Proceeding Department of Cultural Anthropology ISBI Bandung

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 241
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

fallacy of propositions. Faoucault mentions in and moved by discourse. This discourse is the
one of his essays that the spread of discursive product of rulers who are used to influence
formations within the framework of the forma- groups or humans themselves. So does in this
tion of the regime of the power of truth which article, the health protocol and its set of rules
was previously said to be natural, in fact can- are seen as a discourse that created by people/
not be separated from and cannot be free from groups of people who have power.
the limitations, selection and control of many
non-discursive formations. The central point Health Protocols As Discourse
is that discourse is dangerous and power tries The various efforts of the Indonesian
to control it (Yanti, 2013). Foucault defines
there are four domains in which discourse is government in eradicating the spread of the
considered dangerous, namely: politics (pow- Covid-19 virus with various preventive mea-
er), sexuality (desire), madness and in general sures have not produced encouraging news.
what is considered true or false. Same with The implementation of health protocols is in-
Nietzsche who identifies “desire for truth” tensively inflamed but the number of Covid-19
and desire for power”. Foucault rejects that sufferers in the community continues to grow.
science is pursued for the sake of science it- The campaigns and socializations that contin-
self, not for the sake of power. Discourse on ue to be carried out in the media and public
madness, politics or sexuality is understand- spaces seem to be ignored by the community,
able as long as it is directed at the attainment such as the advice not to crowd, the fact that
of power (Foucault, 2012). in the field there are still many who violate,
the use of masks is ignored, and others. The
In this context, power is defined as repres- steps taken by the Government of the Repub-
sive and sometimes even oppressive. Namely, lic of Indonesia in overcoming the Covid-19
the dominance between the subject and the pandemic cannot be separated from the level
object of power. Regarding power, according of communication. Various information built
to Foucault, it is power that has been justify- to the public is stretched and interesting for
ing something that is right or wrong. Truth scientific analysis. This situation has been go-
is the result of power and knowledge itself. ing on for more than a year in the country, but
Power produces subjective truth, because it some people still seem not to understand and
involves knowledge, then the truth becomes listen to implementing health protocols. Why
disciplinary (Foucault, 2012). From there he is that, has the community not been able to
wants to conclude that every society has its adapt to this new living culture? In the context
own politics of truth. According to Foucault of community and cultural communication,
any form of knowledge never goes beyond in the critical tradition, Michel Foucault says
the regime of truth and its own power. In Fou- that every era has a different view, or concep-
cault’s s view, in essence, it states that knowl- tual arrangement that determines the nature of
edge is not just a reflection of reality, but truth knowledge in a period (Foucault, 2012).
is a discursive construction. Different regimes
of knowledge determine what is right and According to Foucault, the character of
wrong. Humans are products of discourse, knowledge in a period is episteme or discur-
Foucault believes that humans are influenced sive formation (discourse). The views of each
era are exclusive and inconsistent with the

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 242
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

views of other times, making it impossible structure that underlies the overall mindset of
for humans at one time to think like humans the community in the midst of the Indonesian
from other times. Epistem or way of thinking, covid-19 pandemic. Whereas a unifying to-
is not determined by humans, but by the main tality, in the sense of controlling the way we
discursive arrangement (discourse) at that perceive and understand reality without us re-
time. This discursive arrangement is a way alizing it about covid-19. Episteme only ap-
of expressing the ideas that are implanted, plies to an era which in this case is the era of
and what humans know cannot be separated the Indonesian people who are plagued by the
from the discourse structure used to express COVID-19 pandemic. When people are aware
that knowledge (Foucault, 2012). This dis- of the episteme that affects them, it means that
course is a set of rules (invisible/visible) that they are already in a different episteme, be-
are understood or capable of influencing oth- cause the episteme cannot be seen or realized
ers to agree/approve. It can be in the form of when we are in it. Episteme cannot be traced,
a written text, and also includes spoken lan- but can be found by exposing “the taboo, the
guage and non-verbal forms. The structure of crazy, and the untrue” according to the view
discourse according to Foucault is an inherent of an age (Foucault, 2012).
order of rules that determines the form and
basis of discursive practice. The use of rules Talking about discourse, means talking
applies in cultures with diverse discourses about rules, practices that produce meaningful
and functions at a deep and powerful level. statements over a certain historical range. On
These are not mere rules for how to speak, but the issue of handling and overcoming covid-19
rules that define the nature of our knowledge, in Indonesia, the concepts of the COVID-19
power, and ethics. These rules govern what health protocol are a consequence of the pow-
may be said or written, and who may speak or er that connected with society by providing a
write about it, and whose words are taken se- structure for activities, but not repressive but
riously. The regulation also determines what productive which is inherent in the desire to
discourse should take. know, and how power is exercised, accept-
ed, and seen as truth. This is where it is clear
Through Foucault’s concepts and thoughts, that knowledge or discourse is a power. There
it can be assumed that the concept of a health is no knowledge without power and there is
protocol for the prevention and handling of no power without knowledge, Faucoult said
COVID-19 by the Government of Indonesia (Foucault, 2012).
is a discourse. This discourse is in people’s
minds and subtly becomes the paradigm of CONCLUSION
the Indonesian people themselves in think- After more than a year since the emer-
ing and acting. The discourse of life becomes
part of society in regulating our behavior to gence of this disturbing virus and until now
limit people’s movements. This discourse ac- it has not shown any signs of disappearing.
cording to Foucault, received by the people There are still people who have not been able
as truth. Truth is the dominant discourse in a to force themselves to get used to the new
structure. Episteme the fundamental cognitive culture of living that follow health protocols,
in fact many are asked how long to live us-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 243
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

ing health protocols? Will the health proto- So it can be concluded that the position
col obligation be abolished after Covid-19? of this health protocol through the views of
These questions seem to be answered with the Michel Foucault. The health protocol is a set
news conveyed by the WHO that the Coro- of discourses created to control the mutation
na Virus may not disappear from the world. of the corona virus in Indonesia, which, con-
This unfortunate news has been conveyed by sciously or unconsciously, have been mutually
the WHO’s Emergency Director, Mike Ryan, agreed upon. The phenomenon of violations
who said that the virus that causes Covid-19 and disobedience of some people to carry out
can become endemic, such as HIV and DHF and enforce health protocol rules is because
(BBC, 2020). No one can predict when this each period has a different view, or concep-
disease will completely disappear from the tual arrangement that determines the nature
world. This was confirmed by dr. Devia Irine of knowledge in a given period. According
Putri who stated that it could be true because to Foucault, the character of knowledge in
every day the corona virus kept mutating so a period is episteme or discursive formation
that it could not be lost 100% (Izzaty. 2020). (discourse). The new culture of living with
Even so the world still has control over this accompanied by the application of health pro-
troubling mutation of the virus, it requires tocols is likely to last a long time even into the
great effort and cooperation from all the peo- post-Covid-19 period. Although some people
ple of the world. In fact, even though there is have not obeyed and are still unable to get
now a vaccine, prevention efforts must still be used to and adapt to a new culture of living
carried out, namely if in the country it is the with protocols, some will continue to carry
implementation of the health protocol itself. out even without being ordered to do so. This
is because humans have felt intimidated by
Responding to this, from Faucoult’s point discourse and have a fear of being exposed to
of view, humans are products of discourse, this virus, no matter how small the possibility.
and in reality, like it or not, they must obey
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dunia-52657058

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 246
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

THE CHANGES OF TEREBANG SHALAWAT FUNCTION
IN RANCAKALONG VILLAGE SUMEDANG REGENCY

Siti Ulfah Nurazizah1, Neneng Yanti Khozanatu Lahpan2, Yuyun Yuningsih3
Indonesian Institute of Arts Bandung

[email protected], [email protected], [email protected]

Abstract

Globalization has a big impact on local arts and cultural practices in Indonesia. This causes
some changes in the some traditional arts and cultural expressions among traditional commu-
nities. This study aims to explain the changing functions of Terebang Shalawat in Rancaka-
long Village, Sumedang Regency. The method used in this study is a qualitative method with
a descriptive approach. The data collection techniques consist of observation, documentation,
literature study, and unstructured interviews. Meanwhile, the theoretical framework used in this
research is Malinowski’s theory of functionalism. The results of this study suggest that the func-
tions of Terebang Shalawat in Rancakalong Village have changed. Initially, the community used
the art as a medium for rituals, now it is used as a medium for public entertainment. Also, Tere-
bang Shalawat has a function in the development of the economy and tourism for its community.

Keywords: Function Changes, Terebang Shalawat, Rancakalong Village.

INTRODUCTION ment combining terebang and kendang/small
Terebang is a traditional music instrument drum, and the song is in the form of shalawat
(Islamic singing to praise the Prophet Muham-
played in different local communities, and is mad saw.) which comes from the book called
one of the popular traditional arts among the al-Barzanji. People use this art in the muludan
Muslim community in West Java. Each region (Prophet’s birthday) tradition and some rituals
has a different name for this local art. In the including ruwatan or ngahuripkeun bumi (to
Subang area, it is known as Gembyung which enliven the earth).
is played in religious activities, using terebang
instruments, gongs, drums, kecrek, and trum- As one of the cultural products, Terebang
pets (Haditresna, 2017: 9-10). Meanwhile, in Shalawat in Rancakalong Village has under-
Cikeusal village, Tasikmalaya it is known as gone changes following the times and devel-
Terebang Sejak which is held at the Thanks- oping people’s creativities in the artistic pro-
giving ritual (Lahpan, 2014: 31). Then, in cess. At first, people used the art of terebang
Rancakalong Village it was known as Tere- as a ritual medium only. However, currently
bang Shalawat. they use terebang as a medium of public en-
tertainment. In addition, there are other func-
Rancakalong Village is an area in Sumed- tions in the field of economy and tourism.
ang Regency, West Java, where there are sev-
eral traditional arts and traditions that are still Previous research on terebang was con-
practised and developed. One of them is Tere- ducted by Wiraswati (2013) with the title
bang Shalawat. This art is a percussion instru- “Dance in the Terebang Art of the Pusaka

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

Wargi Group in Rancakalong Village, Ran- functionalism as the basis for analyzing re-
cakalong District, Sumedang Regency”, with search problems.
the focus on the pattern of spontaneous dance
movements during the performance. A study METHODS
on changes function in arts was carried out by This study uses a qualitative method with
Fauziah et al (2021) with the title “Changes in
the Function of the Purwa Puppet Show from a descriptive approach. Wahidmurni (2017: 1)
Sacred to Profan in Thanksgiving of the Pa- states that the qualitative research method is a
mayangsari Sea”. From previous studies, re- method used to answer problems in research
search on changes in the function of Terebang related to data in the form of narratives, and
Shalawat in Rancakalong Village has not been sourced from interviews and observations, as
carried out. Therefore, this research will con- well as extracting data related to the object of
tribute to fill the gap on terebang shalawat in research. In qualitative research, the research
Rancakalong village. instrument is the researcher, and informants
who assist researchers in collecting data.
Based on the background above, in this
study there are two research questions. First, The location of this research is in Ran-
how is the structure of the Terebang Shalawat cakalong Village, Rancakalong District,
performance in Rancakalong Village? Second, Sumedang Regency. There are several stages
how has the function of Terebang Shalawat of research, namely (1) direct observation of
changed in Rancakalong Village? Then, the the Terebang Shalawat performance, (2) doc-
purpose of this study is to explain the struc- umentation or taking photos and videos of the
ture and changes of the function of Terebang performance, and (3) unstructured interviews
Shalawat in Rancakalong Village. with several people of Rancakalong Village.
The informants are people who are elders by
Theoretical Framework the community, and are performers or artists
Culture in people’s lives has a specific which are mostly elder people. The informants
in this study were Abah Yeyet (56), Pupung
purpose. As stated by Malinowski that culture Sumpena (45), Eem (63), and Oting (74).
functions to fulfill the needs of human life,
both biologically and psychologically. All the RESULT AND DISCUSSION
community activities have certain goals and Research Sites
purposes in order to meet their needs (Ma-
linowski in Hidayana and Swaradesy, 2021: Rancakalong Village is one of the village
97). areas located in Rancakalong District, Sumed-
ang Regency. The location of Rancakalong
The changes of Terebang Shalawat func- Village is at the coordinates of 6°50’08.5’’S
tion in Rancakalong Village occurs because 107°50’12.3’’E, with natural conditions in the
the needs of people’s lives have changed. form of hills with an altitude of 600-700 me-
Changes in these functions can be analyzed ters above a sea level.
using the theory of Malinowski functions.
This is related to the concept of function theo- The population in Rancakalong Village
ry proposed by Malinowski. Therefore, in this area is 1909 inhabitans, and the majority are
study the authors use Malinowski’s theory of Muslims. In this village, people still carry out
their old traditions. For example, they still

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 249
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

perform ngukus (incense burning ritual) as an the buk (opening or history) is Eyang Wirja
important part of community rites. in the Rancakalong area. Buk means jamus
layang kalimah syahadat, jamus means book
The implementation of traditional arts in and layang means writing. This is a teaching
Rancakalong Village is mostly done by farm- of Islam about the concept of monotheism and
ing communities. This is because the existing kalamullah, so that one can read the messages
tradition was born from the agricultural sec- that exist in this world.
tor. Community cultural activities are closely
related to agriculture, as can be seen from the Figure 1. Eyang Wirja Picture
use of offerings in every ritual. Most of the (Source: Dokumentation by Siti Ulfah N,
components of the offerings are agricultural
products, such as rice, incense, coconut, ruru- 1 November 2020)
jakan (mix fruits), and tubers. However, peo-
ple other than farmers are always involved in In 1940, Eyang Wirja began to revive
implementing the traditions that exist in Ran- Terebang Shalawat in the life of the Rancaka-
cakalong Village. long community. This tradition is held in the
birthday of the prophet rituals, ruwatan or
History of Terebang Shalawat in Rancaka- ngahuripkeun bumi, so that the context of the
long Village terebang is used as a medium for community
rituals. During the colonial period, the imple-
Terebang is one of the old (buhun) arts in mentation of this tradition was carried out in
the Rancakalong area. Based on the story of the forest in a hidden way or in secret. This
the people of Rancakalong Village, the word was done because the colonizers did not agree
“terebang” has the meaning of Tarobat or his- when the natives gathered because they were
tory, Ethics or art that upholds adab (ethics), suspected of going up against them.
Tambourine as a musical instrument, Basun as
heritage, Ad-din or religion, Nadom or image, After Indonesia’s independence, Terebang
and Gusun/Gending or percussion. Shalawat was done at home quietly. The im-
plementation of this tradition is led by a leader
The art of terebang is used as a medium in of intent, or known as papancuh. The papan-
order to spread the teachings of Islam. Accord- cuh are relatives of Eyang Wirja. The follow-
ing to villagers, terebang has entered the Ran- ing have become the leader respectively for
cakalong area in the 15th century AD, which the Rancakalong Village in the implementa-
was brought by the saint, one of the Wali Son- tion of Terebang Shalawat:
go in West Java, namely Sunan Gunung Djati,
assigned as the Wali Sunda to spread Islam 1. Mama Kuwu
through art in the Rancakalong area. 2. Uyut Ahyar
3. Abah Eyek
The Islamic teachings brought by the
saints were spread to the people in the West
Java region, and the struggle to spread Islam-
ic teachings was continued by their children
and descendants. One of the students and rel-
atives of Eyang Mas Djati Koesoemah (one
of the Guardians of Sunda), and who holds

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

4. Abah Suhadi sing the poems in the al-Barzanji book, six
5. Abah Yeyet (from 2000 until now) people as terebang musicians, and one person
as a drummer. The drummers and drums also
The term of this leader board is in a life- sing along (referred to as saur), after the pup-
time, and those who continue it cannot be just peteers finished reading/singing the poems in
anyone. The determination of this papancuh the book. They sing loudly and with free tone/
is based on a wangsit or a magical message/ style.
command. Papancuh has a big responsibility,
because he will be given the mandate to hold The practice of this ritual is routinely held
books or openings/history, the history of the in the muludan event on the 14th of Rabiulaw-
jamus layang kalimah syahadat, the sentence al1 every year. The ritual is carried out in the
of the creed and the old traditional art entrust- morning until late afternoon. The series of ac-
ed by his ancestors. tivities in the Terebang Shalawat include the
following:
Terebang Shalawat Structure in Rancaka-
long Village 1. Opening (opening with prayers)
2. Doing Ijab Kabul2
Terebang Shalawat performance is carried 3. Playing terebang and sings the song of
out by the community in an orderly and sa-
cred manner, because this tradition functions Assalam
as a means of rituals, both in the birthday of 4. Singing Asrakal (the procession of
the prophet and salametan or ruwatan. There
are only 2 types of instruments used, namely 6 saying the shahada and prayers of the
terebang pieces and 1 drum. Each terebang has prophet while standing)
a different sound, and the drums used are plain 5. Bengberekan3
drums which is similar to pencak silat drums. 6. Nginebkeun (the procession of return-
And then, what is read and sung in this ritual ing the offerings to the goah/a special
is shalawat and praises to the prophet which room for food in the Sundanese house)
comes from the book called al-Barzanji. 7. Closing (closing with prayer)

The types of songs consist of lenyepan Before singing the asrakal, the musicians
(the song with a lilting melody) and toseh were not allowed to go anywhere and had to
(the song with a full-bulind melody). Lenye- beat the terebang and drums according to the
pan has a slower tempo, while Toseh has a rules. Later, when the time for zuhur payer
fast tempo. The number of songs sung is 38 has started, they must stop their activities,
songs, from the Assalam (opening) song to the and do prayers together. Usually a puppeteers
Salam (closing) song. In the Terebang Shala- is recommended to be an imam during con-
wat performance, there are 2 or 3 people as gregational prayers. In addition, the general
the puppeteers whose the task is to read and public is not allowed to dance before song the
asrakal because started from the opening to
the asrakal song is the main point of the ac-

1 Rabiulawal are the third month of the hijri calendar of the hijri year.
2 Ijab Kabul is the opening in the performance that begins with prayer and rituals carried out by puppeteers as

the leader of the performance.

3 Bengberekan is a dancing procession in a show carried out by the public.

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tivity. When the asrakal song has been sung, 1. Ritual Function
people can dance freely and the musicians can People use this music as a means of ritu-
play any variation in the terebang wasps and al. This is related to the function of terebang
drums. which was previously used by the guardians
in spreading the teachings of Islam, so that
In this ritual there is the use of offerings terebang is used by the people of Rancakalong
called kalamullah, meaning that every ele- Village as a ritual medium because it is con-
ment in the offerings are messages from Allah sidered sacred. The rituals that use the media
SWT. These messages are intentionally at- of terebang music are as follows:
tached to the offerings, because if the message
is written in a book, it will be easily lost or a. Muludan Tradition
damaged. Meanwhile, if the meaning or mes- Muludan is a celebration of the Prophet
sage is embedded in the foods in offerings, Muhammad’s birthday. The Muludan tradi-
and implanted in the human mind, then it will tion is very popular among Muslim society in
not be easily lost or damaged. general. This is an expression of the Muslim
community’s love and obedience to the proph-
The elements of offerings in Terebang et. This is in line with Salahuddin’s opinion in
Shalawat consist of (1) scarves, (2) male and Yunus (2019: 37-38), that commemorating the
female dolls, (3) keris (a ceremonial knife), birthday of the prophet is one way to increase
(4) water and flowers, (5) coconut, (6) baka- the love of Muslims for the prophet, so that
kak (cooked whole chicken), (7) chicken eggs, the fighting spirit of Muslims can rise again,
(8) rice and porridge, (9) hampangan (snacks), and religious symbols will continue to liven
(10) rurujakan (fruits mix), (11) money, (12) up.
hanjuang (Cordyline fruticosa) leaves (13) in- In this regard, Terebang Shalawat is used
cense, (14) tanggeuyan (container containing by the community as a means of worship. By
rice, eggs, money, oil, and beauty tools), (15) carrying out this tradition, they show their de-
hihid (bamboo fan), and (16) offering mats. votion to Allah, and His messenger. In addi-
tion, they also pray for their ancestors. This
Figure 2. Offerings in a Terebang Shalawat shows the religiosity of the community. Febri-
(Source: Documentation by Siti Ulfah N, ana and Qurniati (2021: 3) explain that religi-
osity is the process of an individual’s appreci-
1 November 2020) ation of the religious teachings he/she believes
which is manifested in his/her life activities.
The Original Function of Terebang Shala- Therefore, Terebang Shalawat is a music that
wat in Rancakalong Village is used by the community as a means of ritual,
because it is part of religious ceremonies.
Terebang Shalawat has several functions
for the people of Rancakalong Village. Fol- b. Ngahuripkeun Bumi
lowing are the functions of Terebang Shala- Ngahuripkeun bumi is a ritual conducted
wat for the community: by the Rancakalong society to save the earth
they live for bad things. In practice, the tere-

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

bang is used as a ritual medium because it is of preaching Islamic teachings which is deliv-

considered sacred music. Usually, they per- ered in the form of cultural activities.

form the ritual of ngahuripkeun bumi when

a new building or a new house is complet- 3. The Function of Cultural Inheritance

ed. This is done to get protection from Allah A cultural inheritance is the process of

SWT for their new places, and the people who passing on the meanings of a cultural practice

live in to get safety and the blessing. from one generation to the next. According to

Herdianti (2021: 51), a cultural inheritance is

2. Educational Function an effort to preserve culture, and is carried out

Each cultural practice contains a certain by transferring cultural values t​​hrough edu-

message and meaning for the community. As cation. Further, Nugraha (2021: 94) explains

a cultural expression, in the Terebang Shal- that symbols in a culture need to be inherited

awat there are certain messages and values​​ because it will be a guide in developing the

in life to be conveyed to the general public. cultural insight of a society. From this, cultur-

Yuniastuti et al. (2020: 34) explain that one of al inheritance is important because it can pro-

the functions of performing arts is as an ed- vide education to the community, and cultural

ucational medium which contains values t​​hat practices can continue to live and develop.

can provide enlightenment to the community. In the Terebang Shalawat, the community

In this musics, there are messages or inherits the values c​​ ontained in the art either

teachings to be conveyed to the people of directly or symbolically. In one of the perfor-

Rancakalong Village. This is reflected in ev- mance processions, namely Ijab Kabul, the

ery procession and every component in the cultural actors in the tradition directly pass on

offerings used. Processions and offerings are the religious, educational, and local cultural

symbols in which there is a meaning that can values o​​ f the community to all those who at-

be a source of knowledge for the community. tend the activity. While symbolically, a cultur-

One of the processions that best demonstrates al inheritance is found in the use of offerings.

this music as a medium of education is Ijab

Kabul procession. Changes in the Function of Terebang Shal-

At the Ijab Kabul procession, the leader of awat in Rancakalong Village

the performance told the story of the life jour- Globalization has resulted in changes in

ney of the Prophet Muhammad saw. Then, he the artistic and cultural life of society. People’s

explained the process of the arrival of Islam thinking is also growing, and people continue

to the Rancakalong area. According to Satriya to innovate in their arts expressions. This is

(2019: 202), dakwah activities have two in- also due to the changing needs of society. As

separable sides, namely the substance of dak- the research discussed, the Terebang Shalawat

wah and its form of delivery. The substance of in Rancakalong Village undergone changes.

dakwah is a message from religion itself, and This happens because of the creativity of art-

the form of delivery is in the form of meth- ists, and the changing needs of society. The

ods or procedures in conveying the substance new functions of the Terebang Shalawat art

of dakwah. From this, it can be said that the for the people of Rancakalong Village are as

Ijab Kabul procession is part of the process follows:

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 253
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

1. Entertainment Function by anyone, whether the people of Rancaka-
Terebang Shalawat is displayed in the long Village or visitors from outside Rancaka-
form of a show. In addition to being used as long. Moreover, this terebang show is also
a means of ritual, people use the terebang as used for the benefit of the village. One of them
a medium of entertainment. This is reflected is to welcome guests from the district, region-
in one of the series of processions, namely al, and central governments. In welcoming
the dancing procession. In the procession, the guests, usually terebang performances are
people dance to express their happiness and held at the Tarawangsa and Ngalaksa Cultural
feelings. Tradition Tourism Village hall.
In addition, the public’s expression was
also depicted from the beginning to the end of CONCLUSION
the show. When the musician played terebang Based on the explanation that has been
and drums, while singing verses from the Ki-
tab al-Barzanji, everyone involved looked presented, it can be concluded that the struc-
radiant. Things like this are human nature in ture of the Terebang Shalawat performance
responding to all forms of beauty. According consists of some performers, namely (1) two
to Wijayanti (2018: 53), with art humans can or three people who serve as puppeteers, (2)
feel a pleasure, especially the inner pleasures six terebang musicians, and (3) one drummer.
that are born from the stimulus they receive. Then, there are several series of performances,
Based on the explanation that has been namely (1) opening, (2) ijab kabul, (3) playing
presented, it can be said that Terebang Shala- terebang, (4) singing asrakal, (5) bengberekan
wat is a form of performing arts that is used by or dance procession, (6) nginebkeun, and (7)
the community as a means of entertainment, closing. In addition, there is the use of offer-
because in its implementation the people in- ings consisting of natural resources in Ran-
volved feel happiness which can be seen from cakalong Village.
their facial expressions and gestures.
Further, Terebang Shalawat was used as a
2. Economic Function ritual medium. The rituals are ngahuripkeun
Currently, Terebang Shalawat has an eco- bumi and the tradition of muludan or celebra-
nomic function for the terebang artists. This is tion of the prophet’s birthday. In addition, this
because they are often invited to fill events at art is also used by the community as a medium
certain activities, such as attending weddings for Islamic religious education, and a medi-
and circumcisions. Usually they are rewarded um for cultural inheritance for the community.
some money and foods, so that this can be a Along with the development of the times, the
source of income for them in order to meet function of Terebang Shalawat is developed.
their daily needs. This music is used as a medium of entertain-
ment, a source of income or economy for art-
3. Tourism Function ists, and as a medium for developing the tour-
Terebang Shalawat in Rancakalong Vil- ism sector in Rancakalong Village.
lage has a function in the tourism sector. This
is because the terebang show can be attended REFERENCES
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dangan Islam. Alfuad Journal, 2 (2), 53.

THE IMPACT OF THE COVID-19 PANDEMIC
ON THE REAK TIBELAT ART GROUPS IN EAST BANDUNG

Soni Sadono1, Paramitha Pebrianti2
Fakultas Industri Kreatif - Telkom University
[email protected], [email protected]

Abstract

This research is triggered by the pandemic situation that continues gradually and has a huge
impact on various sectors including traditional arts. Reak art is one of the traditional arts as
a typical of East Bandung which was affected by the COVID-19 pandemic. Reak art is often
displayed in celebration and thanksgiving events such as circumcisions, agricultural harvests,
puberty commemorations, birthdays, and weddings. In this study, the researchers use a descrip-
tive qualitative method and a phenomenological approach with a case study of the Reak Tibelat
art group in East Bandung. This study aims to understand and explore further the impact that
occurred during the Covid-19 pandemic on the Reak arts group. As a regional art, Reak has
traditional values ​t​hat need to be preserved. During the Covid-19 pandemic, the group has no
stages to perform their art directly to the public due to restrictions and regulations from the
government.

Keywords: Reak Tibeleat art Group; East Bandung; Covid-19 Pandemic.

INTRODUCTION City. The name of the creative arts group is the
Reak art is one of the popular arts in West Tibelat Reak Arts Group.

Java. This Reak Art at first glance resembles METHOD
Reog Ponorogo but is a different art. Art Reak This study uses a qualitative descriptive
is played by at least 20 people or more by us-
ing barongan masks and burlap sacks. Before method, which is a study that tries to describe
the Covid-19 Pandemic, art was often per- and summarize various conditions, situations
formed at various performances such as wed- from various data collected in the field, both
dings, circumcisions, and birthdays. However, in the form of interviews and observations
since the Covid-19 pandemic that has hit all about what is happening in the field (Sugiyo-
corners of the world, it has entered Indonesia. no, 2017:08). Meanwhile, in terms of this re-
This art automatically loses its place to appear search approach, it tries to use a phenomeno-
in public places. Therefore, this study tries to logical approach that aims to understand the
uncover and explore how the impact of the conscious experience from the point of view
Covid-19 pandemic has on reak artists. Inci- of the first person or the person who experi-
dentally, this research focuses its research on a ences it (Sugiyono, 2017:09).
creative art group located in Cibiru, Bandung

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Reaktion arts performance at a glance Not only in a trance, but a scary attraction
Reak art is one of the popular arts in West can also be seen in the barong mask used. The
mask made of wood is knitted with black bur-
Java. Art Reak is played by at least 20 people lap sacks so that it covers the dancer’s body.
or more by using barongan masks and burlap The reak performers present a variety of at-
sacks. This art was often performed at vari- tractions, such as showing silat moves to ex-
ous performances such as weddings, circum- treme attractions. The mask dancers also often
cisions, and birthdays. At the beginning of get lashes from their handlers in each of their
the show, the leader of the reak or commonly activities. But they did not complain at all or
known as the handler recites certain spells in feel sick or even hurt. They seem to have thick
his ritual. The mantras are recited to ask for skin immunity. (Dimyati, Personal Communi-
safety during the performance process. There- cation, Septmber 16 2021)
fore, the reak show is very closely related to
mystical values. In one performance, reak arts The art of reak usually live and develop
require at least 20 members. Most of these in the agrarian community. This art use espe-
members share roles as musicians, dancers, cially when harvest season arrive. Because it
mask dancers and are also the head of the marks a happy feel over the success harvest.
group known as the handler. (Dimyati, Per- As O Dhea said that a ceremony or celebra-
sonal Communication, September 16, 2021) tion related to some mystical tradition marked
special value to respect ancestors. (2014:71).
Reak’s own art uses a barong mask with a
burlap sack. It is the Barong mask that shows The Origins of Reak
the mystical meaning of the reak, especially There are many versions regarding the
when the players are in a trance. They can dis-
play an attractive and entertaining appearance. origin of the emergence of Reak Art in West
Although it looks spooky and full of mystical Java. The first version states that one of the
elements. But it is because of this that reak art demang Majapahit named Ki Ageng Surya
is very popular. Alam satirized the King of Majapahit by mak-
ing a barongan. King Padjadjaran who knew
Figure 1. One of Reak Performances in Cibiru. this then created a barongan as a form of satire
Source : (Personal Documentation) to Majapahit who had killed King Padjajaran
in Bubat. Meanwhile, the second version says
that Reak was brought by Ponorogo people
who served in the Cirebon Sultanate. There-
fore, the word reak comes from reog. 1

Meanwhile, on the official website of the
West Java Province Tourism and Culture Of-
fice, it was stated that Seni Reak was born
around the 12th century. When one of the sons
of King Siliwangi named Raden Kiansantang

1 “Mengenal Reak Kesenian Khas Bandung Timur” https://www.ayobandung.com/bandung/pr-79629028/
mengenal-reak-kesenian-khas-bandung-timur?page=all. September 15 2021.

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 257
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

was spreading Islam in West Java. In Islam The Beginning of the Appearance of the Ti-
itself, there is an obligation called circumci- belat Reak Art Group
sion. Incidentally at that time, many children
were afraid when they would be circumcised. Enjang Dimyati alias Abah Enjum said
Therefore, the art of reaction was created that the Reak Tibelat Art group was founded
which in this art, the crowd is one of the main around 2006 with around 30 youth members.
characteristics. Thanks to that the children The original purpose of this group was found-
were not afraid to be circumcised. Then from ed, one of which was to revive and maintain
there the origin of the word reak which means ancestral arts that were almost extinct. In ad-
cheers.2 It is this third origin of the word that dition, another goal is to present the image of
is widely agreed upon by reakivation artists Art Reak to the public as an art that is pleas-
in the East Bandung area. They say that Reak ant to watch. Because according to his narra-
means boisterous or boisterous because of tive throughout the 80s, the art of reak was
screaming. (Dimyati, Personal Communica- a very popular and much-loved art. However,
tion, Septmber 16 2021). in the decade of the 90s, this art began to get
a negative label when many elements of this
Reak itself, besides being shown at cir- art deviated from it. One of them is that this
cumcision events, is also often featured in art becomes attached to liquor and things that
agricultural harvests, weddings and birthdays. smell anarchy, fights and fights often color
This art itself has musical instruments such as this show. (Dimyati, Personal Communica-
calung, dogdog, drums, etc. The collaboration tion, September 16, 2021).
of various musical instruments produces mys-
tical musical rhythms that make people who Enjang Dimyati is one who is concerned
dance carrying babarongan and Kuda Lump- with this phenomenon. With their musical
ing trance. Reak art itself in West Java is very instruments, namely Waditra, and also the
well known, especially in the East Bandung dogs, they took the initiative to form their
area such as Cibiru, Panyileukan, Cinambo own creative art group. Enjum wants the art
and Ujung Berung. of reaction to be no longer seen as an art that
reeks of fighting and liquor. He wanted this
According to oral traditions which devel- group to be different from the others. In 2010,
oped in East Bandung, the reak tradition was the Reak Tibelat Art Group then joined the
brought by Sumedang traders in the 1950s Bandung City Kitchen Art Community. From
(Hendi Rohendi, 2016:55). This tradition con- there they then get a lot of inspiration. One of
tinues to remain until now. One of the most them is required to appear creatively. There-
well-known reak arts groups in this area is the fore, this group then created its own jargon,
Tibelat Reak Art Group. This group is head- namely Reak Art must be able to be worthy of
quartered in Cibiru and has been established watching, worthy, worthy of appearance, and
since 2006 with their leader, Enjang Dimyati worthy of sale. (Dimyati, Personal Communi-
or familiarly called Abah Enjum. cation, September 16, 2021)

So in 2012, the Reak Tibelat Art Group
began to venture out to perform in differ-

2 “Reak” http://disparbud.jabarprov.go.id/wisata/dest-det.php?id=334&lang=id. September 15 2021.

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ent places. Usually, reak art only appears at preservation center was present. There he be-
weddings, circumcisions, and birthdays. This gan to glance at the potential of this Tibelat
time, this art appeared at the Mall. The first Reak Art group. He then included this group
mall to invite them was Jatinangor Square (Ja- studio in the selection for the construction of
tos) in Sumedang. Of course, this was a tre- an art studio and luckily they passed. They re-
mendous breakthrough at the time. Art Reak ceive grants from the government. For them,
has been impressed as an ancient and outdated this grant has actually triggered them to move
traditional art. In fact, it can be displayed in forward. Because they know that this grant
a modern and contemporary way when he is belongs to the people and the people must feel
shown at the Mall. (Dimyati, Personal Com- it. So then they continue to race to continue to
munication, Septmber 16 2021) be creative. (Dimyati, Personal Communica-
tion, September 16, 2021)
Since then offers on their group to appear at
the Mall came. Apart from Jatinangor Square In 2015 they had a guest from Greece
(Jatos), they also performed at Metro Trade named Georgia Sagry who was studying at
Mall (MTC) and in one year they were able New York University. He was studying how
to perform about 28 times in various shows. it was possessed? and what philosophy is in
Of course, this is an extraordinary achieve- it. For a week he learned how to be in a trance
ment for them. Until then, they created a new until in the span of a week he was able to do
slogan, namely Seni Reak Nyaba Mall, which it himself. In 2016, he came back with some
means that Seni Reak appears in the Mall. of his friends from different nationalities who
were also attending New York University,
They also don’t forget that every show namely Lebanese, Egyptians, Australians, and
contains educational messages to the audi- Americans. Most of them were very interested
ence. One of their messages is that this Reak in this Reak Art. (Dimyati, Personal Commu-
Art is a precious ancestral heritage that needs nication, September 16, 2021)
to be preserved and maintained. Their appeal
is that we need to keep up with the times but Thanks to this, in 2017 for the first time,
we also don’t forget to continue to maintain the Tibelat Reak Art Group was invited to per-
the main principles of this art. In 2013 they form abroad. They performed at the Asia Topa
were even able to appear in 34 shows in a festival show in Melbourne, Australia. This
year. One of them is with an artist in the city is certainly an extraordinary achievement for
of Bandung who is also a lecturer at the Band- them. At least their goal is to raise the image
ung Institute of Technology (ITB) Kang Tisna of Reak as a positive art in the eyes of the
Sanjaya in Cikapundung. According to Abah public. It is no longer seen as a negative art
Enjum, Kang Tisna also gave him a lot of in- as well as a troublemaker art. Moreover, the
put so that this creative art continues to de- students who used to come to them have also
velop. (Dimyati, Personal Communication, successfully graduated from New York Uni-
September 16, 2021) versity with a study of trance in reactions in
which their group is the main subject.
Then in 2014 at the 8th milangkala sang-
gar, the head of the West Java cultural value

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 259
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

Figure 2. Reak Performance of Tibelat Group Tibelat Reak Art Group Activities during
in Asia Topa Festival in the COVID-19 Pandemic

Melbourne, Australia in 2017 In March 2020 the COVID-19 pandemic
(Source : Personal Documentation) that hit the whole world began to enter Indo-
nesia. This pandemic has almost paralyzed
After experiencing the peak phase of their almost all community activities, including
glorious career in the arts, it has not stopped the activities of artists. The Reak Tibelat Art
them from continuing to work. In 2019 they Group was also affected by this pandemic.
tried to find materials so that this creative art Their external activities in the form of per-
was registered as one of the intangible cultural formances in public places or public places
heritage at the national level. This group did a almost stopped. Abah Enjum himself as an
lot of research on materials in various regions artist admitted that during this pandemic the
to find out the origin of this art of cracking situation was very difficult.3 Even on one of
into Cibiru. Until they came to a conclusion his Facebook pages. Abah Enjum wrote of
that the art of painting came to Cibiru around his complaint, “Kiwari seniman geus loba nu
the 1930s from Cirebon. The results of their ngarajualan alat-alat kesenian, di antaran-
research were then recorded in a book that was ya kendang, gamelan, dogdog, soundsystem,
kept at the Culture Service. (Dimyati, Person- jeung sajabana ku alatan nyukupan mang
al Communication, September 16, 2021). rupa-rupa kebutuhan jeung rasiko hirupna”
(Currently artists have sold a lot of their artis-
They continue to work until later in 2020 tic tools, including drums, gamelan, dogdogs,
right in March. The Covid-19 pandemic that loudspeakers, and others to meet the various
hit almost all corners of the world entered In- needs and risks of their lives). In an interview
donesia. Since then their external activities with us, Abah Enjum or famously called En-
have almost stopped. However, they are not jang Dimyati also explained the same thing.
discouraged, because most of them are aware During the pandemic, many traditional artists
and technologically literate. The Reak Tibelat are struggling. Because so far they have relied
Art Group has made social media pages a on various performances when the COVID-19
place for activities. (Dimyati, Personal Com- pandemic was epidemic and the government
munication, September 16, 2021). banned various forms of crowds, this of course
has a very big impact on artists.

However, in the face of the COVID-19
pandemic, this group is not discouraged by
the current situation. They continue to work
around as much as possible to continue to ex-
ist and still be able to raise the name of reak
art. There are some who are in this group in
dealing with the outbreak of this pandemic.

3 “Menggugat Nasib Seniman Tradisi di Masa Pandemi”. https://bandungbergerak.id/article/detail/967/meng-
gugat-nasib-seniman-tradisi-di-masa-pandemi. September 16 2021.

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First, they continue to appear and exit through But even though the media gives them a
social media via youtube, Facebook, Insta- hefty advantage when they have to deal with
gram, etc. channels. Second, to maintain their this pandemic situation. But there are still
existence, they often attend cultural discus- many shortcomings that occur in the use of
sions and symposiums. social media. One of them is the use of the
Youtube channel. They must first do the film-
They often upload their activities on their ing before taking the video and pictures. The
facebook page, such as one of their uploads problem is that shooting scenes are often re-
when they were at a ruwatan event on Pa- peated. This is of course very disturbing the
rangkusumo beach, Yogyakarta. Then they rituals performed during the process of per-
also often show their performances in the forming arts reak.
form of virtual videos so that people can still
enjoy their performances on virtual channels. The two Reak Tibelat Arts Groups often
They do this as explained by Enjang Dimyati invite or are invited to various discussions or
as a leader in an art group, for them under any symposiums. According to Enjang Dimyati,
circumstances and how they must continue to Unpar or Parahyangan University often col-
exist and they must cultivate creative ideas laborate with them. For example, in an event
as possible. According to Enjang Dimyati, he called Narrative Pancasila, Abah Enjum pre-
remembered the words of Tisna Sanjaya, an sented his views on Pancasila as well as pro-
artist and also a Lecturer at ITB Bandung, that moting the values c​ ontained in the art of paint-
this art needs to be preserved but not in a tra- ing. He said that the values ​o​ f adab, human
ditional way but professionally. Social media behavior, mutual cooperation, were already
also plays an important role as a promotional present in the Reak Arts. But unfortunately,
event for recreational art activities. Because the public still views the reak negatively. “Un-
by uploading on Facebook, Instagram, or fortunately, most of the people don’t under-
youtube pages. Their names have also become stand it, often they only see everything based
better known by the general public. on appearance. Meanwhile, the philosophical
values ​i​n it are highly neglected.”4
Figure 3. Virtual Performance of Tibellat Reak
Art Group during The Pandemic of Covid-19. The third method is the Reak Tibelat Art
Group trying to introduce a school program
(Source : Personal Documentation) based on Sundanese cultural values. The
name of the program is Sakola Santun. Sakola
Santun means an educational program based
on Sundanese cultural values ​a​nd their man-
ners. The main objective of this program is to
stem all external influences, especially nega-
tive western culture. Through this program,
the Art Group is also trying to erode the bad
image of reak art in society.

4 “Kolokium Nasional Unpar Narasi Pancasila”. https://unpar.ac.id/kolokium-nasional-unpar-narasi-pancasi-
la-dari-sanggar-seni-reak-tibelat-bandung/. September 16 2021.

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 261
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

Therefore, through these three methods, Hendi Rohendi. 2016. Fungsi Pertunjukan
Abah Enjum is trying to make sure that in this Reak di Desa Cinunuk Cileunyi. Band-
COVID-19 Pandemic situation, the Tibelat ung
Art Reak Group is able to survive and con-
tinue to struggle to raise the image of Reak Sugiyono. 2017. Metode Penelitian Kuanti-
Art which previously experienced a decline in tatif, Kualitatif, dan R&D. Bandung: Al-
society. fabeta, CV.

CONCLUSION Website
In the face of the covid-19 pandemic that “Kolokium Nasional Unpar Narasi Pancas-

threatens all activities of artist groups in the ila”. https://unpar.ac.id/kolokium-nasi-
city of Bandung. The Tibellat Arts Group onal-unpar-narasi-pancasila-dari-sang-
had their own ways. When most of the other gar-seni-reak-tibelat-bandung/.
groups of artists went out of business and even September 16 2021.
sold their stage equipment. This group is not “Menggugat Nasib Seniman Tradisi di Masa
desperate to continue to exist in various ways. Pandemi”. https://bandungbergerak.id/
Even though as with other groups of artists, article/detail/967/menggugat-nasib-seni-
they also experienced the same thing, namely man-tradisi-di-masa-pandemi. Septem-
they were not allowed to appear in public, but ber 16 2021.
they took other ways to exist. “Reak” http://disparbud.jabarprov.go.id/wisa-
ta/dest-det.php?id=334&lang=id. Sep-
There are at least three methods they use. tember 15 2021.
First, they continue to actively upload all their “Mengenal Reak Kesenian Khas Bandung
activities on social media such as Facebook Timur” https://www.ayobandung.com/
and YouTube. Both of them are often in gen- bandung/pr-79629028/mengenal-reak-
eral discussions such as the thing exempli- kesenian-khas-bandung-timur?page=all.
fied above, namely the Pancasila Narrative September 15 2021.
Colloquium. The three of them launched a
new breakthrough in the world of education, Personal Communication
namely the Courteous Sakola Program. A Dimyati, Enjang. Personal Communication.
school program that bases itself on the values​​
and manners of Sundanese culture. This pro- September 16 2021.
gram is certainly a step forward to continue
to survive from all forms of negative foreign
culture

REFERENCES
Aprilia, Suci. 2014. Fungsi dan Makna Lagu

Kembang Gadung Dalam Sekar Ke-
pesindenan di Kabupaten Subang. Band-
ung: STSI

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

ETHNOESTHETIC OF INDONESIAN FOLKLORE IN ONLINE
LEARNING DURING THE PANDEMIC

Sri Rustiyanti1, Wanda Listiani2, Fani Dila Sari3, IBG. Surya Peradantha4
1,2Institut Seni Budaya Indonesia Bandung
3Institut Seni Budaya Indonesia Aceh

4Institut Seni Budaya Indonesia Tanah Papua
[email protected]

Abstract

Online learning is a method of learning which uses internet-based interactive models and the
Learning Management System (LMS), for example using the Zoom, Google Meet, and others,
while the offline learning system is a learning system that requires face to face directly. The
spread of Corona Virus Disease (COVID-19) causes us to have social and physical distancing.
Therefore, the learning process of Indonesian folklore in the distribution of ethno esthetic per-
ception materials is carried out online through the augmented reality program, because it is en-
sured all students have cellphones to take part in this program. The Indonesian ethnoaesthetic
folklore, which is an important folklore course aim to bring students to know, to appreciate, to
understand, to feel, to examine, to analyze, and to assess arts. The Nusantara dance has various
ethno esthetic types that are important for students of cultural anthropology to understand. This
research will be conducted in several stages (multi-stages) and use several research methods
(laboratory, demonstration, simulation, and application), with qualitative methods, which are
case studies and are descriptive-analytical in nature.

Keywords: ethnoesthetic , folklore , online, offline, pandemic.

Abstract

Pembelajaran daring adalah metode belajar yang menggunakan model interaktif berbasis
internet dan Learning Manajemen System (LMS), misalnya menggunakan Zoom, Google
Meet, dan lainnya, sedangkan sistem pembelajaran luring merupakan sistem pembelajaran
yang memerlukan tatap muka secara langsung. Penyebaran Corona Virus Disease (COVID-19)
ini menyebabkan kita harus social distancing dan physical distancing. Oleh karena itu proses
pembelajaran Folklor Indonesia dalam sebaran materi penyampaian persepsi etnoestetik dilak-
sanakan secara daring dengan melalui program augmented reality, karena dipastikan semua
mahasiswa memiliki handphone untuk mengikuti program ini. Etnoestetik Folklor Indonesia,
merupakan sebaran mata kuliah Folklor yang penting disampaikan kepada mahasiswa untuk
mengetahui, mengapresiasi, memahami, menghayati, mengkaji, menganalisis, dan menilai
karya seni. Bahwasannya tarian Nusantara memiliki berbagai macam etnoestetik yang pent-
ing untuk diketahui oleh mahasiswa antropologi budaya. Penelitian ini akan dilakukan dalam
beberapa tahap (multi-stages) dan menggunakan beberapa metode penelitian (laboratorium,
demonstrasi, simulasi, dan aplikasi), dengan metode kualitatif, yang merupakan studi kasus dan
lebih bersifat deskriptif analitis.

Kata kunci: etnoestetik, folklor, daring, luring, pandemic.

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INTRODUCTION and c) public education is a form of living to-
According to Phenix in his book entitled gether that brings young people to the level of
retired humans. Within the framework of ref-
Realms of Meanings, that one of the 6 fun- erence and objectives of General Education,
damental patterns of meaning in general ed- which emphasizes that education must be able
ucation is aesthetics (Sumantri, 2006: 11). to convey and internalize essential meanings
The aesthetic meaning developed by Phenix which include symbolic, aesthetic, ethical,
includes a variety of imagination and art, and empirical (Phenix, 1964: 5). including its
including folklore culture. A work of art is aesthetics which is the basis for the formation
a form that embodies the expression of the of ethics as a basic science of General Edu-
artist’s values. As a form of sensory art that cation which is based on 3 things, namely: a)
can be seen, heard, or seen and heard at once; education is a fundamental action, namely an
This form contains a number of values, both act that touches the roots of our lives so as to
intrinsic and extrinsic. Intrinsic value in art is change and determine human life; b) educa-
the result of processing the medium of form tion to humanize young people; and c) pub-
that can arouse feelings, spread the charm of lic education is a form of living together that
beauty, joy, satisfaction, glory, and majesty brings young people to the level of retired hu-
to the audience, and these are what are called mans. Within the framework of reference and
aesthetic principles. These intrinsic values c​​ an objectives of General Education, which em-
be seen in the elements that surround them, phasizes that education must be able to con-
including their aesthetics which is the basis vey and internalize essential meanings which
for the formation of ethics as a basic science include symbolic, aesthetic, ethical, and em-
of General Education which is based on 3 pirical (Phenix, 1964: 5). namely actions that
things, namely: a) education is a fundamental touch the roots of our lives so as to change
action, namely an act that touches the roots of and determine human life; b) education to hu-
our lives so that change and determine human manize young people; and c) public education
life; b) education to humanize young people; is a form of living together that brings young
and c) public education is a form of living to- people to the level of retired humans. Within
gether that brings young people to the level the framework of reference and objectives of
of retired humans. Within the framework of General Education, which emphasizes that ed-
reference and objectives of General Educa- ucation must be able to convey and internal-
tion, which emphasizes that education must ize essential meanings which include symbol-
be able to convey and internalize essential ic, aesthetic, ethical, and empirical (Phenix,
meanings which include symbolic, aesthetic, 1964: 5). namely actions that touch the roots
ethical, and empirical (Phenix, 1964: 5). in- of our lives so as to change and determine
cluding its aesthetics which is the basis for human life; b) education to humanize young
the formation of ethics as a basic science of people; and c) public education is a form of
General Education which is based on 3 things, living together that brings young people to the
namely: a) education is a fundamental action, level of retired humans. Within the framework
namely an act that touches the roots of our of reference and objectives of General Edu-
lives so as to change and determine human cation, which emphasizes that education must
life; b) education to humanize young people;

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be able to convey and internalize essential that the symbols have many meanings as well
meanings which include symbolic, aesthetic, as the relationship between one another (War-
ethical, and empirical (Phenix, 1964: 5). taya, 1990: 18).

In semiotics meaning is defined closely Aesthetic symbols expressed by tradi-
with sign, but the relationship between mean- tional cultural communities will produce a
ing and sign is conceptualized differently if collective ethnoaesthetic. The symbols of
the theoretical stance is different. This opin- art as ethnoaesthetics in their various forms
ion contradicts the opinion of Charles Sand- are expressions of both individual, social,
ers Peirce who considers reality to be outside and cultural functions. As in the TaTuPa .
the mind and are two separate things. Charles method(Personal Body Music)is one method
Morris, gives a behavioristic style to Pierce’s that can be applied in the learning process of
theory, while external reality has a dominant dance composition. Exploration exploration
influence, meaning that there is no dualism of motion as an expression of a work of art
between the external and the internal. Process- conveys a message, contains meaning, has a
es that appear externally are no different from purpose, expresses something that is not stat-
those that occur internally. It was emphasized ed but requires taste and interpretation with
by Turner who explained that there are three reasoning to understand what is implied in
dimensions of symbol meaning, namely exe- the work of art. Therefore, in works of art, in-
getical meaning, operational meaning and po- terpretation is needed to give meaning, cap-
sitional meaning. First, the exegetical dimen- ture messages or implied intentions that can
sion of the researcher. The explanations or appear on the surface, according to the abil-
interpretations should be classified according ity to understand ethnoaesthetic meanings in
to the social characteristics and qualifications works of art (Rustiyanti, 2019: 164).The em-
of the informants. Second, the operational di- bodiment of art wrapped in various mediums
mension, which is not only verbally expressed conveys important values. The first, the value
interpretations, but also what is aimed at ob- of appearance (appearance) which gave birth
servers and researchers. In this case the sym- to ‘objects’ art or artifacts. This value consists
bols need to be seen in what order these sym- of form value and structure value. Second, the
bols are used, what expressions appear when value of content (content) which can consist
these symbols are used. Third, the positional of the values o​​f knowledge (cognition), the
dimension is a multivocal symbol, meaning value of taste, intuition or the human sub-
that the symbols have many meanings as well conscious, the value of ideas, the value of the
as the relationship between one another (War- message or the value of life, such as moral
taya, 1990: 18). what expressions occur when values, social values, religious values, and
these symbols are used. Third, the positional so on. . The third, the value of the disclosure
dimension is a multivocal symbol, meaning (presentation) which shows the values ​o​ f per-
that the symbols have many meanings as well sonal talent, value of skills, and the value of
as the relationship between one another (War- the medium used. These three basic values a​​ re
taya, 1990: 18). what expressions occur when integrated integrally in the ethnoaesthetics of
these symbols are used. Third, the positional Indonesian folklore.
dimension is a multivocal symbol, meaning

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The spread of Corona Virus Disease the choice of many universities in Indonesia
as a solution to this problem. However, is this
(COVID-19) has an impact on all sectors, such solution effective enough?. The effectiveness
as the economy, health, transportation, trade, of the learning system cannot be measured
transportation, including in the world of edu- only by learning achievement. The learning
cation. Therefore, in the learning process by process and supporting facilities also need to
utilizing existing phenomena, the majority of be reviewed. It is undeniable that this sudden
students all have cellphones and computers/ change in the system caused some parties to
laptops to support online learning activities. panic in responding to it, which resulted in the
The ethnoaesthetic learning system in Indone- not yet optimal quality of learning at the uni-
sian folklore, in accordance with the Minister versity. Both from the lecturers who have not
of Education and Culture of the Republic of been able to adapt to distance learning support
Indonesia regarding Circular Letter Number technology, as well as the students who also
4 of 2020 concerning the Implementation of have not been able to adapt in understanding
Educational Policies in the Emergency Pe- the material only through online media.
riod for the Spread of Corona Virus Disease
(COVID-19), is carried out with an online The psychological condition of students
learning system (on the network) which is a can affect learning saturation which has a bad
system Learning without face to face directly impact on achievement. The psychological
between lecturers and students is carried out impact of boredom will result in stagnation of
online using the internet network. Lecturers individual achievement personally, academ-
must ensure that teaching and learning ac- ically, socially or professionally (Cherniss,
tivities continue, even though students are at 1980: 65), clarified again by Sugara argues
home. Thus, the solution is that lecturers are that learning saturation can have an impact on
required to be able to design learning media making students unproductive in learning and
as innovations by utilizing online media, one their potential will be hampered (2011: 19).
In addition, other forms of resistance from
of which is by introducing augmented reality. learning boredom also result in the learning
The online learning system is implement- process being ineffective and not conducive to
the emotional climate in the classroom. This
ed through a personal computer (PC) or lap- happens because students experience phys-
top connected to an internet network connec- ical, mental and emotional exhaustion. As
tion. Lecturers can study together at the same stated by Makmun, that learning saturation is
time using groups on social media such as assessed as the inability of memory to accom-
WhatsApp (WA), telegram, Instagram, zoom modate new information or experiences or in-
applications or other media as learning media. dividuals feel that learning outcomes have not
Thus, it must be ensured that students take progressed for a certain time (2001: 134). In
part in ethnoaesthetic learning of Indonesian online learning often experience saturation,
folklore at the same time, although in different
places. This affects learning methods in Indo- METHOD
nesia, such as the Indonesian Folklore course Researchers try to describe and understand
at the ISBI Bandung Cultural Anthropology
Study Program because there are many stu- the findings, accompanied by interpretation or
dents who come from various regions of dif- analysis of the existing data. Therefore, the
ferent origins who are feared to exacerbate social reality that is the target of observation
the spread of this virus. Distance learning is

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 267
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

in the field is better understood as a process, al studies, this can be done with the Problem
not a mere incident, but is a research subject Posing Education model (problem-facing ed-
that has structures, groups, behaviors, and real ucation), namely an educational model to rec-
actions, such as researcher discussions with ognize the problems faced by the community
cultural anthropology students as collectors. as an active subject to deal with problems and
data; augmented reality trial in folklore learn- recognize the potential that can be developed
ing class; students take turns trying augmented to overcome the problems at hand. This is in
reality via mobile phones; record and analyze accordance with what Freire (2008: 63) ex-
the results of discussions with students; make plains that the purpose of education is “…
evaluations and conclusions on the results of dealing with human problems in relation to
augmented reality trials. the world”.

Augmented reality digital art as a form RESULTS AND DISCUSSION
of cultural tourism is traveling together with The problem of online learning that occurs
the aim of recognizing local cultural prod-
ucts (KBBI, 2008: 1274). Other limitations is not only in the learning media system but
of cultural tourism are: 1) Movement or tour- the availability of a quota that requires a high
ism activities stimulated by the presence of enough cost for students to facilitate online
tourist objects in the form of local cultural learning needs. Even though the ISBI Band-
arts (Papua-Sunda-Aceh); 2) Customs, reli- ung Campus Institute provides assistance in
gious ceremonies, community life, historical the form of quotas for internet needs, there
heritage, arts, folk crafts and so on. Cultural are still many students who complain that it
tourism has various elements that become an is not sufficient because the needs of all on-
attraction for tourists, namely as: 1) Research line courses have increased so that the quota
and scientific research and other activities needs have soared. Finally, many of the stu-
that are culturally educative; 2) Event perfor- dents complained about increasing the budget
mances that are packaged from the customs in providing internet networks. Online learn-
or culture of the local community; 3) Ele- ing cannot be separated from the internet net-
ments of objects made by the ancestors since work. Internet network connection is one of
time immemorial; and 4) other elements that the obstacles faced by students whose place of
are packaged in historical tourism events and residence is difficult to access the internet, es-
educational tours. Tourism is a phenomenon pecially since these students live in rural areas,
of travel activities carried out by a person or isolated and left behind. Even if someone uses
group of people to a place to fulfill their needs a cellular network, sometimes the network is
and desires, where the trip is not done to find a unstable, because the geographical location is
job or a living, besides that these activities are still far from the cellular signal coverage. This
supported by various kinds of facilities that is also a problem that often occurs in students
exist in the destination area. according to your who take part in online learning so that its
needs and desires. Self-knowledge and iden- implementation is not optimal. Online learn-
tification of problems possessed by students ing needs to be well prepared regarding the
of the Cultural Anthropology Study Program transfer of a conventional learning system to
are a must for students as material for cultur- an online system that is quite sudden, without

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SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

proper preparation. However, all of this must part in online learning so that its implementa-
be carried out so that the learning process can tion is not optimal. Online learning needs to be
run smoothly and students are active to fol- well prepared regarding the transfer of a con-
low it. This is also a very important problem ventional learning system to an online system
for students, especially with parents with low that is quite sudden, without proper prepara-
incomes or from the lower middle class (un- tion. However, all of this must be carried out
derprivileged). Even if someone uses a cellu- so that the learning process can run smoothly
lar network, sometimes the network is unsta- and students are active to follow it. This is also
ble, because the geographical location is still a very important problem for students, espe-
far from the cellular signal coverage. This is cially with parents with low incomes or from
also a problem that often occurs in students the lower middle class (underprivileged). be-
who take part in online learning so that its cause the geographical location is still far from
implementation is not optimal. Online learn- the coverage of cellular signals. This is also a
ing needs to be well prepared regarding the problem that often occurs in students who take
transfer of a conventional learning system to part in online learning so that its implementa-
an online system that is quite sudden, without tion is not optimal. Online learning needs to be
proper preparation. However, all of this must well prepared regarding the transfer of a con-
be carried out so that the learning process can ventional learning system to an online system
run smoothly and students are active to follow that is quite sudden, without proper prepara-
it. This is also a very important problem for tion. However, all of this must be carried out
students, especially with parents with low in- so that the learning process can run smooth-
comes or from the lower middle class (under- ly and students are active to follow it. This is
privileged). Even if someone uses a cellular also a very important problem for students,
network, sometimes the network is unstable, especially with parents with low incomes or
because the geographical location is still far from the lower middle class (underprivileged).
from the cellular signal coverage. This is also a Online learning needs to be well prepared re-
problem that often occurs in students who take garding the transfer of a conventional learning
part in online learning so that its implementa- system to an online system that is quite sud-
tion is not optimal. Online learning needs to be den, without proper preparation. However, all
well prepared regarding the transfer of a con- of this must be carried out so that the learning
ventional learning system to an online system process can run smoothly and students are ac-
that is quite sudden, without proper prepara- tive to follow it. This is also a very important
tion. However, all of this must be carried out problem for students, especially with parents
so that the learning process can run smoothly with low incomes or from the lower middle
and students are active to follow it. This is also class (underprivileged). Online learning needs
a very important problem for students, espe- to be well prepared regarding the transfer of a
cially with parents with low incomes or from conventional learning system to an online sys-
the lower middle class (underprivileged). be- tem that is quite sudden, without proper prepa-
cause the geographical location is still far from ration. However, all of this must be carried out
the coverage of cellular signals. This is also a so that the learning process can run smoothly
problem that often occurs in students who take and students are active to follow it. This is also

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 269
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

a very important problem for students, espe- Ethnoaesthetic Perception in Local Wis-
cially with parents with low incomes or from dom of Archipelago Traditional Dance
the lower middle class (underprivileged).
Ethnoaesthetic issues can be seen in Indo-
Ethnoaesthetic learning in Indonesian nesian folklore, both from various elements
folklore contains artistic values t​​hat are im- of performing arts, literary arts, and fine arts.
plied behind the embodiment of works of art Ethnoaesthetic understanding becomes the
that are always related to the development of basis for the formation of ethical and moral
the social and cultural environment that sur- education. Soemardjo (2000: 246-248) ex-
rounds them. As stated by Wiyoso Yudosepu- plains that true art is of course moral, moral is
tro (1993) that art is the result of human work beauty itself, because beauty is goodness and
that originates from feelings. Art does not truth. This view is basically in synergy with
stand alone because the presence of art is in the view of General Education which says that
every community life. Therefore, art is a form morality is a value system or social consensus
of culture, so its existence and development of about motivation, behavior and human actions
art in a society is determined by both the cul- that are considered good or bad (Sumantri,
tural and natural environment. This statement 2009: 15). In line with this thought, Cassir-
is widely seen in Indonesian folklore which is er emphasized that art can be seen as a badge
very broad in scope, both oral folklore, partly for moral truth. Art is captured as a figure of
oral, and non-verbal (Danandjaja, 1986: 12). speech, an analogy,

Culture can be interpreted as things re- Culture and society are like two sides of
lated to mind and reason. Culture has at least an inseparable coin. Society as a buffer of
three forms, namely: (1) The form of culture culture, while the culture is still needed in
as a complex of ideas, ideas, values, norms, people’s lives (a group of people who live
rules and so on. (2) The form of culture as a together and there is interdependence). Like-
complex of patterned behavior activities of wise with the perception that exists in soci-
humans in society, (3) The form of culture as ety. In research, whether using a qualitative or
objects made by humans (Koentjaraningrat, quantitative approach, there must be a theo-
2013: 2). Based on this theory, we can inter- ry chosen. A lot of knowledge that is natural
pret that dance is also the result of culture. through cultural studies becomes scientific
The local wisdom contained in each ethnic knowledge. Therefore, in the study of Cultural
group has its own uniqueness and identity as Studies, one must recognize, understand, ex-
an ethnoaesthetic symbol. There are several plain or analyze a cultural phenomenon based
characteristics that must be fulfilled as a local on a line of thought of a relevant cultural the-
wisdom, among others; (1) must incorporate ory. Relevant means related. Related means
knowledge of virtues that teach people about that a certain theory can explain why a certain
ethics and moral values; (2) local wisdom cultural event can occur. In other words, re-
must teach people to love nature, not destroy search and theory cannot be separated. Vari-
it; and (3) local wisdom must come from old- ous ethnoaesthetic understandings in Indone-
er community members (Mungmachon, 2012: sian folklore, such as aparapa, hasta sawanda,
174-181). wirogo-wiromo-wiroso, jogged mataram, adi-
gang-adigung-adiluhung, biwanwisalus, tak-

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su, rwa binedha, gerisara, nyari, and so on can fully considered, so that it is pleasing to do and
be inventoried in writing through research, look at. Pancad is basically a rule regarding
journals, proceedings, encyclopedias, dictio- the motion of the legs and the motion of the
naries, and others. toes in moving places. (3) Caterpillar, refers
to the eyes and facial expressions according
Based on the philosophy of Alua Patuik to the quality, character of the role played, and
Raso Pareso, this becomes the basis for de- the desired atmosphere. (4) Lulut, refers to the
termining therationale for determining the motion that blends or is attached to the dancer.
level of qualification of the dancer’s ability to Therefore, it is not the dancers who are pres-
present a dance. The basic level of difficulty ent in the dance presentation, but the whole-
of Minang Dance movement and expression ness of the dance that is presented, which is a
techniques can be classified into 3 qualifica- combination of dance movements, dance ac-
tion levels, namely: 1) Alua level, 2) Patuik companiment (karawitan), and the embodied
level, and 3) Raso-Pareso level. Each level of dance character. (5) Flexibility, is the quali-
qualification has a different level of difficulty ty of movement in accordance with the form
the higher the level of difficulty. The alua lev- and character of the dance being played. The
el is a beginner level whose abilities are the dancers achieve adequate movement quality,
most basic, then advances to the patuik lev- so that the movements performed appear con-
el, and the raso-pareso level is a level that has trolled, calm, and pleasant. Flexibility means
reached virtuosity (extraordinary ability or being able or skilled to move perfectly and
technical maturity). The level of competence create a touching impression for the audience.
of the dancers is appropriate and in harmony (6) Wiled, is working on variations of motion
with the dance being performed. This harmo- that are developed based on the innate ability
ny refers to body shape, character, expression, of the dancer or developing an existing move-
ment pattern. (7) Wirama, refers to the rela-
Aesthetic concept Javanese dance has tionship of motion with dance accompaniment
guidelines as the criteria for the beautiful val- (arawitan) and the overall flow. Rhythm is an
ue of a dance. The aesthetic concept of hasta indispensable element in dance, both in mo-
sawanda, namely: eight elements/principles tion and dance accompaniment (karawitan).
that are united in the presentation of the dance, (8) Gendhing, refers to mastery of dance ac-
namely pacak, pancat, caterpillar, lulut, flexi- companiment (karawitan), including: forms of
ble, wiled, wirama, and gendhing. The follow- gendhing, wasp patterns, song taste (Prabowo,
ing concept of Hasta Sawanda (eight princi- 1996: 139).
ples) refers to the criteria for a good dancer as
follows:

(1) Pacak, refers to the physical appearance of Dance concept noble, means beautiful
the dancer in accordance with the basic form, and tall. This word is a series of words adi
basic form or pattern and certain quality of mo- which means linuwih (beyond everything);
tion according to the character being played. and luhung means sublime, high, above oth-
Pacak is basically about basic posture, body ers and meaningful (Sumandiyo, 2001: 29).
position, arm position, and head. (2) Pancat, Meanwhile, the wiraga-wirama-wirasa dance
refers to a transitional movement that is care- concept is carried out in harmony; wiraga is

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 271
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

matters relating to the body movements per- trol. deep (Dewan Seni DIY, 1981: 92). This
formed by dancers, wirama is related to the concept seems to be used as the basis for the
movements of dancers and the rhythm of attitude of a dancer. A concept that is almost
dance accompaniment, wirasa is related to in- similar to the discussion of the concept is the
spiration or appreciation. This concept shows sengguh concept (more on self-confidence,
that between dance movements, accompani- confidence in performing dances) consisting
ment, and inspiration, there is a close relation- of: mungguh is the accuracy of a dancer’s ap-
ship (Widyastutieningrum, 2007: 304-306). pearance with the dance character presented,
The concept of the joged mataram dance con- lungguh refers more to the accuracy of plac-
sists of four principles, namely: 1) Sawiji is ing oneself in proportion (Rustopo, 1991). :
total concentration without causing mental 24). These concepts are very familiar among
tension. It means, the whole soul of the dancer Javanese people.
is centered on one role that is brought to dance
as best as possible within the limits of his abil- Likewise, the Sundanese dance family
ity, by using all the potential they have. Con- also has the ethnoaesthetic concept of biwan-
centration is the ability to direct all spiritual wisalus (Risyani, 2004: 20). Understanding
and mental powers towards a clear goal and the concept of biwanwisalus which stands for
be done continuously for as long as desired; bisa-wanda-wirahma-sari-alus consists of:
2) Greget is the dynamic or spirit in one’s soul 1) can include: memorizing (vocabulary se-
or the ability to express into the soul in mo- quence or choreographic arrangement), luyu
tion with perfect control. Someone who has a (correct and precise in head, body, hand, and
passion, when dancing is able to express the foot movement techniques, and slick (accurate
motion in his soul. Greget is a person’s nature, in doing the movement), 2) wanda is the inter-
so it tends to be difficult to train; 3) Being sin- pretation of the implementation of the move-
cere is believing in one’s own abilities without ment to the character of the dance; 3) wirahma
leading to arrogance. This confidence fosters concerns: panceg, cempleng, exactly (in terms
an attitude of reassurance, certainty, and no of the ability to process the sense of motion
doubt; and 4) Mining is an unyielding attitude in dance music); 4) sari is a harmonious ex-
in carrying out obligations as a dancer. This pression of the soul/expression that radiates
means that he is not afraid to face difficulties through facial expressions and/or disguised
and takes full responsibility and determina- with motion so that it is interesting to see/
tion to imitate his role. Courage means loyalty enjoy/watch; 5) alus includes: fluent (moving
and courage to face any situation with sacri- belief/no hesitation), leleb/anteb (totality or
fice (Dewan of Experts, 1981: 14). concentration).

The concept of Joged Mataram is applied in Balinese dance recognizes the term tak-
Javanese dance with the aim of getting physi- su which means a dancer is able to exude the
cal and spiritual balance, its plastic expression charm / charisma of the dancer in animating
can be filled and controlled by the soul, which the dance character, in addition there is the
is then directed to personal discipline, per- concept of rwa bineda which is closely related
sonal identification in order to achieve deep to the law of karmaphala, namely the Balinese
belief, deep level of knowledge, and self-con- way of life which contains dualism which
consists of good and bad. This dualism is a

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symbol of the inner conflict that always oc- companiment music. In addition, dancers are
curs in humans. Thus, both the opposition par- also able to respond to dance accompaniment
adox and the twin paradox are needed. In the music and musical accentuations based on
end, of course, how to interpret the paradox as their ability to move; 3) Samain. In this term,
something of strength, not that one wants to dancers who perform group dances are able
destroy the other (Sumardjo, 2010: 205). Ban- to harmonize their dances with the dances of
dem further explained as follows: other dancers and dance accompaniment mu-
sic. The dancers who perform solo dances are
The essence of Balinese human life (cultural able to harmonize their dances with dance
value system) is guided by the law of “kar- accompaniment music. In addition, the term
maphala”, which is oriented to good and bad extends to the adaptation of the dance theme
values (​​dualism). This greatly influenced the to the form of movement, musical accompa-
performing arts. The themes of performing niment, and other supporting elements, such
arts in Bali are largely oriented to this dual- as make-up, fashion, stage, sound, lighting,
ism. It is from this dualism that ethical and property, and floor patterns so that the dance
aesthetic norms emerge (1996: 35). works presented are relatively more beauti-
ful. The values a​​ nd meanings to be conveyed
The dance is said to be successful not only through dance materials also tend to be easier
seen from the mature dance concept, but also for the audience to understand. In other words,
the success of the dancers in performing dance the whole contained in ‘samain’ relates to the
moves while conveying the values a​​ nd mean- textual of the work displayed; and 4) Taste.
ings contained in it. This involves not only In this term, dancers are not only able to per-
one’s dancing, but other supporting elements form dance movements as a whole which are
as well. After further consideration between adapted to the rhythm of the dance accompa-
the habits of Betawi artists in the process of niment music. However, dancers are also able
cultivating dance works and the philosophy to deeply appreciate the themes, titles, values,
of the Betawi people themselves, the aesthetic and meanings that the artists as creators want
concept of Betawi dance can be formulated, to convey to the audience and society through
namely ‘gerisara’ (Rohmawati, 2018: 31- the dance.
32). The concept contains four terms based
on dancing creativity, namely ‘gerakin’, ‘ira- Folklore Learning Model
mayah’, ‘samain’, and ‘rasain’. Further details Lecturers are expected to be able to cre-
related to these four terms are described as
follows: 1) Movement. In this term, the danc- ate strategic conditions that can make students
er is able to perform an attitude in dancing, comfortable in participating in the Indonesian
dance moves, and a comprehensive range of Folklore learning process. In realizing effec-
dance movement materials with good body tive learning conditions, it is necessary to take
coordination, precise motion counts, and en- steps, such as actively involving students,
ergy tailored to the needs of dance materials; both visually (reading, writing, doing exper-
2) The rhythm. In these terms, the dancer is iments); oral activity (storytelling, question
able to perform the dance material thorough- and answer); listening activities (listening to
ly by adjusting the rhythm of the dance ac- explanations, listening to directions); move-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 273
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

ment activities (doing practice in the practice); Language allows humans to communicate
writing activities (composing, writing letters, and express thoughts appropriately or through
writing papers). Responding to and realizing parables. Other than that, Humans also have
the meaning of an object through sight, hear- a lot of non-verbal behavior. This ability is
ing, smell, touch, or taste or a combination of not only useful as a complement to words but
two or more senses. With a sense of not only also to express oneself when words are not
reading reality as it is, and explain it clearly in possible. Gadamer (Kaelan, 2009: 287-289)
black and white, but with a sense of being able in this case states that language is not just a
to divide that reality into fragments in various sign system, not a form and not a mere means,
layers, then recombine them into a new pat- but language ontologically as an appearance
tern that is even more meaningful. Therefore, of the nature of “being” in humans, therefore
ethnoaesthetics from observing dance stimuli language is captured by humans not only as a
can arouse thoughts, enthusiasm, or encour- reality. empirical but rather shows its ontolog-
age them to explore dance movements. These ical reality, its essence is as a manifestation
stimuli can be in the form of visual stimuli, of reality, and it is humans who actualize the
auditory stimuli, kinesthetic stimuli, tactile language.
stimuli, and idetional stimuli (Subiantoro,
2008: 41). or encourage exploration of dance There are many ways that can be used so
moves. These stimuli can be in the form of that the existence of traditional arts does not
visual stimuli, auditory stimuli, kinesthetic become extinct, and can continue to survive in
stimuli, tactile stimuli, and idetional stimuli a sustainable manner with the use of technol-
(Subiantoro, 2008: 41). or encourage explo- ogy. The Ministry of Research, Technology
ration of dance moves. These stimuli can be and Higher Education emphasizes that in this
in the form of visual stimuli, auditory stim- era of industrial 4.0, through digital art, open-
uli, kinesthetic stimuli, tactile stimuli, and ness and cross-cultural communication can
idetional stimuli (Subiantoro, 2008: 41). develop. This Postdoc research is an overall
sharpening of knowledge from ontology, epis-
Communication can occur if in one mo- temology, and axiology so that it becomes an
ment there is a relationship from both parties understanding in the knowledge of folklore art
using the same language, the same meaning, and culture. In this study, we try to apply aug-
also having the same values t​​hat surround mented reality technology in learning Indone-
it. In this case, what is important is not only sian Folklore courses at the Cultural Anthro-
informative but also persuasive. This means pology Study Program, Faculty of Indonesian
that communication is intended so that oth- Culture, ISBI Bandung.
er people are willing and willing to accept
an understanding (Hermawan, 2010: 53). In The distribution of this Indonesian Folk-
modern linguistics, an understanding is now lore lecture material, students appreciate a
developed that language is a meaningful sign Cikeruhan Dance performance through digital
system which is a means of human communi- art using mobile phones, as an effort to em-
cation. This is in line with Djohan (2008: 55) power traditional arts using augmented reali-
who argues that verbal language as a symbol- ty technology which is a combination of real
ic behavior is a very special human attribute. and virtual worlds, technology that combines
real and virtual objects in a real environment,

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objects virtual and real in real-time interac- Indonesia, while in the arts, especially tradi-
tion. Augmented reality provides a new way tional performing arts as a form of using AR
of interacting with performing arts in the real technology, there is still little use.
world and virtual/virtual world experiences.
Augmented reality has the unique ability to Digital art based on local wisdom as one
create hybrid learning that combines real and of the learning process materials in Indone-
virtual objects. sian Folklore courses by utilizing intermedia
art as new media. The term new media refers
Digitalization is a definite necessity in to- to digital devices, namely electronic commu-
day’s information technology era. Digitaliza- nication tools that use the touch of a finger.
tion has indeed filled space and almost all sides The learning process through visual media can
in this country. Art is one branch of science help accelerate understanding and strengthen
that has been entered by digitalization. In the the memory of art and culture learners. Visual
era of 4.0, art has developed very rapidly until power can arouse the interest of the appreci-
there are many digital art exhibitions, animat- ator to relate the relationship between photo-
ed films, digital paintings and so on. Today’s motion and the real world, the dancer’s body
increasingly sophisticated digital technology in the performance (Rustiyanti et al, 2015:
has made major changes to the world, the birth 92).
of various kinds of increasingly advanced dig-
ital technology has emerged. Various groups Digital art creates an aesthetic that inter-
have easy access to information and can enjoy sects with allegorical literature as modernist
the facilities of digital technology freely and literature. There are two considerations re-
under control, especially for millennials. garding allegory; First, distinguish between
literature and virtual arts (virtual arts). In vir-
There are many methods that can be used tual art, allegory can be defeated easily in the
to make curriculum learning interesting, one transcendent, a subject that can be covered in
of which is the use of art-based technology. aesthetic immanence and gaps in reality can
Cultural digitization can be applied to intro- be erased. This kind of element is only found
duce and preserve Indonesian culture in to- in the figurative and not in the literature. Sec-
day’s digitalization era. Cultural digitization ond, allegory makes us have to distinguish
is a concept of using information and com- historical differences in which the concept
munication technology as the main means for of transcendence contains an immanent ten-
managing, documenting, disseminating infor- dency, or is actually the result of a rejection
mation and maintaining a culture. Departing of that tendency.Sutrisno, 2005: 82). The de-
from this, researchers will discuss traditional velopment of digital tourism art as a distribu-
art and digital art, between conservation and tion of one of the Indonesian Folklore lecture
innovation in a culture in the era of digitali- materials, where resources related to tourism
zation. This is the need for technological in- are in the form of natural resources (SDA),
novation in the learning process for the devel- cultural resources (SDB), and also human
opment of art and culture science. The use of resources (HR). People or organizations use
Augmented Reality (AR) as part of education resources for various tourism activities. For
as one of the creative methods of learning. example, in the workplace tourism operators
The use of AR has not been widely used in use human resources (labor), facilities and

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 275
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

equipment (physical resources), provide cul- was brought and developed in the Ciker-
tural attractions as tourist attractions (cultural uh area by one of the princes of Sumedang.
resources), and sell natural scenery as tourist The dance is a paired dance with some of
attractions (natural resources). the movements taken from the behavior of
humans and animals and is an entertainment
The form of folklore (ie: oral folklore, part- dance or kalangenan.In a book entitled Aes-
ly oral folklore, and non-verbal folklore) the thetics: The Intertwining of Subjects, Objects,
dance contained in the Tap Tilu performance is and Values w​​ ritten by Deni Judaedi, explains
the Cikeruhan dance, which is a form of part- that this study is important, as an understand-
ly oral folklore. This dance is presented in the ing of the interest of a person or society to-
form of a paired dance between male dancers wards a composition of forms, whether visual,
as pamogoran and female dancers as ronggeng. audio, motion or conceptual forms. Aesthetic
The dance moves show populist characteristics understanding tries to oppose the Latin ad-
that are still thick with the community’s be- age de gustibus non est disputandum, which
havior patterns, one of which is shown by the means ‘a matter of taste cannot be debated’.
attitude of interaction and responses that arise An aesthetic subject is someone who enjoys
spontaneously when making movements. The an aesthetic object that has its own charm as
characters presented tell the atmosphere of joy an artistic experience (2016: 15). Artwork is
and warmth between ronggeng and pamogo- an aesthetic and reflective manifestation of the
ran, which each have strong characters and be- most sublime human experience, to achieve
come a unified whole dance performance in the that form the art world is not a world which
standard ibing method. In addition, the Ciker- then isolates itself from external phenome-
uhan dance has elements of movement based na. The sublimation value of art is achieved
on pencak silat movements such as the exam- through interaction with the realm of experi-
ples of rogok, depok, giles, peupeuh, meprek ence outside of itself.
keupeul, nyabet, pairs, badminton and others
movements. Visual movements can be seen In presenting the Cikeruhan Dance, the
through pictures / photos that can provide infor- ideas and concepts of working on the pre-
mation through the eyes. This means that story senter can be realized by using the theory of
information will be conveyed through acting composition or composition is an implemen-
performances (dancer movements), while ac- tation based on a new thought pattern or a new
cording to Roland Barthes, that the film is not art-like pattern created by yourself (Djelantik,
a screen image, but rather on presentation ele- 2001: 69). The theory of this composition is
ments, such as actors (dancers), costumes, sets, transitional in the middle which incorporates
scenery, cues, and music (Wanda, 2016:21). new elements without changing the identity
of the dance. The composition method aims
The naming of the Cikeruhan dance be- to provide a different presentation in a new
sides taking from the title of the song also packaging and still refers to the standard of
takes the name of one area, namely Cikeruh the people’s dance so that the original struc-
Village which belongs to the Jatinangor Dis- ture of the Cikeruhan dance does not change,
trict, Sumedang Regency. This statement is all of this can be done using exploration, im-
reinforced by Nandang Barmaya as follows: provisation, and evaluation.
“Cikeruhan dance is a traditional dance that

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Things that need to be considered in the ships. The impact caused by tourism on so-
development of Cikeruhan dance as a digi- cial, cultural, economic and natural aspects of
tal tourism art must meet three requirements, the environment can be a positive impact and
namely: 1) Having “something to see” that a negative impact (Geriya, 1996: 38).
must have tourist objects and tourist attrac-
tions, which are different from what is owned CONCLUSION
by other regions; 2) Having “something to do” Thus, online learning as an effective solu-
that is having many things to see and witness,
can be done, must have recreational or amuse- tion in learning at home to break the chain of
ment facilities that can make tourists feel at the spread of Covid-19, physical distancing
home in that place; 3) Having “something to (maintaining a safe distance) is also a consid-
buy”, souvenirs and folk crafts must be avail- eration for choosing this learning. Good co-
able, some souvenirs or souvenirs to take back operation between lecturers, students, study
to their respective places of origin (Yoeti, programs, faculties, and institutions is an im-
2001:177). The tourism potential in Indonesia portant factor for more effective online learn-
is very diverse, there are cultural tourism, na- ing. Although, there are some lecturers who
ture tourism, religious tourism, culinary tour- admit that online learning is not as effective as
ism, educational tourism, health tourism, art conventional learning activities (face to face),
tourism, technology tourism. The Ministry of because some materials must be explained di-
Research, Technology and Higher Education rectly and more fully. In addition, the material
emphasizes that in this era of industrial 4.0, delivered online may not necessarily be un-
so that through digital art technology tourism, derstood by all students.
openness and cross-cultural communication
between Papuans can develop. Sunda, and The success of lecturers in online learn-
Aceh through the research of the Aument- ing in this Covid-19 pandemic situation is the
ed Reality (AR) Pasua (Papua-Sunda-Aceh) ability to innovate, design, and mix materials,
Performent Art (PA) consortium, which was learning methods, and applications that are in
shortened to AR Pasua PA. In this postdoc accordance with the materials and methods.
research, we only take one of the concepts Lecturer creativity is important to be able
of working on the content of Sundanese per- to motivate students to stay enthusiastic in
forming arts by raising the Cikeruhan Dance, learning online and not become a psycholog-
a rice harvest ritual tradition as a form of ical burden. In addition, the success of online
gratitude to Dewi Sri Pohaci (the goddess of learning during the Covid-19 period depends
fertility). Cikeruhan dance virtual dancers are on the discipline of all parties.
performed in pairs, female dancers and male
dancers belonging to the Sunda Jaipong dance Based on online teaching experience, this
family in pairs. This form of dance as a form system is only effective for giving assign-
of cultural tourism. Therefore, Tourism devel- ments, and it is possible that the results of
ops as an increasingly widespread communi- working on these assignments are given when
cation between other components within the students are about to enter, so it is likely to
framework of mutually influencing relation- accumulate. Observing this experience, lec-
turers must also be ready to use technology
in accordance with the times, and be able to
create learning models and strategies that are

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 277
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

in accordance with the character and KKNI. dikan Karakter. Bandung: Asosiasi Sar-
Thus, lecturers are required to be able to de- jana dan Dosen Pendidikan Umum &
sign and design online learning that is light Nilai – Indonesia.
and effective, by utilizing appropriate online Ign. Heri Subiantoro. 2008. “Komposisi Tari
devices or media and in accordance with the Laku Kreatif Terhadap Penciptaan
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ing will provide wider opportunities to ex- Permasalahannya. Bandung: Sunan
plore the material to be taught, Ambu STSI Press.
Jakob Soemardjo. 2000. Filsafat Seni. Band-
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BUNDO KANDUANG TITLE:
PERSPECTIVE WOMEN IN THE VIEW

OF MINANGKABAU CUSTOMS

Suryanti
Prodi Seni Murni
Fakultas Seni Rupa Dan Desain
ISI Padangpanjang
[email protected]

Abstract

Bundo Kanduang always has charisma in the middle of Minangkabau society. According to an-
thropologists, there are three characteristics of matriarchy, namely descent through the mother,
matrilocal residential system, inheritance of property by females. Communities that are suit-
able for these characteristics are classified as matrilineal societies. The matrilineal system in
Minangkabau is descended according to the maternal or female line. Ethnic groups based on
the grouping of blood ties from the mother’s side contain a genealogical meaning, therefore the
notion of family in Minangkabau is ‘blood member’because it comes from one mother (relatives
can be in one mother, one ethnic, and one tribe). Ideal women or real women are called padusi
nan parampuan (padusi = women). As a wife she is loyal to her husband, as a mother loves her
children, as a child respects her parents, as a member of the community she cares about her
environment, and as a worker, she has attention to her responsibilities. It is not called a woman
if her behavior is immoral, like Minangkabau women who are often identified with the figure of
a Bundo Kanduang who adheres to the matrilineal system. In this study, the researcher used a
qualitative approach in conducting research that is oriented towards natural phenomena, and
then it is naturalistic and fundamental or natural and must be involved in the field.

Keywords: padusi nan parampuan, matrilineal, Minangkabau customs

INTRODUCTION Minangkabau custom resides is prioritized for
In Minangkabau descent is drawn from women. In everyday life Minangkabau people
will say “going home to mother”; it is not cus-
the maternal line. A child who is born, both a tomary to say “going home to father, “going
boy and a girl will have the same tribe as their home to wife”, never mention “going home to
mother. Not according to father’s tribe, like husband”. A father is not satisfied if he has not
most customs in other regions in Indonesia, been able to build a house where his daughter
even in the world which generally adheres to lives. Every time a marriage occurs, the man
patrilinealism. Mothers in Minangkabau are returns to the woman’s house. In case of a di-
called Bundo Kanduang, Bundo is mother, and vorce, the man leaves the house and returns to
Kanduang is the real. So Bundo Kanduang is his mother’s house, while the woman remains
the real mother who has the qualities of moth- in her original place (at her house).
erhood and leadership. The house where the

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An important issue in the matrilineal kin- right to use the inherited land for his benefit,
ship system in Minangkabau is gender justice except to use the land for the benefit of his
and equality. Women not only have access to matrilineal family.
the domestic sphere but also play an important
role in the public sphere. Gender equality is In general, gender equality is about giv-
the equality of conditions for men and wom- ing women better space and opportunities.
en to obtain opportunities and their rights as Like Bundo Kanduang, whose has an import-
human beings, to be able to play a role and ant role and position in Rumah Gadang (Mi-
participate in political, legal, economic, so- nangkabau traditional house). Rumah Gadang
cio-cultural, educational, and national defense in Minangkabau is for girls and young boys.
and security activities as well as equality in Boys who have grown up will only interact
enjoying the results of development. The real- with their families during the day, and when
ization of gender equality is marked by the ab- it is late at night they will return to the surau
sence of discrimination between women and as their place of residence, to learn the Koran
men so that they have access, the opportunity and silek (traditional martial art).
to participate, control over development, and
obtain equal and fair benefits from develop- Therefore, the gender equality approach
ment. is about men and women with a more com-
prehensive approach to analyze and plan for
In Islam, the position of a mother as a the needs of men and women. Gender equal-
woman also has a more noble position than ity aims to involve men and women. Gender
the presence of a man. According to the sto- is more emphasized on the different roles and
ry from Abu Hurairah Radhiyallaahu ‘Anhu functions that exist based on a community
he said, someone came to the Messenger of agreement. Therefore, it is important to under-
Allah and said: O Messenger of Allah S.A.W. stand and analyze gender to see whether these
to whom should I worship first, the Prophet differences lead to discrimination in terms of
S.A.W answered ‘your mother’ and the person differences that bring harm and suffering to
again asked, ‘after that who else?’ The Proph- women.
et S.A.W. answered ‘your mother’ the person
asked again then who else he answered ‘your METHOD
mother’ the person asked again, then who The research method used is the descrip-
else, Rasulullah S.A.W. answered ‘your fa-
ther’” (H.R Bukhari-Muslim). tive qualitative research method, namely de-
scribing and analyzing data or facts found
The issue of gender equality in Minangka- objectively with the main emphasis on source
bau does not need to be a problem any longer, research, namely techniques that explain, de-
because Minangkabau adheres to a matrilin- scribe, and interpret the object under study
eal system that follows the mother’s lineage. systematically. This study uses a phenomeno-
Therefore, in terms of kinship in Minangka- logical approach by explaining or revealing
bau society, the role of women already has an the meaning of concepts or phenomena of ex-
important position in their people. Its relation- perience based on an awareness that occurs in
ship with the matrilineal system (following several individuals. A qualitative method with
the mother’s lineage); a son does not have the some multidisciplinary approach, will not be
separated from the discussion of anthropolog-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 281
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ical, sociological, and psychological phenom- duang (women). Rangkiang which serves to
ena. Discussions related to anthropological store the results of the fields is located in the
phenomena are descriptions of the matrilineal yard of the Gadang House which is occupied
system in Minangkabau cultural life. by Bundo Kanduang. In deliberation, women
in Minangkabau have the same voting rights
RESULT AND DISCUSSION as men, both in terms of determining the time
Currently, many women are entering var- of celebration and establishing an inheritance
title, subject to the approval of Bundo Kan-
ious fields of activity, such as the economic, duang. Also included in the use of inheritance
political, social, and cultural fields. All of this for the common interest, mortgaging and giv-
indicates that there is a change in the gender ing must be by mutual agreement, including
role system from traditional roles to modern women.
roles. However, until now it is not clear how
society understands this change and how so- The discourse of women as weak crea-
ciety constructs socially the reality of this tures has always been dominant in the histor-
changing role. One way to find out the social- ical stage that has been going on for a long
ly constructed understanding of society about time, both in the Western world and the East-
life, especially concerning the gender system, ern world. Concern for women is often ex-
is to look at popular culture or mass culture. plained as a result of the dominant patrilineal
Popular culture products will show people’s (fatherly) ideology which places power on the
understanding of their worldview which is ex- side of men so that all life almost requires the
pressed in their public life or activities. Each blessing of men. If in the patrilineal system
member of the community will respond to women are under the power of men, this ide-
each fictional character according to which it ology is not found in the matrilineal system in
can be identified. In addition, popular culture Minangkabau society in West Sumatra.
itself can influence everyone’s interpretation
of the meaning of their life experiences, as The Minangkabau people are adherents of
well as expressing popular (mass) concep- the matrilineal system, which has given wider
tions. Through this popular culture, it can attention to women. In this case, women are
also be known how the public understands the given the nickname ‘Bundo Kanduang’, in
changes in the gender system or the image of other words, women are respected and must
women and men in the mass media. be protected, for that lineage is drawn from
the mother’s line and inheritance is reserved
Likewise, women in Minangkabau also for women. In addition, women are expected
have an important role in the economy. Fol- to be good at managing the domestic econo-
lowing their nature which is considered to my (ambun puruik pegangan kunci), which at
be more economical and more thorough, Mi- the same time can raise the good image of the
nangkabau women are entrusted with man- family.
aging the use of paddy and field products,
which is expressed by the customary prov- In the beginning, women were not al-
erb ‘Umbun puruik pegangan kunci, umbun lowed to play public affairs, for example en-
puruik aluang bunian’ which means that the tering the world of performing arts because
key holder of economic result is Bundo Kan- it was deemed inappropriate for a woman to
be presented in front of men, let alone to be

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shown in the crowd, even the characteriza- times with the current era of globalization?
tions of women were played by men in wom- Isn’t custom something that is said to be “tak
en’s clothing. However, in reality now, at least lakang dek paneh, tak lapuak dek hujan”?
in the last three decades, the number of Mi- This means that it is not affected by anything,
nangkabau women involved in performing whenever customary provisions must still be
arts studios has increased sharply compared carried out. So that the Minangkabau Custom-
to previous times. ary perspective on women is a complete and
real picture so that the feminist movement that
The changes that occur in this system voices gender equality is no longer needed.
are assumed to be the factors that determine
the change in the existence of Minangkabau CONCLUSION
women in the world of performing arts in Women in Minangkabau also have an im-
West Sumatra. Gender ideology which refers
to the matrilineal system is seen as playing the portant role in the economy. According to its
function of determining the patterns of refer- nature which is considered to be more eco-
ence for gender ideology in the world of per- nomical and more thorough, it is entrusted
forming arts (social system). Traditional and to regulate the use of rice and field products
modern role socialization processes are seen which is expressed by a customary proverb:
as determining the pattern of changes in the “Umbun puruik the key handle, umbun puruik
image of women who are involved in per- aluang bunian” which means that the key han-
forming arts activities (behavioral system). dle for economic results is Bundo Kanduang
(woman). Rangkiang which serves to store the
Thus, Minangkabau custom views wom- results of the fields is located in the yard of the
en’s position in the life of people in a society Rumah Gadang which is occupied by Bundo
that treats women with dignity. This is very Kanduang.
different from the treatment in the jahiliyyah
era which demeaned women’s dignity and In deliberation, women in Minangkabau
considered men to be nobler than women. have the same voting rights as men. Both in
Otherwise, the modern worldview that calls terms of setting the time for the celebration or
for equality for women and improved treat- establishing an heirloom title, it must be ap-
ment for women. proved by Bundo Kanduang. As well, in the use
of inheritance for the common interest, mort-
The traditional teachings that glorify Bun- gaging and giving must be by mutual agree-
do Kanduang will be real implementation in ment, including women. Thus the Minangka-
social life if women can position themselves bau custom views the position of women in the
according to their main duties and functions life of the people in a society that treats wom-
and have the characteristics required by cus- en with dignity. This is very different from the
tom that must be possessed by a Bundo Kan- treatment in the jahiliyyah era which demeaned
duang. Thus, the movement in the name of women’s dignity and considered men to be no-
gender will not be popular in the Minang- bler than women. Or the modern world view
kabau world. It’s just that its practice in ev- that calls for equality for women and improved
eryday life today is starting to be questioned. treatment for women.
Have customary provisions been deemed no
longer under the philosophy of life in modern

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 283
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

Traditional teachings that glorify Bun- Perempuan” dalam Jurnal Seni Pertun-
do Kanduang will be real implementation in jukan Indonesia Tahun XII – 2003/2004.
social life if women can position themselves Jakarta: MSPI dengan Ford Foundation.
according to their functions and duties and Koswara, E (1991), Teori-teori Kepribadian,
have the characteristics required by custom to Eresco, Bandung.
be possessed by a Bundo Kanduang. So it is Murgiyanto, Sal. (2002), Kritik Tari: Bekal
understandable that the gender mainstreaming dan Kemampuan Dasar, Jakarta: Ford
movement will not be popular in Minangka- Foundation dan MSPI.
bau. It’s just that its practice in everyday life Ollenburger, Jane C. & Helen A. Moore
today is starting to be questioned. Have cus- (2002), Sosiologi Wanita. Cetakan
tomary provisions been deemed no longer fol- Kedua. Terjemahan Budi Sucahyono dan
lowing the philosophy of life in modern times Yan Sumaryana. Jakarta: Rineka Cipta.
with the current era of globalization? Isn’t cus- Rajab, Muhamad (1999), Sistem Keker-
toms something that is said to be “tak lakang aabatan di Minangkabau, Padang: Cen-
dek paneh, tak lapuak dek hujan”? This means ter For Minangkabau Studies Press.
that it is not affected by anything, whenever Soedarsono, RM (1991), “Seni di Indonesia:
customary provisions must still be carried out. Kontinuitas dan Perubahan”. Terjema-
So that the perspective of Minangkabau cus- han. Art in Indonesia: Continuitas and
tom towards women is a complete and real Change, Claire Holt.Yogyakarta: ISI Yo-
picture so that the feminist movement that gyakarta.
voices gender equality is no longer needed. Yunus, Umar (1988), “Kebudayaan Minang-
kabau”, dalam Koentjaraningrat (ed)
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Pengantar, Jakarta: Erlangga.
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CULTURAL CHANGES DUE TO THE TRANSITION
OF THE HUMAN INTERACTION DURING
THE COVID-19 PANDEMIC

Widya Zahra1, Kurnia Nur Amalia2, Siska Apriani3
Institut Seni Budaya Indonesia (ISBI) Bandung

[email protected]; [email protected]; [email protected]

Abstract

As social beings, humans always carry out direct interaction with others to be able to meet their
needs. Due to the covid-19 pandemic, the human interaction face obstacles and adapt differ-
ent forms of interaction by using digital media. This sudden change certainly brings various
impacts on human life, one of which is cultural change. The discussion of this paper focuses
on cultural changes due to the shift in the human interaction during the Covid-19 pandemic.
This paper uses a qualitative research method that discusses the problem through the theory
of culture and cultural change, as well as anthropological theory of structural-functional. In
this discussion, it will be explained about how the changes in interactions occur in society,
especially digital interactions and how these changes have changed the structure and function
of society based on literature study. This research has to explain how the interaction process is
carried out in particular and the impacts that have occurred since the covid-19 pandemic, as
well as to strengthen previous research on cultural changes that have arisen due to the covid-19
pandemic. The results of this study show that human beings can continue to adapt to all chang-
es and create new cultures.

Keywords: Interaction system, Cultural change, Pandemic Impact

INTRODUCTION impact on health that can cause death has led
It is impossible for humans to live alone to the emergence of various regulations, both
from local and international governments to
without the help of others, therefore humans organizations like the World Health Organi-
are known as social creatures. As social be- zation (WHO) to reduce activities that require
ings, humans need to interact with others and direct interaction, to minimize the spread
help each other in everyday life. In this mod- and reduce the number of patients. As a re-
ern era, in addition to interaction face-to-face, sult, the human interaction system which was
interaction through digital media is used as a originally focused on face-to-face activities is
temporary ‘replacement’ for human interac- equipped with interaction through media or
tion, for example using chat applications or digital technology. Currently, almost all hu-
video conferencing applications, following man interactions are forced to be carried out
the advance of technology. using digital technology and as much as pos-
sible to avoid direct interactions.
However, since the beginning of 2020,
face-to-face interaction has become much These changes happen very quickly, forc-
more difficult due to the covid-19 pandemic. ing humans to adapt to the situation without
The fast and easy spread of the virus and its

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having any other choices. Currently, almost Research on the impact of changes due to
all aspects of human life are carried out with transitional interactions during this pandemic
the help of digital technology, ranging from has been carried out, one of them by Desca
economic activities, political interests, health Thea Purnama, et al (2020). with the title “Pan-
systems such as hospitals, education, all kind demi Covid-19, Perubahan Sosial dan Kon-
of jobs and occupations, and even fulfilling sekuensinya Pada Masyarakat”. The results
entertainment needs. This is, of course, result- of the research show the impact of switching
ed in cultural changes in the form of chang- interaction effects during the covid-19 pan-
es in human lifestyles. This condition is not demic in general. Therefore, in this study, we
something new. Based on history, humans will focus our research on the people of the
have gone through various pandemics. Arund- City of Jakarta. The reason is that as we know
hati Roy (in Murtiningsih, 2020) said that a that Jakarta is a big city that is the main center
pandemic is like a portal in which there is a of the Indonesian nation which of course has
gateway between one world and the next. That many factors that can cause cultural changes
is, when a pandemic occurs in human life, there. These conditions make people have to
changes will also occur, no matter how small. adapt more quickly to existing conditions, as
Because in reality, pandemics often force hu- well as during this pandemic, the people of
mans to let go of their past and then live in a Jakarta are required to adapt more quickly to
new world. existing regulations.

As previously explained, changes in the in- In connection with the explanation above,
teraction system due to the Covid-19 pandem- we can conclude that this research has the fol-
ic have begun to have an impact on changes in lowing objectives: 1) to explain how the in-
human habits and culture. Various habits over teraction process was carried out especially
the past two years are changed to implement by the people of Jakarta during the covid-19
health protocols during the pandemic. All ac- pandemic, and 2) to explain the impact of the
tivities that have to be done virtually sooner influence of the interaction system during the
or later will eventually form a new habit. As covid-19 pandemic.
stated by Siti Murtiningsih (2020: 55),
METHOD
“Work from home, a study from home, or vir- The purpose of this study is to find out
tual (online) meetings, seminars, and gradua-
tions. These things, sooner or later, will surely what drives the transition of human interac-
form new habits in society and the end will tion systems and understand the consequences
change the old cultural order, starting from of cultural changes. As stated in the introduc-
the community’s behavior system to the value tion, that the covid-19 pandemic affects var-
system it adheres to”. ious aspects of life. The covid-19 pandemic
mainly affects health institutions, and other
Such conditions need to be considered institutions, such as education, the economy,
because culture is something that cannot be and even the arts.
separated from humans, the slightest change
in culture will have a big impact on the life of Based on the data, the theoretical expla-
every human being. Therefore, we are inter- nation prioritizes the perspective and theory
ested to discuss this issue. development of phenomenology. For this rea-

“SOCIAL CHANGES, CULTURAL RESILIENCE, AND CREATIVE INDUSTRIES 287
IN THE POST COVID-19 PANDEMIC OF INDONESIA”

son, this study uses a qualitative approach. As creatures who are never satisfied and
Creswell (2016), mentions that a qualitative always want to find out more about various
approach is a type of research that explores things, humans always experience changes
and understands the meaning in several indi- in their lives, both big and small, planned or
viduals or groups of people originating from not. Because it is always changing, it can be
social problems. seen that human culture is always changing
and dynamic. Goodenough (in Novianti 2013)
The main source of data in this study is explains that culture is not static, but dynam-
statistical records of data developments avail- ic, which means that it changes from time to
able in various digital document platforms time. This ever-changing and constantly up-
related to the research location. Therefore, dated culture should not be seen as something
this type of research data is secondary data. monolithic that determines the behavior of a
Researchers obtain data that has been pro- society but should be understood as an under-
cessed in another document. In this case, the standing and expectation as part of the variety
researcher obtained data from books, journals, of activities carried out that lead to people’s
and government publication sites. behavior and interpretation of culture.

In carrying out this research, we found B. Cultural Change
several challenges, especially because of the As a dynamic thing, culture is always
ongoing pandemic, and during that time there
were still many changes that caused the data to changing and developing along with the de-
continue to change. Therefore, the search for velopments experienced by humans. Five
actual and factual data at the time of writing main factors cause cultural change, namely:
this research encountered several challeng-
es. Although there have been several studies 1. Changes in the natural environment.
that discuss the changes that occur during the 2. Changes caused by contact with an-
pandemic. In this study, the author’s team fo-
cused on the study of cultural changes due to other group
the shift in human interaction systems. Where 3. Changes due to discovery
the community at large begins to change their 4. Changes that occur because society
lifestyle by digitizing interactions between
each other or nation adopts some of the cultural
material elements that have been de-
RESULT AND DISCUSSION veloped by another nation elsewhere.
Theoretical Framework 5. Changes occur because one nation
A. Culture modifies the way of life by adopting
a new knowledge or belief or because
Koentjaraningrat defines culture as a whole of changes in its outlook and concepts
system of ideas, actions, and the results of hu- of reality.
man work in the context of social life which is
used as his own through the learning process. Cultural change can occur due to many
Through this definition, it can be understood factors, and here is a common cause of change:
that almost all human actions are cultural. • Internal Factors

1. The development of science
2. Opposition and rebellion
3. Population problem

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• External Factors is not so simple, so many processes are occur-
1. Cultural influence from other societies ring before the agreement between members,
2. Warfare one of which is adaptation. With changes in
3. Environment around humans human life in society, it will also cause chang-
es in function in a society.
C. Functional Structural Theory
To understand further cultural changes, This theory has a basic assumption that
everything has a specific function. That func-
there is a theoretical approach that deals with tion could explain the existence of human
how people try to unify the values they believe society in socio-cultural life. A major focus
in to reach a mutual agreement. The theory of of functionalism is the function of various
functionalism is that people choose to reach socio-cultural symptoms in society. Whereas
a consensus between their members toward a cultural function has been linked to the funda-
particular public value. This joint agreement mental needs of all societies through mutual-
has the power to overcome dissent and inter- istic adjustments in the interests of members
ests among members of society. One of the of society.
anthropologists, Radcliffe brow in an expla-
nation of structurally functionality theories D. Covid-19 Pandemic
views that various aspects of social behavior Since it’s first identified in late 2019 at
develop not to satisfy individual needs, in-
stead to maintain a social structure of society. Wuhan, the outbreak of coronavirus disease
In addition to these, here are some functional 2019 or more commonly called covid-19 has
structural principles of Radcliffe brown: spread around the world very fast. The plague
caused by the acute resilience syndrome coro-
1. Every custom and trust in society has a navirus (sars-cov2) has far-reaching effects of
certain function change on various aspects of life. It is already
very widespread makes it fall into the category
2. Culture as an adaptive mechanism of a pandemic, which is a term to indicate an
enabled humans to keep social life in epidemic that has spread to various continents
check as a regular community and countries and has affected many people.

3. Organic-explicit: every customs and WHO data says that, until now (late May
belief in a society has some defining 2021), there are 168 million cases worldwide
role in life and 3.5 million of them are the leading cause
of death. With the massive number of victims
Whereas through a structural understand- and fatalities, it has included one of the largest
ing, society is viewed as a network intercon- pandemics in recent years.
nected. Society is defined as a biological or-
ganism that has a basic need to be met for it to To prevent and stop the spread of the virus,
live its life and function properly. Understand- authorities such as the world’s governments
ing that the structure of a society is the entire and health institutions have issued statements
network of existing social connections. and regulations concerning the handling of
the virus. Socializing about the importance of
In this theory, the understanding of cultur- healthy living and well-being and the people
al changes that take place in society is based closest to one another has been the first and
on its members who have agreed with new
values in community life. The culture change

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foremost part of the past year. Slogans such cilities and infrastructure in the sense of the
as the importance of wearing masks, washing word ventilator, dialysis equipment,” he said
hands, and keeping distance between peo- during an online discussion via the YouTube
ple have been heard and done so many times account @MedicineUI on Friday (3/4/2020).
during this pandemic.
However, after some time, a process of ad-
In the early days of the pandemic spread aptation to existing conditions, a period where
across the world, most countries in the world humans and society as a whole find new ways
have put out systems of lockdown or at least, to interact with others without having to meet
as in Indonesia are restrictions or bans out of face to face, and gradually some aspects of life
the house when there is no immediate inter- begin to take place again. Although it does not
est. The normal routine of daily activities are completely change and takes place in a differ-
forced not to be carried out for a few days un- ent way with the support of technological de-
til the first few weeks of the spread of covid. velopments in the form of digital technology.
This happened because there was no readiness This transition has resulted in both good and
whatsoever from any party regarding the han- bad responses. Some feel facilitated because
dling of the covid-19 pandemic. In the early everything can be done from home and can
days, there were still many parties who were be done in accordance with the ability of each
confused and did not know what steps to take individual, on the other hand, there are still
to deal with this problem. many people in the world who are less able to
adapt to the circumstances so that it is difficult
The main problems that were difficult to to undergo the changes.
implement in the early days of the pandem-
ic were the prohibition of interacting or not The lack of understanding and lack of
meeting many people, as well as the call to ability to operate the tools makes some peo-
stay at home. Some societies are very disad- ple find it difficult in paying out these chang-
vantaged in this regard. Students who usually es. According to the Ministry of Education
do teaching and learning activities in schools and Culture’s Rapid Survey on learning from
are temporarily closed. So do office workers, home (27 April), teachers identified their main
laborers, and other workers. The economic challenges in internet network connectivity
sector was also disrupted due to the fact that and in realizing student progress.
buying and selling activities, which at that
time were usually carried out face-to-face, E. Interactions through Digital Technology
have stalled due to the existing prohibition. Media or digital technology interaction
The entertainment and tourism sectors are
also heavily affected by the lack of income. is not something new. Over the past decades,
humans have developed technologies that
Prof. Dr dr Ari Fahrial Syam, Sp- make life easier, including digital technolo-
PD-KGEH, MMB, Dean of the Faculty of gies. However, digital technology has been
Medicine, University of Indonesia (FKUI) used only as a supplement to direct, every-
said the high mortality rate in Indonesia is re- day human interaction. During the time of the
lated to the lack of facilities and infrastructure pandemic, however, digital technology inter-
in hospitals. “Then we also know that our high action is done as the primary one in life. This
mortality rate is also related to the lack of fa- change has brought many people in societies

PROCEEDING THE 1ST INTERNATIONAL CONFERENCE ON SOCIAL 290
SCIENCE AND HUMANITIES BASED ON LOCAL WISDOM

to culture shock, and it is primarily those who such as e-commerce and others. The system
are not accustomed to the use of digital tech- of interaction between sellers and buyers be-
nology and the difficulty of accepting change, gins to change, of course, causing changes in
such as traditional societies and parents. The habits made by humans in everyday life. Al-
transition to these interaction systems is cer- though many have been willing to adapt by
tainly not entirely acceptable to those who are trying new ways of doing this economic activ-
accustomed to using digital technology. ity, there are still some people who still do not
want or even have not been able to change the
Until now, almost all aspects of life have method of selling or buying it to digital. This
tried to divert their activities into digital tech- is certainly a difficulty in running the econom-
nology. Teaching, work, buying and selling ic wheel.
activities, health care, until virtual entertain-
ment begins with digital technology. In addition to the economic sector, the
health sector is also experiencing severe dif-
So does in learning activities. Learning ficulties during this pandemic. The unstable
that is usually done face-to-face in class must number of covid-19 sufferers to date certain-
be carried out online using various video con- ly makes many health workers and hospitals
ferencing applications or other digital media. overwhelmed due to a lack of energy, facili-
The same thing is also experienced by those ties, and infrastructure. Apart from those af-
who do work from home making new habits fected by covid, there are also many people
by trying to interact even if only through the who experience various diseases that actually
help of technology is quite difficult at first. need to go to the hospital and do consultation
Changes in habits must be worked out to get or treatment with doctors. However, during
used to overcoming feelings of awkwardness this pandemic, many of the regular patients did
or confusion. Although it was difficult at first, not go to the hospital for fear of contracting
now it seems that people are starting to under- the covid-19 virus. To deal with the problem,
stand and get used to the changes. some hospitals and doctors began working
with certain institutions to create online con-
Another sector of life that is also very sulting services. With the online consultation
visible changes are the economy. The de- service, it is hoped that patients can continue
velopment of e-commerce over the past few to consult with doctors without having to fear
years has increased along with this pandem- going to the hospital or contracting covid-19.
ic. Its advantages in the ability to do buying Of course, this is also done as an effort to min-
and selling activities without having to meet imize the spread of the virus. Actually, this is
in person and can be done anywhere as long also not a new thing, especially in Indonesia.
as you have the necessary device make it the Over the past few years there have been vari-
right choice to deal with one of the problems ous applications made to conduct consultation
in the pandemic period. For those who want activities with doctors online, although not yet
to change and develop by selling online both in excellent form, but at least able to help with
through e-commerce and other social media, treatment quickly if needed. However, due to
economic problems feel a little better. Aside the ongoing pandemic, online consultation
from the seller side, people as consumers who with doctors has become increasingly popular
are on the buyer’s side have also begun to feel and widely used by the public.
the ease with the existence of digital media