lologading Art Studio. This This research was conducted using a qual-
movement was initiated by Mr. M. Arysad and
Ilham Acokuba, providing a digital stage for itative research approach. Creswell (2019)
the maestro of traditional performing arts in defines qualitative research as methods to
Makassar, South Sulawesi. explore and understand the meaning of indi-
viduals or groups arise from social or human-
Indonesia, which is a very wide country, itarian problems. In this study, the data are
has various tribes, ethnicities, and cultures derived from events, staging documentation,
(Affandy, 2017). Almost all regions have a and literature studies related to Sipakatau, Si-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 27
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

pakainga, Sipakalabbiri (3S). The final result Figure 1. The activity of the Kondobuleng
of this research is data analysis of narrative Theater rehearsal towards Bangngi Sinakkuki
text interpretation. The research design con-
tains the activities of Bangngi Sinakkuki, 3S, (Source: Daby Shah Rizal)
study locations, methods applied, as well as
various challenges found during the research The rehearsal activities of I Lologading
process. Art Studio Paropo featured the Kondobuleng
1. The event is a review of direct observa- Theater which was initiated by M. Arsyad or
Daeng Aca as the host in Paropo Village. In
tions that occurred in the field, both in Pa- this pre-production stage, Ilham Acokuba first
ropo Panakkukang Village, Makassar, and made a visit to the home of each maestro to
through broadcasts on digital platforms. acknowledge the elders who were then invit-
2. Documentation of staging as data to ex- ed to collaborate on Bangngi Sinakkuki activ-
plain performers and data analysis. ities.
3. Literature study as a literature reference
related to local wisdom 3S (Sipakatau, Mukhlisin (2021) Sipakatau, sipakalebbi,
Sipakainga, Sipakalabbiri), and previous sipakaingge mean the spirit of togetherness,
research. sharing, agreeable in maintaining harmony.
Andi Mattingaragau (2019), to be able to
RESULT AND DISCUSSION achieve mutual peace, always be able to es-
Cultural Art Stage Ri Kampong Paropo tablish friendship with everyone regardless of
ethnicity, religion, race, and class. With the
“Bangngi Sinakkuki” (Night Gathering of value of local wisdom so highly respected that
Tradition Artists) is a collaborative concept the maestro of traditional performing arts then
of traditional art maestros to answer the tra- came to treat the longing of the audience even
ditional artists’ anxiety during the impact of though through virtual performances.
Covid-19. Daeng Serang Dakko, the maestro
of traditional drums, Daeng Aca, the maestro Seeing the virtual show this time, there has
of Kondobuleng’s performing arts and the- been a development in terms of time, framing,
ater, and H. Sattu Daeng Tutu, the maestro until the live audience is limited and becomes
of traditional lute music, creates a harmony virtual. This development has not been a big
which thoroughly like a live performance. obstacle for artists when it is carried out based
Alief, (2017) wrote that Paropo Village is cur- on establishing togetherness and harmony.
rently the Makassar ethnic people from the Maestro always performs their best works to
Gowa-Tallo Kingdom area. entertain the audience. Especially in Paropo
Village, artists will be restless when they do
not create any works.

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

Bangngi Sinakkuki culture is influenced by rapid development,
Bangngi Sinakkuki is the main idea to re- and modern humans are aware of this. More
than ever humans today are more aware of
alize the desire to bring back the maestro of their culture. This awareness is a sensitivity
traditional performing arts in South Sulawesi, that encourages humans to critically assess the
especially in Makassar through a virtual stage ongoing culture. This kind of evaluation can
performance. Adapting to digital culture, the result in them practically reconstructing their
Art Stage is titled Cultural Art Stage Ri Kam- own culture. The host community of Kam-
pong Paropo “Bangngi Sinakkuki” (Night pung Paropo knows very well where they will
Gathering of Tradition Artists) which is a col- stand as audiences so they don’t disrupt the
laborative concept of traditional art maestros ongoing performance, that is the picture of the
to answer anxiety during the impact of the local community who really appreciates the
Covid-19 pandemic, arise from the feeling of process of performing arts that have been en-
longing for the stage. This activity was initi- trenched.
ated by M. Arsyad and Ilham AcoKuba, none
other than part of the I Lologading Art Studio Sipakainga, Sipakatau, Sipakalabbiri (3S)
Paropo. Ilham AcoKuba’s encourages Millen- In this study, the researcher conducted an
nials to collaborate with the maestro in terms
of technology utilization, etc. Production is experiment by placing Sipakatau as the first
done with great detail to identify the possibil- study, the second Sipakainga, and finally Si-
ity of novelty. pakalabbiri in the embodiment of the Bangngi
Sinakkuki stage.
Bangngi Sinakkuki’s research process
starts from pre-production, production, to Sahril and Nurfitriany (2018, 64) also ex-
post-production. The focus of this research plained the value of local wisdom:
is on the performing arts maestro in South
Sulawesi, who currently need to continue to Sipakatau, sipakainge, sipakalabbiri, nilai
show his existence as well as to face the era of ini merupakan nilai yang dimaknai bersama
digital culture. The enthusiasm of the public menghormati atau menghargai, saling menasi-
to watch the show is inevitable since the mae- hati, dan saling memuliakan. Melihat keung-
stros strive to entertain the people. gulan dan kekayaan nilai perdamaian yang
dimiliki oleh orang Bugis dan suku Makas-
Even though traditional performing arts, sar harus menjadi acuan untuk meningkatkan
these arts are still favored by the people of ketentraman yang didasarkan pada nilai-nilai
South Sulawesi, especially in Makassar. perdamaian Bugis dan Makassar.
Therefore, it feels something is missing when
Daeng Aca’, Daeng Serang, and Daeng Tutu The first is Sipakatau, this activity was
are no longer present in the community. This initiated to revive the traditional performance
longing was felt when I Lologading Art Stu- stage during the Covid-19 pandemic. Ilham
dio actually presented them in a virtual perfor- Acokub, representing millennials, then invit-
mance format. However, some distinguished ed the maestro of traditional performing arts
people who live in Paropo are allowed to in Makassar to collaborate on Bangngi Sinak-
watch live on the performance stage with kuki. This is known in the 3S concept as Si-
complying the rules. Peursen (1988), today’s pakatau, which means humanizing humans or

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 29
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

respecting elders in this case the maestro. (Bugis), namely the nature of reminding each
Then the second, Sipakainga, the maestro other (Syarif. et al, 2016). 3S culture which
is a cultural value of the Bugis tribe which
of performing arts, gathered at an art event nowadays is almost disappeared among the
in Paropo Village. Several local audiences people. Affandy (2017) argues that the exis-
from the Paropo village community were also tence of local cultural values b​​ ecomes access
present to watch traditional art performances to restore and control the behavior in facing
which had not been performed for a long time the current development, globalization, tech-
with health protocol regulations. This longing nological development, etc. The implementa-
is not only felt by the local audience, but also tion of this activity is carried out online (live
the entire Makassar community and even the streaming).
world. Sipakainga means reminding each oth-
er, either through words or the behavior of in- Some of the maestro who performed were
dividuals or groups. Before the show started, M. Arsyad (Daeng Aca’), Daeng Serang Dak-
Arif Daeng Rate as the Master of Ceremony ko, H. Sattu Daeng Tutu featuring Gandrang
first opened by sending a prayer to remember Bulo, Pepe-Pepeka Ri Makka Dance, Tun-
the traditional performing arts maestro who rung Rinci, Pakacaping, Kondobuleng The-
died during the Covid-19 pandemic in Indo- atre, Sinrilik. The event was held on Sunday,
nesia, namely the sinrilik maestro Syarifuddin August 22, 2021 in Kampong Paropo, Paropo
Daeng Tutu and after that the drum maestro Ab- Village, Panakkukang District, Makassar City,
dul Muin Daeng Mile. Audiences from across South Sulawesi, Indonesia. At the post-pro-
generations also experience the traditional per- duction stage, it is expected that how tradi-
formances of the maestros and also get to know tional performing arts will continue to live, by
the maestro who has passed away. This effort not eliminating the digital footprint of this art
is made so that traditional artists are not for- that has been held so that it can be enjoyed by
gotten even in the conditions of the Covid-19 future generations.
pandemic and digital technology will save the
document for audience regeneration. Research Challenge
The Covid-19 pandemic has rapidly and
The last one is Sipakalabbiri. Sipakalabbi-
ri is human behavior that is able to observe the drastically driven social change. Social value
other side of humans, either through words or and local wisdom must be a strong foundation
actions. Through Bangngi Sinakkuki, the mae- in society to reinforce the situation that is hit
stro of traditional performing arts in Makassar by uncertainty as they are today. Researchers
is back with their identity. Makassar and the who incidentally are Makassar people also feel
I Lologading Art Studio have formed a new that something is missing when the arts are
identity that art continues to develop and per- declining. Especially when it is abandoned.
formance culture continues to be preserved in The initiative from Ilham Accokuba and the I
Paropo. Lologading Art Studio provide opportunities
for researchers to conduct research amid the
Citra (2019) Sipakatau culture, namely the Covid-19 pandemic. Then from the side of
nature to view humans as humans. Sipakaleb- the Bangngi Sinakkuki virtual stage, there are
bi (Bugis), is a trait that forbids us to see hu-
mans with all their shortcomings. Sipakinge

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 30
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

several developments experienced by today’s Figure 3. Daeng Aca accompanies the Gandrang
traditional artists, first, art performances that Bulo dance
are usually performed all night now have to be
limited by time. (Source: Ilham Acokuba)

Second, traditional art performances, es- In this show, the performing arts mae-
pecially the Kondobuleng Theater, have also stro M. Arsyad K. or who is often known as
experienced developments, which were ini- Daeng Aca is able to perform various tradi-
tially performed on the arena stage, now in a tional arts, namely the Gandrang Bulo dance,
virtual form that is limited by camera frames. the Pepe-pepeka Ri Makka dance, and the
However, through the spirit of the local wis- phenomenal Kondobuleng Folk Theater. By
dom values ​o​ f Sipakatau, Sipakainga, and Si- wearing a tutu suit, a traditional Makassar
pakalabbiri (3S) we can witness traditional art dress, he looks stunning. Usually, he played
performances during the Covid-19 pandemic all night long, this time he was limited to ap-
and satisfy the maestro’s longing for the stage. proximately one hour per show.

Figure 2. Kondobuleng Paropo Teater Virtual
Theater Performance

(Source: Sceenshot platform virtual)

Kondobuleng theater performance is a tra- Figure 4. Daeng Serang Dakko, Maestro Musik
ditional theater that has always been preferred Tradisional Gendang Makassar
by the people of Makassar. The theater which (Sumber: Ilham Acokuba)
raised the issue of colonialism was shown in a
satirical comedy style. The characters created The maestro of traditional drum music,
by the actors are related to everyday life, as
well as the style of language used so that the Mr. Serang Dakko, in his performance accom-
audience always laughs out loud while watch-
ing this theater. Currently, Kondobuleng the- panied the Pakkarena dance with a drum ramp
ater is watched via virtual, which means that
there is a limitation or barrier between the that takes him overseas. The camera details
performer and the live audience. This devel-
opment occurs on a condition that requires
artists to adapt to new media.

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 31
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

taken from the left, right, and front represent tu’s performance contained a deep sadness
the eyes of the audiences who were watching when presented on the Bangngi Sinakkuki
virtually. Daeng Serang Dakko wore Patonro, stage which was presented with the theme of
a typical Makassar headgear, and was accom- “longing” namely bangngi or the night sinak-
panied by his signature drum beater ba’bala. kuki’ meeting each other expressing longing,
The details of the maestro position on the live but besides that, he hoped that all Indonesian
show look different than on the virtual show. people could pray for the maestro, in this re-
In live performances, the audience only en- gard. this is Alm. H. Syarifuddin Daeng Tutu
joys the performances presented by the artists, as maestro sinrilik and Abdul Muin Daeng
while in the virtual performances, the audi- Mile as Makassar drum maestro. Bangngi
ences can clearly see the movement of the Sinakkuki is not only a stage for art but also a
feet, the position of the players’ hands during reminder to young audiences that in the end,
the performance, expressions, to the typical art will die if there is no successor, until the
movements of the maestro’s drumming skill end of its life the arts will continue to be car-
shown in the stage. ried out by the maestro of traditional perform-
ing arts.
Figure 5. Daeng Aca with H. Sattu Daeng Tutu,
Makassar Kecapi Music Maestro No one guessed when the art process had
(Source: Ilham Acokuba) to get out of the comfort zone. Like the digi-
talization of art, it has also overshadowed the
The maestro of traditional Makassar lute traditional performing arts today, especially
music, H. Sattu Daeng Tutu wore a black tutu’ the maestro of traditional performing arts in
suit, and beside him was Daeng Aca’. He pre- Makassar. The positive energy that continues
sented old poems and some passages he had to be spread both before and after the show
composed to commemorate the passing of brings a new era for local artists. Y Sumandi-
the Sinrilik maestro, Syarifuddin Daeng Tutu, yo Hadi (2012), community organizations as
who was none other than his brother. In his a collection of people who are units of action,
performance, he used the local Bugis-Makas- solely their actions or actions are not entirely
sar language style, today’s audience barely according to their own preferences but act or
knows what message he wants to convey to act according to certain situations. Covid-19
the audience because of the language barrier. has indeed forced a new movement through
But the chanting of the rhythm and the sound new forms of performance and media. Be-
that was presented, brought the audience to sides, the defense of cultural values m​​ ust go
dissolve in their sadness. H. Sattu Daeng Tu- hand in hand.

As for the value of local wisdom, which
until now is firmly held by the Bugis-Makas-
sar community, it must be preserved by the
present and next regeneration by not only
seeing the 3S (Sipakainga, Sipakatau, Sipaka-
labbiri) as a rule of life but also according to
pre-production, production, and post-produc-
tion as a new way of looking at digital culture

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 32
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

in terms of art. The process that is passed will C. A. van Peursen. (1988). Strategi Kebu-
run well if it involves Sipakatau, Sipakainga, dayaan. Kanisius, Yogyakarta.
and Sipakalabbiri’.
Citra Agus Amitra. (2019). Penerapan Komu-
CONCLUSION nikasi Budaya 3S (Sipakatau, Sipakaleb-
In the midst of a pandemic, what is needed bi, Sipakainge) Dalam Pembinaan Lan-
jut Usia di Panti Sosial Tresna Werdha
is the spirit of togetherness which is hoped not Gau Mabaji Kabupaten Gowa. KARE-
to fade. From the Bangngi Sinakkuki activity, BA: Jurnal Ilmu Komunikasi, UNHAS.
there is a cross-generational role that synergiz-
es through the values o​​ f local wisdom, namely Erman Syarif, dkk. (2016). Integrasi Nilai Bu-
Sipakainga, Sipakatau, and Sipakalabbiri. The daya Etnis Bugis Makassar dalam Pros-
return of traditional performing artists has es Pembelajaran Sebagai Salah Satu
awakened the spirit of art in South Sulawe- Strategi Menghadapi Era Masyarakat
si. Daeng Serang Dakko, Daeng Aca, and H. Ekonomi ASEAN (MEA), Jurnal Teori
Sattu Daeng Tutu adapted to the new media. dan Praksis Pembelajaran IPS.
Even in a virtual format (live streaming), as
an artist of traditional performing arts, they no Indah A. Mutiara, dkk. (2020). “Memba-
longer prioritize their existence but how their ngun Optimisme di Tengah Pandemi
presence can be enjoyed by the audience so Covid-19”. Prosiding Seminar Nasional
that all Indonesian people and even the world. Problematika Sosial Pandemi Covid-19.
The digital footprint is an effort to record the
history of Bangngi Sinakkuki’s activities so John W. Creswell. (2019). RESEACH DE-
that they can be enjoyed by the next regener- SIGN: Pendekatan Metode Kualitatif,
ation. The existence of traditional performing Kuantitatif, dan Campuran. Edisi 4. Yo-
arts was initiated with the hope that the peo- gyakarta: Pustaka Pelajar.
ple, especially in Makassar, continue to pre-
serve traditional arts as well as local cultural Mukhlisin, Yunus. (2021). Makna Nilai-Nilai
values t​​hat must be maintained as an identity. Tomanurung Dalam Konsep Pendidikan
Karakter. Edureligia Vol. 05 No. 01.
REFERENCES
Affandy Sulpi (2017). Penanaman Nilai-Nilai Sahril Buchori, Nurfitriany F. (2018). Nilai-
Nilai Kedamaian dalam Perspektif Suku
Kearifan Lokal dalam Meningkatkan Bugis dan Makassar. JOMSIGN: Jour-
Perilaku Keberagaman Peserta Didik. nal of Multicultural Studies in Guidance
ATTHULAB: Islamic Religion Teaching and Counseling Volume 2, No.1.
and Learning Journal, Vol 2 No 2.
Alief Nur Situdju M. N. Nadjamuddin, Sahri- Y. Sumandiyo Hadi. (2012). Seni Pertunjukan
ana, dan Isna Tahir. (2017). Transforma- dan Masyarakat Penonton.
si Teater Tradisional Kondobuleng dan
Kontinuitas Elemen Bahari. Lensa Bu-
daya, Vol. 12, No. 2.

THE SUNDANESE RITUALS AS A PANDEMIC RELIEF

Annisa Rosiana
Institut Seni Budaya Indonesia, Bandung

[email protected]

Abstract

Religion is a cultural element which functioned as a way of life. As Emile Durkheim stated
that religion is belief in supernatural powers such as gods (Kamiruddin, 2011:163). Since the
announcement of Covid-19, people around the world have experienced panic in dealing with it.
Relevant to the current conditions, some Indonesians still believe in tradition to deal with the
pandemic through rituals. Rituals are ceremonial actions that occur repeatedly and have a level
of consistency that are also identified with habits or routines. Ritual is also a way of socializing,
in which there is symbolic behavior in social situations. Ngaruat is one of the traditions carried
out in the West Java area as a repellent to disasters or asking for salvation to the Almighty.The
theory used in this paper is Clifford Geertz’s symbolic interpretivism and Emile Durkheim’s
functionalism to explore the meanings and functions contained in Ngaruwat performed by the
Sundanese. The result of this study is to determine the meanings and functions of the ngaruwat
ritual among Sundanese community.

Keywords: function, meaning, ngaruwat, pandemic, ritual, Sundanese community

INTRODUCTION swered by reason or by human’s logic, humans
The Indonesian archipelago is called a run to religion. One of the leading experts,
Emile Durkheim stated that religion is belief
multicultural country that has various eth- in supernatural powers such as gods or gods
nicities, languages, arts, and other cultures. (Kamiruddin, 2011:163). This understanding
According to Koentjaraningrat (2015:146), is not much dependent on social relations be-
“culture” comes from the Sanskrit language, cause according to him social facts are more
namely buddhayah, which is a plural form important than individual facts, and religion
of the word buddhi which means “mind” or is part of social facts. Religion is related to
“reason”. Culture means all forms of activities social interaction because living in a society
produced by humans and passed down from that produce religious thoughts. A religion has
generation to generation by way of learning. several elements including places of worship,
According to the KBBI, C\culture is “the holy books, symbols, rituals and people who
result of human activity and inner creation believe in it. Rituals are ceremonial acts that
(mind) such as belief, art, and customs.” The occur repeatedly and have a consistent level.
results of activities that are works and inten- In anthropology there are what are called rites
tions can also be called culture. of passage or rituals starting from the moment
of birth until returning to the realm of eternity.
Culture has several elements, and religion According to Rothenbuhler in Manafe (2011:
is one of them. Religion for most people is
a way of life when something cannot be an-

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 34
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

288), rituals are always identified with habits pandemic is not the first time happened in the
or routines. Ritual is also a way of socializing, world, long before the Covid-19 outbreak,
in which there is symbolic behavior in social several viruses had hit, one of which was the
situations. most famous one being the outbreak of The
Black Death in 1346-1353 AD. The existence
The rituals that occur are nothing but the of this pandemic seemed to force life or the
result of a culture that has become a tradi- social order to make changes. Scheidel in
tion. It is stated in the KBBI that tradition is Murtiningsih (2020: 53) states that a pandem-
a hereditary custom (from ancestors) that is ic is one of four “horsemen” that can change
still carried out in society. Other sources say culture and civilization, three of which are
that tradition places more emphasis on super- war, revolution and the collapse of the state.
natural activities that contain related values, Relevant to this, the post-Covid-19 world has
norms, laws and rules. Culture is formed and undergone more or less changes, especial-
developed according to its environment, and ly in culture. Unplanned change, requires all
then there are various kinds of traditions of humans to adapt to the situation. Humans are
Indonesia as a country of multiculturalism. forced to break free and accept the presence
The Ngaruwat ritual is one of the traditions of this virus, various ways have been carried
carried out in the West Java area. The General out, starting from the habit of washing hands,
Dictionary of Sundanese Language in Herli- wearing masks and maintaining distance as
nawati (2011:298), explains the meaning of well as clean and healthy living behavior, in-
Ngaruat is to provide salvation from disas- cluding taking health supplements in the form
ter. Ngaruat also means dilokat, used when a of traditional medicines. This is related to a
child is sick. In the performing arts of Sun- collective culture that must be worked out to-
danese pantun there are some terms used such gether and interconnected into a single unit
as ruwatan taneuh, ngaruwat hulu wotan and to prevent the spread of this virus, including
the newly built village. Relevant to the cur- through a religious approach. This method is
rent conditions in the midst of the outbreak of carried out by carrying out the ritual of repel-
the corona virus or commonly referred to as lent the pandemic.
the Covid-19, some Indonesians still believe
in tradition to expel the pandemic through Previously, there were several studies that
rituals. Such as reported in detik.news.com were relevant to the ruwatan rituals including:
in which cultural activists perform ngaruwat a. Tradisi Ngaruwat Bumi dalam Kehidupan
rituals in the Cimahi city.
Masyarakat (Studi Deskriptif Kampung
Since the announcement of the Covid-19, Cihideung Girang Desa Sukakerti Keca-
all people in the world have experienced ex- matan Cisalak Kabupaten Subang), 2017,
traordinary panic in dealing with it. Cities in by Robi Darwis in Religious: Jurnal Studi
the world have implemented lockdowns and Agama-agama dan Lintas Budaya 2.
performed strict health protocols, including This article explains the history, proces-
work from home, shorten as WFH. Corona sion and meaning of the ritual of ngaruwat
Virus Disease 19 is referred to as a pandemic earth in Cihideung Girang, Subang.
because by the way it spreads simultaneous- b. Ngaruwat Solokan di Desa Cihideung Ke-
ly everywhere and covers a global scale. This camatan Parongpong Kabupaten Band-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 35
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

ung Barat, (journal), 2011, by Lina Herli- search only focused on the process and mean-
nawati in Patanjala Journal Vol. 3, No. 2. ing in ngaruwat rituals such as offerings and
This article contains more complete con- other symbols. In this study, it focuses more
tent than the previous article, which ex- on the meanings, functions and the reasons
plains the general description of Cihi- for ngaruwat being carried out. The purpose
deung village, Parongpong sub-district, of this research was to answer several ques-
history, processions and the meaning con- tions that became the author’s curiosity about
tained in the ngaruwat solokan ritual held the problems studied, including explaining the
by the Cihideung village community. meanings of ngaruwat in Sundanese rhymes
c. Ritual Numbal Dalam Upacara Ruwatan and the functions of ngaruwat in Sundanese
Bumi di Kampung Banceuy-Subang (ka- pantun in Sundanese society.
jian liminalitas), 2019, by Ratna Uma-
ya, Cahya and Imam Setyobudi in Etnika METHOD
Journal Vol. 3, No. 1. The method used is a qualitative to de-
This article describes the description of
the village, the details of the ngaruwat scribe the process of meanings and functions
procession as well as an explanation of of the ngaruwat ritual in Sundanese pantun.
some of the rituals that occur in the village The purpose is to describe and to understand
of Banceuy and a study of the liminality of social phenomena (to explain and understand
which also contains the function of these socio-cultural phenomena) according to the
rituals. meaning of local people or the object of study
d. Tolak Balak Wabah Pandemi Covid-19 or commonly referred to as emic (Setyobu-
dari Sisi Budaya Jawa, (proceeding), di, 2020: 19). This qualitative method also
2020, by Ratna Supradewi in PSISULA: does not stop at collecting and compiling
Prosiding Berkala Psikologi Vol. 2. data but also through the process of analyz-
In this article, the author explains how to ing and interpreting data to conclusions based
deal with a pandemic from a Javanese per- on research (Herlinawati, 2011:298). The
spective, including the song “Rumeksa Ing type used is descriptive qualitative method
Wengi” composed by Sunan Kalijaga as a which present the meaning and function of
suggestion to ask for help by praying at the ngaruwat ritual in Sundanese pantun. This
night. qualitative method is measured on the qual-
ity of the data presented, how deep the data
In those studies, above, there are sever- contains information that can provide answers
al similarities, namely regarding the study to the researcher’s questions. Nazir in Billah
of meanings in the rituals. Even though the (2019:17), states that “descriptive method is
object being studied is still about ngaruwat, a method in examining the status of a human
there are slight differences in the content of group, an object, a system of thought or a
the discussion, namely an addition in terms class of events in the present”. So similarly,
of the function of ngaruwat in the functional- data or the main source of qualitative research
ism perspective by Emile Durkheim related to can be obtained through one of the processes,
the current pandemic conditions. Previous re- namely interviews or it can also be by con-
versing with the object to be studied. The per-

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 36
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

son who wants to be interviewed is called the unseen. People believe that supernatural pow-
informant, of course, the informant is selected er can help when they are not able to solve
according to the capacity and quality of the their own problems. This is also explained by
researcher’s questions so that it contains more Koentjaraningrat in Huda, (2019:5):
accurate data. Similar to the statement, in car-
rying out this research, data collection will be “A holy person who dies, his spirit still has
carried out, one of which is interviews with supernatural power, that is, he can give advice
related informants. Then the next method is a on spiritual and material matters to those who
literature study, according to Darmadi (2011), are still alive so that the descendants who are
literature study is research carried out by re- still trying to continue to praise and praise
searchers after they determine the research him. Their graves are places of contact with
topic and determine the formulation of the the living, and where the living make symbol-
problem before going to the field to collect the ic contact with the spirits of the dead.”
necessary data.
Similar to this, the Sundanese especially
RESULT AND DISCUSSION for the Sunda Wiwitan adherents, are centered
Art is one of the cultural products pro- on worshiping ancestral spirits and believe
in the supreme power, namely Sang Hyang
duced by humans that has a variety of patterns Tunggal with the intention that the ancestral
following the development of the user com- spirits are not angry and can become protec-
munity. Art can also be said as a spiritual ac- tors of humans through the rituals they per-
tivity that reflects the reality in the work and form. In today’s conditions, in the midst of
its form and content have a power to evoke a pandemic that does not subside, people are
experience in the spiritual realm of the recip- starting to look for an escape from their dis-
ient. Traditional art usually has a pattern as a satisfaction with the situation and what they
performing art, because there is an expression are trying to do through treatments that have
that the spectacle must at the same time be a existed since time immemorial. This ruwatan
guide for the community. With this pattern, can be found in the art of Sundanese pantun
traditions can be disseminated by instilling in which there is an activity of reading a rajah
values, teachings and rules that can produce or prayer. We can see that in a religion, there
social functions. Traditional art is usually also is also a recommendation to read prayers that
associated with something sacred or some- can be used as a repellent against evil, as well
times referred to as ritual. Rituals can usual- as rajah that can be used from a socio-cultural
ly be classified as a medium of transcendent perspective.
communication. According to Koentjaranin-
grat (2002), rituals or rites are “… a belief sys- Sundanese pantun is different from Malay
tem, and ideas about god, goddess, hell, heav- pantun which is bound by its structure such
en and so on, in the form of ceremonies, both as rhymes, lines and stanzas. While the Malay
seasonal and occasional”. Likewise, the tradi- pantun has the equivalent of “sisindiran”, in
tional art of Sundanese pantun, when viewed Sundanese society which has the same sampi-
from its function, can be categorized as a rit- ran or shell of pantun structure and content.
ual because it contains prayers for something Sundanese pantun is similar to a story telling
performance presented in dialogue and also

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 37
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

often sung. However, in the Sundanese lan- The meanings in the Sundanese pantun
guage, it is also stated that the pantun is an ab- In the performance, the Sundanese pantun
breviation of “papan ditungtun” because the
juru pantun often carries the kacapi in a state has two functions including entertainment,
like being guided. In the show, the Sundanese and for ruwatan rituals, it is functioned as ask-
pantun is performed by a juru pantun with a ing for safety as well as repellent disaster for
musical instrument called a kecapi. Of course, the society. Sundanese pantun performances
the juru pantun is not an ordinary person, be- are usually related to supernatural powers to
cause this performance is magical, the juru help humans when they cannot overcome a
pantun must have special skills and knowl- problem with human abilities. In the struc-
edge. The juru pantun places himself in the ture of the performance, there are offerings
cardinal directions of the quaternity cosmos, that include parupuyan, namely incense and
the 8 cardinal directions. The seven winds are its burning container, pangradinan, namely
filled by gods, while the juru pantun is in the beauty tools such as perfume, coconut oil,
eighth. It can be interpreted that the juru pan- whiting, comb, mirror and flowers, parawant-
tun represents supernatural powers, not a rep- en including diamond, vegetable rice cake,
resentation of himself anymore. According to red porridge, white porridge, tumpeng, beka-
Sumardjo (2002: 183-184) Sundanese pantun kak ayam, fruits salad, nuts, sweet potatoes,
is one of the traditions or products from the cassava, young coconut, sugar, cigars, rock
old/ancient Sundanese culture. Following the sugar, eggs, two bunches of rice and banana
reserach, the Sundanese pantun has existed leaves, then the last is panyinglar which con-
since 1518 which was written in the ancient tains beringin leaves, hanjuang leaves, ba-
Sundanese manuscript, namely Siksa Kan- nana stems, sugar cane trees, rice water, new-
dang Karesian and have been existed since ly hatched (dead) chicks are put in the shell
the Hindu-Sundanese era before the collapse and given soy sauce. Humaeni (2021:5) ex-
of the Padjadjaran kingdom. Given the im- plains that offerings are an actualization activ-
portance of the role of the Sundanese pantun, ity of the thoughts, desires, and feelings of the
there is an element that is believed to have sa- perpetrators in order to get closer to God. It
credness called rajah. This is because rajah should also be noted that the offerings served
has tantrayana elements, this teaching is a are actually not food for the spirits as people
way or method to achieve unity with the es- suspect, but are symbols of the universe. An
sence of the universe. The beginning of the de- object becomes valuable when someone gives
velopment of this tantric teaching came from meaning to it. Of course, each object will have
the Srivijaya kingdom until it finally spread to different intrepretations depending on the per-
the Sunda kingdom as a result of the marriage son who gives the meaning. Offerings are sym-
relationship. This teaching was brought by the bols of men and women who are united so that
priest Attica from Vikramasila, India. That is there is harmony. Two entities that are united
why rajah becomes a sacred and is used as a will produce harmony between them. Similar
mantra in the beginning of the ritual. to Sumardjo’s narrative, (2011:36) harmony is
an integration between two dualistic addresses
of a binary pair which results in the existence
of a “third element”. Then from the marriage

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

of these two entities comes salvation, fertility, human life. Next is a chicken egg that is giv-
prosperity for the whole society. Due to this en soy sauce which is a symbol of the world
belief and the concept of the mandala in the above. Chicken or bird is a symbol of the
Sundanese pantun, so the Sundanese pantun Upper World, chicken (white) and soy sauce
is called a sacred traditional art. (black-red) are symbols of the unity of the
Upper World and the Human World. Then the
Triguna in Dharsono, (2010:30) explains names of the characters in the Sundanese pan-
etymologically that the symbol comes from tun are mostly taken from the names of ani-
the Greek word sumballo (sumballien), which mals showing the symbols of the three worlds
means interviewing, contemplating, compar- in the old Sundanese beliefs, namely Buana
ing and uniting. A symbol is a statement of Nyungcung, Buana Panca Tengah and Buana
two things united and based on their dimen- Larang. Not only that, the symbol of the union
sions. Sometimes symbols are also used as of the upper world and humans is also found
community identities. Dharsono (2010:12) in offerings in the form of coffee (black) and
also mentions that a symbol explains a dual sugar (white), hanjuang twigs or banyan trees
function, namely transcendent-vertical (relat- or sugarcane stalks as the basis for men and
ed to references, sizes, patterns of communi- young coconuts which are hollowed out and
ty behavior), and horizontal immanent (as a then inserted into the twigs as the basis for
communication vehicle based on the context women. There is a unity of two substances of
and glue the solidarity relationship of the sup- life, male and female which is also manifested
porting community). Symbols can be said as a in the red (female) and white (male) porridge
medium of communication that we can see in symbol when put together will produce har-
the rites that developed in the archipelago. As mony (Sumardjo, 2002: 187).
in the Sundanese pantun which has meaning
and symbols in it. From the types of offerings in this Sun-
danese pantun, it can be concluded that the
So that the offerings served are not merely art of pantun performance is an event of unit-
seen as occult, the author refers to the sym- ing or presenting the Upper World (the myths
bolic theory by Clifford Geertz so that the of Sundanese heroes) in human life to help
meaning can be read. The first is that the in- overcome problems that cannot be solved
cense that is burned is a physical means of by humans themselves. As is the case in to-
connecting humans with the Upper World, the day’s conditions that humans have not been
essence of which is the fragrance produced by able to solve the problem of the plague that is
incense that is burned on the parukuyan as a still spreading in their lives, the ritual is one
sign of respect for the ancestors as a way to method to solve the problem by using a rajah
the human world. Then the smoked harp or which is allegedly containing tantric elements.
kacapi is also a medium for the presence of Sundanese pantun has a structure in its perfor-
the upper world in the venue. The beauty tools mance starting from preparation, opening by
and cigarettes have a gender meaning of the reading the rajah then starting to tell the story
rhyme mythical characters who are invited of the Sundanese pantun which also contains
and served in the show. Seven types of fruit supernatural meaning until the show is closed
and flowers symbolize the 7 nymphs or po- by reading the closing rajah. Sundanese pan-
haci as rulers or guardians of the interests of

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 39
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

tun performing also means repeating the great alism, Sundanese pantun has functions in-
events of the past by re-presenting the manda- cluding: a) as social solidarity; by holding ru-
la in the performing arts. Mandala means the watan, it becomes a gathering place, a forum
presence of supernatural powers in the space for friendship, for people who have the same
and time of existence, the perfect presence in taste they can build social solidarity in their
the human world (Sumardjo, 2002:195). This group. In this situation there is also a form of
is because the interpreter of the Sundanese communication that present through symbols
pantun must be someone who has advantages, aimed at the communicant’s affection, name-
is holy and behaves well and speaks cleanly in ly to his feelings, not to his brain. In such a
line with the tantric elements in the rajah so situation, logic no longer applies, because
that the activity can run well and the rajah and cognition barely works and the way is feeling;
the desired intention are conveyed well too. b) social control, in performing activities, in-
Rajah can also be interpreted as a request to culcating values and norms as well as spread-
the Hyangs and gods to destroy the dangers as ing teachings in the past that occurred as a
well as asking for the powers of the ancestors form of control over society; c) the function
so that all activities take place well. By look- of holding life when worldly problems can-
ing at the conditions today when the pandemic not be solved by humans, rituals and religion
is hitting and does not subside, all efforts have become an escape for it. It can also be seen in
been made and to no avail. So don’t forget that the function of offerings in Sundanese pantun,
this Sundanese pantun art culture is carried another opinion states that offerings are a gift
out as an effort to approach the Almighty and to supernatural powers. Marcel Mauss in Hu-
supernatural powers in order to be given pro- maeni (2021:15), argues that if a gift occurs in
tection so that peace can be obtained. a social interaction, it is seen as a symbol of
strengthening a relationship between the giver
The functions of Sundanese rhymes during and the recipient. In line with this opinion, it is
a pandemic presented with the symbols that are present in
the offering which has a function as a guide for
Pantun performances can be held as a re- life in protecting against supernatural forces.
pellent for reinforcements or in the interest of
safety, usually called ngaruwat/ngaruat. In During the spread of Corona Virus Dis-
ngaruwat events, Sundanese pantun are usu- ease 19, the community has taken many steps
ally also associated with supernatural powers to deal with this current outbreak. Covid-19
to help humans when they cannot overcome a has been declared a pandemic since early
problem with human abilities. Not only that, 2020. The state requires to lock down sev-
in the beginning the Sundanese pantun also eral cities that are suspected to be the main
taught the basic beliefs of the court elite about spread of the virus originating from China and
their religion for the benefit of the people. prohibit crowds and maintain a safe distance
Nowadays, Sundanese pantun are mostly used between humans. On February 1, 2020, the
as entertainment without changing the struc- United Nations health authority, WHO, de-
ture in them, but the sacredness is still pres- clared COVID-19 a Public Health Emergency
ent in the performances of Sundanese pantun. of International Concern or a global pandem-
Following to Durkheim’s theory of function- ic (Peeri et al. in Saefudin, 2020). Through

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 40
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

medical to traditional methods, this is done to principal, beginner, or first. Sunda Wiwitan in
prevent the spread of the Covid-19 virus, as Carita Parahiyangan is referred to as the Jati
reported in news.detik.com, several cultural Sunda belief. So Sunda Wiwitan or Jati Sunda
activists performed the ngaruat ritual through can be interpreted as an early or basic, original
the art of Sundanese pantun at the Cimahi Sundanese teaching or belief. In connection
City in December 2020 with the aim of asking with the very diverse traditions in Indonesia,
for the pandemic to pass quickly. there is a religious interaction between Islam
and culture that produces a syncretic form of
However, the offerings used are not as Islam. The cultural roots of animism-dyna-
complete as during the usual Sundanese pan- mism are still quite strong and people make
tun performances, only simple offerings in religious values t​​he main value that binds and
general. It can also be seen in these activities influences other values, so it is not surprising
that rituals become social controllers so that that acculturation occurs between the culture
traditions continue to occur and culture con- of the archipelago and the religion of Islam
tinues. This event also adds insight to the pub- (Suriadi, 2017:173). Although the art of Sun-
lic about the existence of Sundanese pantun in danese pantun grew and developed during the
which there is a rajah as a form of appeal to Hindu-Sundanese era, today it is possible that
the Almighty. A religious approach is needed Sundanese pantun art is used by the Muslim
when the pandemic takes place in the midst community, but still adheres to the Old Sun-
of human confusion about what and who to danese culture.
take refuge in. Rituals can be used or seen as
a medium for communicating that is transcen- Rituals are part of religion, and religion
dent. Andayani in Umaya, et al (2019:42) says has a social function behind it. Durkheim in
that humans and spirits can communicate, an- Kamiruddin (2011:169) argues that beneath
cestral spirits can be asked for help and vice the theological surface there is a “basic lay-
versa can bring disaster and catastrophe if the er of sociology”. Durkheim also mentions
prohibition is violated. For this reason, the im- that beliefs or rituals and religion are “sym-
plementation of the ngaruat ritual is carried bolic expressions of social reality”. Religion
out with the aim of invoking the protection of regulates social relations also has a function
the Almighty from the pandemic, which has as a social need. Through rituals, the role of
not yet been completed. religion as a social function occurs in it. As
today, rituals are also used as solidarity among
People still believe in rituals or traditional humans to build trust so that Covid-19 or this
arts because the teachings of beliefs are very pandemic can be overcome through prayer or
strong. Even though Islam has now entered rituals.
the Sundanese community and some people’s
belief in tradition has faded, for some people CONCLUSION
who still believe in it, rituals have many func- Sundanese pantun is a cultural product
tions. Rajah in Sundanese pantun is widely
used and trusted by people who believe in of the Old Sundanese community which is
God Almighty. His belief is now called Sunda known to have existed since the early 13th
Wiwitan which honors the spirit of karuhun or century. Sundanese pantun has a presentation
their ancestors. Wiwitan means teak, origin, structure including a rajah containing prayers