COMMODIFICATION OF TEKTEKAN CALONARANG AT BATURITI VILLAGE, KERAMBITAN, TABANAN

COMMODIFICATION OF TEKTEKAN CALONARANG AT BATURITI VILLAGE, KERAMBITAN, TABANAN

I Ketut Sariada

Program Pascasarjana

Institut Seni Indonesia Denpasar, Bali, Indonesia

ABSTRACT

Tektekan Calonarang is a Calonarang dance drama performed as a new tourism model which in its presentation is accompanied by Tektekan gamelan; a small traditional bamboo music from Baturiti village, Kerambitan, Tabanan. Balinese communities usually disagree to showcase a sacred culture for tourism, but in Baturiti village this is different. They actually support the commodification of TektekanCalonarang using sacred barong and rangda for tourism. This raises questions because it is contrast with the attitude of Balinese communities in general.

This research is conducted in Baturiti village, Kerambitan, Tabanan using qualitative method. There are three main problems in this study, such as: (1) why do the community of Baturiti village, Kerambitan, Tabanancommodify Tektekan Calonarang which uses sacred barong and rangda for tourism?, (2) what is the form of the commodified Tektekan Calonarang; (3) what are the implications for those conducting it, the community and the performance itself. The purpose of this research is to understand the commodification of Tektekan Calonarang in Baturiti village, Kerambitan, Tabanan which uses sacred barong and rangda for tourism. To explain the problems, Deconstruction theory, Social Practice theory, Aesthetic theory, and Knowledge Relation theory are used.

The results of this research are (1) the community of Baturiti village, Kerambitan, Tabanan commodify Tektekan Calonarang using sacred barong and rangda is motivated by market ideology, development ideology, religious ideology, and conservation ideology; (2) the community of Baturiti village, Kerambitan, Tabanan commodify Tektekan Calonarang using sacred barong and rangda in the form of procession and Tektekan Calonarang performance; (3) the commodification of Tektekan Calonarang using sacred barong and rangda has the implications for the increase of income of the conductors, community (multi flyer effect), the continuance of the barong and rangda’s mystical strength, the increase of interest from the market/ tourism, and as a reinforcing social solidarity of the community.

The findings of this research are that desecration did not happen even though sacred barong and rangda is commodified for tourism because in every performance the conductor/ community conduct a special purification ceremony for the barong and rangda according to their individual context.

Keywords: commodification, Tektekan Calonarang, sacred barong and rangda, ideology, tourism.

INTRODUCTION

Performing art is an important part of the Bali Hindu society. If viewed from the purification point of view, the Balinese performing art can be classified into two; they are the sacred performing art and propane performing art. The sacred performing art is performed as a part of rituals, and the propane performing art is performed as an amusement and as a part of social, political and economic activities.

However, among different types of the performing art in Bali, the ones which are performed for tourists have rapidly developed. This can be seen from the fact that there are so many types of performing art which are performed for tourists in Bali. Such types of performing art are frequently presented as a part of dining program and other important events which are related to the tourism industry in Bali. The types of the performing art which are performed for tourists in Bali are Cak and Fire Dance, Frog Dance, Fire Dance, Ramayana Dance, Jegog Dance, Joged Dance, Tektekan CalonarangDance Drama, and so forth. Each has its own uniqueness and specialty.

Among the types of the performing art which are developing in Bali, the Tektekan Calonarang Dance Drama is the most interesting one. It is a unique one as it also presents the theme rhwa bhineda (the concept that badness and goodness cannot be separated from each other). Its presentation is accompanied with the tektekan gamelan orchestra, which is a traditional Balinese gamelan orchestra, made of small size bamboo and played alternately and dynamically with varied tempo.

It is interesting to explore the commodified Tektekan Calonarang Dance Drama as, in general, the Balinese people disagree that the sacred cultural elements are performed for tourists. Unlike the Balinese people in general, the local people living at Baturiti Village, Kerambitan, Tabanan involve the sacred barong and rangda in the Tektekan Calonarang performance. It seems that there is nothing wrong for them to involve the sacred cultural elements in the performance presented for tourists.

RESEARCH METHOD

Research Design

The present study entitled “Tektekan Calonaran at Baturiti Village, Kerambitan, Tabanan” was designed to use the qualitative method. The study was conducted at Baturiti Village, Kerambitan, Tabanan and was intended to describe and explain everything related to the problems of the study.

The phenomenon of the commodification of Tektekan Calonarang was analyzed using the paradigm of cultural studies. As a research technique, this method gives emphasis on the quality of the data as the measurement for obtaining valuable explanation and understanding of the object of the study. Therefore, Bogdan and Taylor (1992: 25) stated that the qualitative method is highly relevantly used to discuss the socio-cultural phenomenon.

Barker (2005: 9) stated that a practice can lead to a variety of changes and improvements and the sustainability of a culture. Such a definition involves a variety of symbols of life. Therefore, in this present study the qualitative method was used to observe the actualization of the cultural value of the phenomenon of the commodification of Tektekan Calonarang.

The commodification of Tektekan Calonarang, as a cultural phenomenon, cannot be separated from the dynamism of socio-culture in the current era. Sedyawati (1994: 3) stated that it is better not to be understood from its physical form but also from the aspect of those who are involved in such a cultural practice. That includes the correlation between the struggle for and the shift in strength to the scope in which those who are involved in such a cultural practice play their roles. Apart from that, it can be understood that the cultural manifestation and the power of those who are involved in the performance indirectly contribute to the changes which are made as an attempt to improve and sustain the culture. Therefore, the steps taken in the present study are (1) the research method used was the qualitative method; (2) the location where the study was conducted was determined; (3) the type of the data source was determined; (4) the informants were determined; (5) the research instrument was determined; (6) the technique of collecting data was determined; and (8) the technique of presenting the result of data analysis was determined.

RESULTS

The Ideology Leading to the Commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan

The local people living at Baturiti Village, Kerambitan, Tabanan consider that the sacred barong and rangda should be performed ‘mesolah’; they should dance so that the sacredness they have still maintain the magical power. The local people believe that the barong and rangda which they worship can protect themselves and their lives. Therefore, the local people keep performing them for the sake of their peaceful and comfortable lives.

According to the local people living at Baturiti Village, Kerambitan, Tabanan, the sacred barong and rangda which are performed for tourists do not contradict the prevailing norms. In addition, performing them means respecting them and such a performance has become the identity of the performing art at Baturiti Village, Kerambitan, Tabanan. They believe that the Tektekan Calonarang which they have created will be able to exist continuously.

The theory of Practice proposed by Boudeu and the theory of Relation of Power and Knowledge proposed by Foucault were eclectically used to give a clear comprehension of the ideology leading to the commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan involving the sacred barong and rangda.

1. The Market Ideology

The society of Baturiti Village, Kerambitan, Tabanan is a globalized one; it is open to everything which is new including changes. Its openness can be seen from the fact that the local people living there tend to be the cultural consumers instead of the cultural producers. Such a condition makes the society, as the owner of Tektekan Calonarang, positions itself as the cultural object as financially and socially they were not able to establish Tektekan Calonarang group ‘sekaa’.

Such a group known as Sekaa Tektekan CalonarangRama Bawa, which involves the “sacred” barong and rangda, is frequently performed at Kerambitan Anyar Palace. This cannot be separated from the desire of the viewers (foreign tourists) who are surprised at the attraction in which the dancers stab the rangda using the wavy double-bladed dagger. The rangda dancer does not get wounded; therefore, it is believed that the sacred rangda has been protected. Therefore, it can be understood that Tektekan Calonarang has now been deconstructed; it has been performed for tourists instead of being performed as part of the temple festival. Such a deconstruction has been made by the local people living at Baturiti Village, Kerambitan, Tabanan in order to fulfill what is needed by the market.

a. Opportunities in Tourism

The industry of tourism needs a lot of infrastructures and human resources to make tourists intend to visit tourist attractions. Those who are involved in tourism also play an important role in promoting tourist destinations. Tourism has contributed to the improvement of the local people’s standard of living and orientation.

Many opportunities in tourism which were made available inspired Anak Agung Oka Silagunada to commodify Tektekan Calonarang with the theme “Prosesi Ritual Penyambutan Tamu Kerajaan” (the Welcoming Procession for the Royal Guests). Such a performance started from what had been intended by Anak Agung Oka Silagunada as the royal elder to maintain the patron-client relationship between the palace and the surrounding community. He did his best to develop the palace as a tourist attraction so that job opportunities were available for the surrounding community in art and other fields. In this way, it was hoped that the palace would become the center of the orientation of the socia activities done by the surrounding communityas in the royal tradition.

b. Economic Need

As a commodity which is offered to tourists, the Tektekan Calonarang performance can directly contribute to the increase in the income earned by the local people and the government. Such an economic reason becomes important as it is hoped that such a commodity can be sold to the public. Various forms of commodification are created to package such an activity to make it valuable economically. It is recognized that Tektekan Calonarang has been able to be directly and indirectly economically valuable.

The fees earned by those who are involved in the Tektekan Calonarang performed as a tourist attraction are collected, and are distributed once in six months when they celebrate the feast days of Galungan and Kuningan. Some is also spent on the things needed to look after and restore the temple.

2. Developmental Ideology

Ginanjar Kartasasmita (1994) defined that development is “suatu prosesperubahan kearah yang lebih baik melalui upaya secara terenacana” (a process of changes which are planned to make improvements). The development which is directed to make people aware and willing to take care of and preserve their respective local culture is intended to change their behavior. Development is conducted based on humanity, empowerment and independence, justice and equality. The reason is that people are needed as the actors of the developmental process.

Life is getting more complex and modernization does not only take place in economy and industry but also in every aspect of life which can change the society’s life. Therefore, development is not only conducted in education, socio-politics, law and religion but it is also conducted in culture. Apart from that, development in every sector needs culture to make the programs which will be performed successful. Therefore, the commodification of Tektekan Calonarang plays an important role in the ideal development of Tabanan.

The Development of the Creativity of Tektekan Calonarang

The development of creativity cannot be separated from artists. The creativity of an artist is determined by the knowledge which both the choreographer and composer have as the creators of a performance. Their knowledge affects the forms of their works. That can be seen from their works; if they are created to support their economy, their works are oriented towards the art industry; their developmental creativity and presentation are in accordance with what is needed by the market or the capital owner. Similarly, if they are created to be performed as part of a religious ceremony (offering), their orientation will give priority over the spiritual and religious values. As well, if the art works are created for a festival (art for art), they will be created based on the festival art rather than what is economically needed by the market. In other words, it can be stated that the objective and orientation of the art are always related to the objective which is aimed at and the creative ability of the artists. The same thing has also taken place in the process of the commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan.

What is needed by the Kerambitan Palace in the middle of various opportunities in tourism mediates the artists’ creativity in developing tektekan, which then determines the quality of the commodification of Tektekan Calonarang. If the artists have insufficient abilities, no innovative art works will be produced. Their creativities are the key to the form of the commodification of Tektekan Calonarang of which the local people living at Baturiti Village, Kerambitan, Tabanan are proud.

Religious Ideology

Hadi (2000: 295-296) stated that art and religion are close domains. Art plays an important role in social and religious activities. As described before, Tektekan Calonarang, based on its classification, is a sacred type of performing art. The reason is that it involves the sacred ‘sungsungan’ barong and rangda. The former is referred to as Jero Gede and the latter is referred to as Ratu Ayu; both have their sacred characteristics.

Such a condition is in accordance with what is stated by Bandem (1996a:25), who stated that the equipment used and the myth which inspires such a type of performing art can make it either a sacred or a propane one. The sacred ‘sungsungan’ barong and rangda‘are made by the local people based on the magical instruction which is believed to be from Ida Bhatara Sesuhunan, the God who resides at Baturiti Village. The local people believe that the God who is worshipped can protect them from misfortunes. Therefore, ideologically the local people especially those living at Baturiti Village should take part in every ritual which is performed on holy days such as what are locally referred to as purnama (full month), tilem and tumpek. On such days the local people go to Paempatan Temple where the sacred barong and rangda reside. This is an attempt made by the local people to maintain the good relationship in the dimension of prahyanganfor the sake of their safety. Such a view is shown in the Tektekan Calonarang performing art, showing that the local people believe in the myth that a ritual should be performed for every activity, as described as follows.

a. The Myth in Society

There are several myths which have contributed to the existence of Tektekan Calonarang, which are regarded as facts by the local people. One of the myths which is strongly believed is that the sacred barong and rangda can ward off the epidemic diseases which the local people living at Baturiti Village may suffer from.

It is stated that in 1920s there was an epidemic disease at Baturiti Village, Kerambitan, which suddenly cost many lives. The local people believed that such an epidemic disease resulted from the excessive interference of the supernatural strength. Therefore, it should be warded off in a particular manner.

Tektekan is believed by the local people as a means of reducing restlessness; the evil spirits ‘bhuta kala’ are believed to be able to affect them negatively; therefore, the epidemic diseases are believed to come from the powerful strength of bhuta kala. Tektekan is believed to be able to prevent the epidemic diseases from generation to generation. The existence of such a myth has made the Tektekan Calonarang an important performing art of which the sacredness should be maintained.

b. The Ritual Performed as Part of Tektekan Calonarang

In accordance with Jero Mangku Pura Dalem, every activity which is related to the Tektekan Calonarang should be completed with several types of offerings, indicating that Baturiti Village is a religious society. Based on the information given by Mangku Istri (Jero Mangku Pura Dalem’s wife), it can be explained that the rituals which are performed as part of the Tektekan Calonarang performing art consist of: the ritual which is performed when the practice is commenced, the ritual which is performed when new dancers are involved, the ritual which is performed every time it is performed, and the ritual which is performed when it is about to be performed.

The Ideology of Conservation

The Tektekan Calonarang performing art is a socio-cultural activity which is performed to express the local people’s cultural identity individually and collectively. Apart from that, the local people living at Baturiti Village believe that the sacred Barong and Rangda have the spirit of protecting the local people. It is believed that they are the figures which can give the local people safety, peace, welfare, prosperity, and good health. The importance of such figures and expressive mediation has conserved the art identity of the local people living at Baturiti Village, Kerambitan, Tabanan.

Solidarity Binding

The patron-client relationship between the palace and the surrounding people are still well maintained. Almost all the rice fields and the un-irrigated fields which belong to the palace are cultivated by those living around the palace. As already known that the functional relationship between the tenant farmer and the landlord is still maintained until now; what is yielded is divided, some goes to the landlord and the rest goes to the tenant farmer. However, such a relationship is getting stronger due to the new job opportunities made available by tourism, making the local people frequently get together which tightens the solidarity among them. The solidarity among them is highly needed to keep the local people united and to reduce the problems they may have.

B. The Form of the Commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan

It is necessary to explain the form of the Tektekan Calonarang performing art in order to understand the form of the commodification of Tektekan Calonarang comprehensively.

1. Presented in the Form of Procession

The Kerambitan Palace does not construct any specific stage for the performance entitled “Welcoming Procession for the Royal Guests”. It is performed in the front yard and main yard of the palace. Tektekan Calonarang is performed at the outside yard of the Anyar Palace, Kerambitan, Tabanan. The commodification of Tektekan Calonarang presented by the Anyar Palace, Kerambitan, is completed with the welcoming procession for the royal guests and involves 300 people each time it is presented.

2. Presented in the Form of Tektekan Calonarang Dance Drama

Tektekan Calonarang is one form of the performing art which can be seen that it is made up of several elements or aspects. The aspects ofTektekan Calonarang are the dancing elements and its performing structure. The form of the Tektekan Calonarang at Anyar Palace, Baturiti Village, Kerambitan, Tabanan, can be clearly understood from the aspects which form it.

The Theme of Tektekan Calonarang Performance

Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan, is presented in the form of a dance drama with the theme Calonarang entitled Ni Diah RatnaMangali.

The Structure of Tektekan Calonarang Performance

Tektekan Calonarang is presented in four stages, each has an important role and one stage is related to another. The four stages can be described as follows.

The Dancers

Tektekan Calonarang, which can be classified as a magical ritual performing art, is presented in the form of a dance drama involving 16 (sixteen) dancers; 10 (ten) are males and six are females. The male dancers are made up of the Bahula Dancer, the Penasar Dancer, the Kartala Dancer, the Patih Pandung Maguna Dancer, the Pangpang Dancer, the Rangda Dancer, the Front Barong Dancer, the Back Barong Dancer, one Jerunying Dancer, and two Jerunying Dancers.The female dancers are made up of 4 (four) Sisya Dancers, one Condong Dancer, and the RatnaMengali Dancer.

The Dancing Movement

Tektekan Calonarang is presented in the form of a dance drama with the theme Calonarang entitled Ni Diah Ratna Mengali; the characters dance in such a way that they form Tektekan Calonarang as described below.

The sisya/dayang-dayang dancers perform the movements made by Buta NawaSari (ngereh); their hands are lifted upward bringing fabric with a design with mystical properties ‘rajah’ in it; every dance lifts one of her feet upward (nengkleng). The movements made by the character condong are referred to as gerakan mungkah lawang; she also sings a song referred to as pupuh pangkur; the dancing movements she makes are similar to those made by the character condong in the arja dance drama. Such movements are referred to as right agem, left agem, walking while turning left, angselbawak, rightagem; improvisations are also made before the kneeling (metimpuh) movement is made. The movements made by the character Galuh (Ratna Mengali) are known as right agem and ngambil oncer (while singing what is known aspupuh dandang and pupuh ginada penyerita). The movements made by the character galuh are similar to those made by the character galuh in the Arja dance drama, known as right agem, left agem , walking while turning left, angsel bawak, right agem; improvisations are made before the character Galuh and the character Condong/Sisya meet.

The character Penasar and the character Kartalamake improvisations while making the movements which are known as metandak cecantungan, gandang-gandang, ulap-ulap, nabnab udeng, seledet, gelatik nuut papah, and ngopak lantang. The character Bahula make movements as those made by what is known as mantri pearjan while singing a song which is known as pupuh sinom. The movements which are made are gandang-gandang, nabdab gelung, ulap-ulap, seledet, gelatik nuut papah, ngopak lantang, ngeraja singa, melingser and ngerajeg. In this stage, the movements which are made are gandang-gandang, nayog, ulap-ulap, nabnab urangka, nabdab gelung, ngelangsut, ngambil saput, seledet, malpal, milpil, ngopak lantang, ngeraja singa, melingser, and ngerajeg.

The movements made by the character Pangpang are those which are needed to show that she is involved in the war against the characters Penasar and Kartala. The movements they make are memukul (hitting), melaib (running), mekelid (avoiding), nguber (running after), and ngejuk (catching). The character rangda with her ngereh movement runs around the stage bringing white fabric with a design with mystical properties with her ‘rerajahan’. The movements which are made are known as gandang-gandang, nayog, gayal-gayal, nyigcig, melincer, ngereh, jalan rangda, gegirahan, and mekecos. Unlike the movements which are made by the barong and rangda which show that they fight against each other using their own magical power, those made by the rangda are wagging and swaying the mask (the head) of the barong and holding it.

Cosmetic, Clothing and Properties

The art of cosmetics is generally classified into three; they are the head cosmetics, facial cosmetic, and body cosmetic. The head cosmetic used in Tektekan Calonarang are head covers locally referred to as gelunganandudeng-udengan, red and white flowers, thatch, and gegirang leaves.

The head cosmetic used by the dancers in the Tektekan Calonarang performance are the powder pad, powder, eyebrow cosmetic, cheek cosmetic, eye shadow, lipstick, and white forehead cosmetic. The facial cosmetic used by the gamelan players is locally referred to as gecek; it is white in color and between the right and left eyebrows.

The clothing and properties worn by the dancers and gamelan players who are involved in the Tektekan Calonarang performance are as follows.

The clothing worn by the characters Dayang-dayang/Sisya is made up of white satin inner fabric, breast cover, red capuk fabric, yellow belt, head cover made of white fabric (kudung); their hair hangs loosely.
The clothing worn by the character Condong/Inye is made of: long-sleeved white shirt, purple fabric, yellow belt, velvet necklace, yellow fabric, what is referred to as lamak condongmade of yellow fabric, breast cover, kana bracelet, gelungancondong, and what is locally referred to as ampok-ampok.
The clothing word by the character Galuh/Putri is made up of long-sleeved shirt, green fabric, yellow belt, velvet necklace, what is referred to as lamak made of yellow fabric, and what is known as ampok-ampok.
The clothing word by the character Penasar is made of red and velvet shirt, kana bracelet, yellow fabric, white trousers, velvet belt, penasar head cover, red flowers and what is known as stiwel.
The clothing worn by the character Kartala is made of short-sleeved shirt, yellow fabric, white fabric, velvet necklace, kertala head cover, and red flowers.
The clothing worn by the character Bahula is made of long-sleeved black and velvet shirt, kana bracelet, white trousers, yellow fabric, what is known as stiwel, belt, velvet necklace, breast cover, a wavy double-bladed dagger, and what is called mantri coil.
The clothing worn by Patih Pandung Maguna is made of red and velvet long-sleeved shirt, kana bracelet, white trousers, breast cover, what is known as stiwel , belt, velvet necklace, yellow fabric, a wavy double bladed-dagger, gelungan patih, red flowers, thatch, and gegirang leaves.
The clothing worn by Rangda is made of what is called black and white shirt, red fabric, black and whitetrousers, leather necklace, what is called ampok-ampok, long nails, gelungan rangda, and fabric with a design with mystical properties.
The clothing worn by the character Pangpang/Celuluk is made of white fabric with what is called black and whitelines, a pair of white trousers with black and whitelines, red fabric, black and white belt, long nails, gelunganceluluk and long hair.
The clothing worn by the character barong is made of a pair of white trousers with black and white lines, and barong head.
The clothing worn by the character Jerunying is made of black satin fabric, black and white cover, red, white and black umpal, and three small white house lizard-like ornaments (one on the right, one in the middle, and one on the left) and a wavy double bladed dagger.
The clothing worn by the gamelan players is made of black satin fabric, black and white cover, red, white and black umpal, and three small white house lizard-like ornaments (one in the middle, one on the right, and one on the left).

The Music Accompanying Tektekan Calonarang Performance

The music which accompanies Tektekan Calonarang performance is gamelan which is made of small size bamboo combined with the Balinese traditional gamelan such as Kulkul, Suling, Kendang, Kecek/Cengceng, Kenong and Gong.

The Location where Tektekan Calonarang Is Performed

There are two locations where Tektekan Calonarang is performed;they are the Anyar Palace, Kerambitan and at the Continental Hotel, Nusa Dua.

Tektekan Calonarang Performed at the Anyar Palace, Kerambitan

Many traditional cultural potentials which Baturiti Village, Kerambitan, has are performed for the tourists who come to visit the palace. Anak Agung Oka Silagunada, as the royal elder, presented the theme “the welcoming procession for the royal guests”. The potentials which the local people had were taken into consideration. As an illustration, the local people were very good at making traditional foods and cakes and so forth. Such potentials caused Anak Agung Oka Silagunada to choose the theme “the welcoming procession for the royal guests”.

No special stage is prepared by the palacefor the performance; it is performed at the front yard of the palace, and at the main yard of the palace. Tektekan Calonarang is performed at the outer yard of the Anyar Palace, Kerambitan, Tabanan.

Tektekan Calonarang Performed at Hotels

Tektekan Calonarang is regularly performed at the Intercontinental Hotel; in addition, it is also sometimes performed at the other hotels located at Nusa Dua, Bali. This proves that the Tektekan Calonarang has the same pattern as the one performed at the Anyar Palace, Kerambitan, which can contribute to the local people’s economic improvement.

The group is paid more or less Rp. 2,500,000.00 (two million five hundred thousand rupiahs) for one performance, meaning that it can earn more or less Rp. 12,500,000.00 (twelve thousand five hundred thousand rupiahs) or more or less Rp. 150,000,000.00 (one hundred fifty million rupiahs) per year. Such funds are usually distributed once in six months.

4. Tektekan Calonarang Group ‘Sekaa’

The organization which supports Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan is administratively referred to as Sekaa Rama Bawa.It was established in 1970 to look after, maintain and develop Tektekan Calonarang in accordance with the local people’s situation and condition.

The Management of Tektekan Calonarang Group ‘Sekaa’

The management of Tektekan Calonarang Group is as follows:

Head : I Ketut Sujaya

Secretary : I Wayan Yuna

Treasurer : I Komang Agus

The section dealing with the dancers: I Komang Agus

The section dealing with the gamelan : I Putu Budi Artana, S.Sn.

The section dealing with offerings : I Made Sukrata

The section dealing with transportation: I Wayan Yuna

The messenger : I Wayan Darma

Each works in accordance with his function and responsibility; each is devoted to what he is supposed to do and high moral responsibility.

Those Who Are Involved in the Tektekan Calonarang Sekaa ‘Group’

The Tektekan Calonarang grouphas more or less 60 members, ranging from the head, secretary, treasurer, messenger and its members. The members are made up of what is called juru uruk(the dancing trainer and gamelan trainer), juru igel(the dancers), juru gambel (the gamelan players), juru rias(the makeup person), pemangku (the priest), and those who are responsible for preparing offerings. Both the management and members have obligations and authorities based on the agreements which have been made together.

The Production of Tektekan Calonarang

Tektekan Calonarang was produced by the local people living at Baturiti Village, Kerambitan, Tabanan in order to improve their standard of living. Such a production is seen when Tektekan Calonarangis traded in order to improve the economy of the local people living at Baturiti Village, Kerambitan, Tabanan, meaning that the commodification of Tektekan Calonarang is related to economy and tourism. Tektekan Calonarang, as the product, which is currently developing, is packaged by those who have power and financial capital, sponsor, social capital and have political relationship with the government.

6. The Distribution of Tektekan Calonarang

The distribution of Tektekan Calonarangis directly related to the agents of distribution; the product is distributed by those who are powerful economically and politically; what they do is shown in the form of promotions. The ruler and the agent distribute Tektekan Calonarang through performances, ceremonial activities and through electronic and printed media, meaning that there will be advertisements if there is money. In addition, interests cannot be ignored. Tektekan Calonarang is also promoted or distributed through internet (http//www.tektekan.com) or through commercial television advertisements or through various printed media such as books, newspapers, magazines, bulletins, and brochures.

The Consumption of Tektekan Calonarang

Tektekan Calonarang is consumed by both domestic and foreign tourists and is performed at the Anyar Palace, Kerambitan, Tabanan and at the hotels located at Nusa Dua Bali.

The Implication of the Commodification of Tektekan Calonarang

The commodification of Tektekan Calonarang involving the sacred barong and rangda which is performed for tourists affects several aspects of life of the local people living at Baturiti Village, Kerambitan, Tabanan. It also affects those who are involved in the performance, the performing art, the local people’s economy, the palace, and socio-cultural life.

1. The Implication of the Commodification of Tektekan Calonarang on those Involving in Its Performance

As a whole it can be stated that the commodification of Tektekan Calonaranghas affected the local people’s lives. It has positively affected the local people’s economy, which can be seen from the fact that many economic opportunities have appeared. This can be enjoyed by those who are involved in it such as the tour and travel agencies, the silver smiths, the traditional art groups, and the small groups of traders, meaning that the local people’s economy has been made to improve by Tektekan Calonarang involving the sacred barong and rangda.

2. The Implication of the Commodification of Tektekan Calonarang on the Performing Art

The commodification of Tektekan Calonarang involving the sacred barong and rangdawhich is performed for tourists at Baturiti Village, Kerambitan, Tabanan has caused new creations and innovations to appear. Obor Massal, Okokan and CetrungKesedihan illustrate the appearance of new creations and innovations.

The Implication of the Commodification of Tektekan Calonarang on Economy

The appearance of Tektekan Calonarangwhich is performed at the Anyar Palace, Kerambitan, for tourists contributes to the local people’s economy. Additional income can be earned by preparing the equipment needed for such a performance. The palace buys what is needed for such a performance from the surrounding people, which is then paid by the travel agency who has such a type of performing art performed. In addition, the local people can also sell foods and beverages around the palace as when such a type of performing art is performed there are many drivers and people who come to see it. This means that Tektekan Calonarang which is performed at the Anyar Palace, Baturiti Village, Kerambitan, Tabanan, for tourists contributes to the local people’s economy.

4. The Implication of the Commodification of Tektekan Calonarang on the Anyar Palace

The development of the communication between the palace and the outside world causes the boundaries of the inflexible traditional culture to be getting flexible. The palace is only used as the place where traditional activities are performed, but it is also the place which is used as the arena where the traditional performing art with new values is performed.

The dinner program which is completed with Tektekan Calonarang and the welcoming procession for the royal guests is a new breakthrough made by the palace which can improve the economy of the palace and local people. Apart from that, the palace also functions as the arena where touristic activities such as Tektekan Calonarang can be performed.

5. The Implication of the Commodification of Tektekan Calonarang on Socio-Culture

Socially and culturally, the commodification of Tektekan Calonarang positively contributes to the cultural sustainability. This will become the identity of such an ethnical area in general and the cultural identity of the society of Baturiti Village, Kerambitan, Tabanan. It has also led to new creativities.

NOVELTIES

Novelties

Based the result of the data analysis, several novelties can be described as follows.

The sacredness of the barong and rangda used in Tektekan Calonarang performed for tourists does not get degraded. The reason is that every time it is presented, a purification ritual is performed.
The development of the commodification of Tektekan Calonarang at Baturiti Village, Keerambitan, Tabanan strengthens the legitimacy between the palace and local people. The palace can maintain the patron-client relationship and the royal authority as such a performance benefits the local people and supports the royal politics.
The commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan contributes to the economic and socio-cultural “symbiosis mutualistic” relationship among the palace, the surrounding society, and the travel agency. It also enriches the treasure of the Balinese culture.

CLOSING

Conclusion

Based on what was described above, as far as the present study entitled “the Commodification of Tektekan Calonarang at Baturiti Village, Kerambitan, Tabanan, in which the qualitative method and the theory of deconstruction, the theory of social practice, the theory of religion, and the theory of aesthetics were used is concerned, several conclusions can be drawn as follows.

The religious ideology, the market ideology, the conservation ideology, and the cultural ideology have inspired the society of Baturiti Village, Kerambitan, Tabanan to commodify Tektekan Calonarang involving the sacred barong and rangda which is performed for tourists.
The society of Baturiti Village, Kerambitan, Tabananhas commodified Tektekan Calonarang involving the sacred barong and rangda in the form of the procession of Calonarang Dance Drama.
The commodification of Tektekan Calonarang involving the sacred barong and rangda has strengthened the local people’s belief in the magical power which the barong and rangda have. The fact that more and more are interested in viewing Tektekan Calonarang has certainly contributed to the economy of those who are involved in such a performance and the economy of the local people. It can also contribute to the image and identity of the local people. As it is frequently performed, it contributes to its conservation and sustainability. In addition, it has also indirectly functioned to bind the social solidarity among the local people.

Suggestion

Based on the result of the study, it can be concluded as follows.

It is suggested to those who would like to create a Balinese culture-based performing art which is performed for tourists that they should refer to the concept of the commodification of Tektekan Calonarang in which different local people’s potentials of cultural art are packaged into one so that every can take part in it based on the potentials they have; in this way, conflicts can be avoided.
It is suggested that the Tektekan Calonarang group should maintain the quality in order to be able to compete locally and globally.
To anticipate any possible competition, it is suggested to the government of Tabanan Regency that it should protect and conserve all the cultural arts in Tabanan Regency. It is also suggested to the palace that it should improve the quality of the service it provides, expand the network, and cooperate with national and international parties, and that it should also perpetually promote the existence of such a type of performing art.

The time and ability which the writer had were limited; there are many things which need to be investigated; therefore, further research should be conducted to reveal what is not discussed in this present study.

BIBLIOGRAPHY

Ardika, I Wayan, 2005. “Strategi Bali Mempertahankan Kearifan Lokal di Era

Global” dalam Putra, Dharma & Sancaya, Windhu, (ed.)

Kompetensi Budaya Dalam Globalisasi, Denpasar: Fakultas sastra

Universitas Udayana dan Pustaka Larasan. Hlm. 17-27).

Atmadja, Nengah Bawa. 2003. “Penerapan Teori Kritis dan Postmodern dalam Kajian Budaya”. Makalah Penyempurnaan Kurikulum Program Studi Kajian Budaya Unud. Singaraja: Jurusan Pendidikan Sejarah FPIPS Universitas Pendidikan Ganesa.

Atmadja, Nengah Bawa. 2010. Komodifikasi Tubuh Perempuan Joged “Ngebor” Bali. Denpasar: Pustaka Larasan.

Bandem, I Made. 1992. Sakral dan Skuler Tari Bali dalam Transisinya. Denpasar: Sekolah Tinggi Seni Indonesia.

Barker, Chris. 2005. Culture Studies : Teori dan praktik. Yogyakarta : PT. Bentang Pustaka.

Dibia, I Wayan. 1994.”Tari-Tarian Bali Kreasi Baru: Bentuk, Pertumbuhan dan Perkembangannya”, dalam Mudra: Jurnal Seni Budaya. Denpasar: Sekolah Tinggi Seni Indonesia Denpasar. No.2 Th.II. Pebruari 1994.

Eliade, Mircea. 2002. Sakral dan Profan, (terjemahan). Yogyakarta: Fajar Pustaka Baru.

Geriya, I Wayan. 1996. Pariwisata, Kesenian dan Diplomasi Kebudayaan. Peranannya Dalam Peningkatan Komunikasi Antar Bangsa Jepang dan Indonesia, dalam: Jurnal Ilmiah Sosial. Jakarta: PT. Gramedia Pustaka Utama.

Geriya, I Wayan. 1996. Pariwisata dan Dinamika Kebudayaan Lokal, Nasional, Global. Denpasar: Upada Sastra.

Giddens, Antony. 1986. Kapitalisme dan Teori Sosial Modern, Suatu Analisis Karya –tulis Marx. Durkheim, dan Marx Weber, Jakarta: Universitas Indonesia.

Hall, Stuart. (edited). 2003. Representation, Cultural Representation and Signifying Practices: Culture, Media and Identities. London, Thousand Oaks, New Delhi: Sage Publications Ltd. In Assocation with The Open University.

Harker, Richard, Cheelen Mahar dan Chris Wilkes. 2009. (Habitus x Modal) + Ranah = Praktik: Pengantar paling Komprehensif kepada Pemikiran Pierre Bourdieu. Yogyakarta: Penerbit Jalasutra.

Hasil-Hasil Seminar. 1971. Seni Sakral dan Profan Bidang Tari. Tanggal 24-25 Maret 1971. Denpasar: Proyek pemeliharaan & Pengembangan Kebudayaan Daerah Bali.

Hawkins, Alma M. 1964. Moving From Within A New Method for Dance Making, di alih bahaskan ke dalam bahasa Indonesia, Bergerak Menurut Kata Hati Metode Baru dalam Menciptakan Tari, terj.I Wayan Dibia, Bandung : MSPI.

Hirst, Paul dan Thompson Grahame, 2001. Globalisasi Adalah Mitos. Jakarta: Yayasan Obor Indonesia.

Hoed, Benny H. 2008. Semiotika dan Dinamika Sosial Budaya. Jakarta: Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia.

Holt, Claire. 1992. Seni di Indonesia: Kontinuitas dan Perubahan. (Penerjemahan R.M.Soedarsono). Yogyakarta : ISI Yogyakarta.

Kayam, Umar. 1983. Kreativitas Seni dan Masyarakat. Jakarta : Dian Rakyat.

Mantra, Ida Bagus. 1993. Bali: Masalah Sosial Budaya dan Modernisasi, Sukaya Sukowati (ed)., Denpasar : Pen.Upada Sastra.

Marianto, M.Dwi. 2002. Seni Kritik Seni. Yogyakarta : Lembaga Penelitian ISI Yogyakarta.

Maunati, Yekti, 2004. Identitas Dayak: Komodifikasi dan Politik Kebudayaan, (Pengantar Joel S. Kahn). Yogyakarta: LkiS.

Mudana, I Gede. 2005. “Pembangunan Bali Nirwana Resort di Kawasan Tanah Lot: Hegemoni dan Perlawanan di Desa Beraban, Tabanan, Bali”, (Disertasi). Denpasar: Program Doktor Program Studi Kajian Budaya. Program Pascasarjana Universitas Udayana.

Mudana, I Gede. 2005. “Dari Kajian Tentang Budaya ke Kajian Budaya”, Jurnal Kajian Budaya. Vol. 2 No. 4 Juli 2005. Denpasar: Program S2 dan S3 Kajian Budaya, Universitas Udayana. Hlm. i-iii.

Murgiyanto,Sal. 2000. “Koreografi dan Kreativitas” dalam Mudra: Jurnal Seni Budaya, Denpasar : UPT Penerbitan STSI Denpasar.

Picard, Michael, 2006. Bali, Pariwisata Budaya dan Budaya Pariwisata (Terjemahan). Jakarta: Kepustakaan Populer Gramedia – Forum Jakarta-Paris, Ecole Francaise d’extreme-orient.

Pitana, I Gede. 1994. “Adiwacana : Mosaik Masyarakat dan Kebudayaan Bali” dalam I Gede Pitana (ed.), Dinamika Masyarakat dan Kebudayaan Bali, Denpasar : Penerbit Bali Post.

Rahayu, Ni Putu, 2006. “Komodifikasi Kerajinan Patung Kayu dalam Konteks Pariwisata di Desa Singakerta Kecamatan Ubud, Kabupaten Gianyar,” (Tesis). Denpasar: Program Magister, Program Studi Kajian Budaya, Program Pascasarjana, Universitas Udayana.

Rai S., I Wayan. 1998. “Unsur Musikal dan Ekstra Musikal dalam Penciptaan Gending Iringan Tari Bali” dalam Mudra Jurnal Seni Budaya No.8^th VIII, Denpasar : UPT Penerbitan STSI Denpasar.

Ratna, I Nyoman Kutha. 2004. ”Orasi Ilmiah: Relevansi Teori-teori Postrukturalisme dalam Memahami Karya Sastra, Aspek-aspek Kebudayaan Kontemporer pada Umumnya” Pidato Pengukuhan Jabatan Guru Besar Tetap dalam Bidang Sastra, 1 Mei. Denpasar: Universitas Udayana.

Ratna, I Nyoman Kutha. 2007. Estetika Sastra dan Budaya: Yogyakarta: Pustaka Pelajar.

Ruastiti, Ni Made. 2008. ”Seni Pertunjukan Pariwisata Bali Kemasan Baru Dalam Perspektif Kajian Budaya”, (Disertasi). Denpasar: Program Pascasarjana Universitas Udayana.

Sarpa, I Gusti Made. 1976/1977. Tektekan Di Kerambitan, Denpasar : Proyek Sasana Budaya Bali.

Sedana, I Putu, 2007. “Komodifikasi Pengiriman Seni Pertunjukan Bali ke Luar Negeri: Kasus Sanggar Suar Agung Jegog Jembrana”, (Tesis). Denpasar: Program Magister, Program Studi Kajian Budaya, Program Pascasarjana, Universitas Udayana.

Soedarsono, R.M. 1998. Seni Pertunjukan Indonesia Di Era Globalisasi. Jakarta: Direktorat Jendral Pendidikan Tinggi Departemen Pendidikan dan Kebudayaan.

Soedarsono, R.M. 1999. Seni Pertunjukan Indonesia dan Pariwisata. Yogyakarta: SPSI.

Suandewi, I Gusti Ayu dan A.A. Mayun Artati. 1998. Tektekan Suatu Bentuk Kesenian Touristik Di Bali, Denpasar : Sekolah Tinggi Seni Indonesia.

Subrata, I Wayan. 2012. “Komodifikasi Seni Pertunjukan Barong Di Banjar Denjalan-Batur Desa Batubulan Gianyar Bali”, (disertasi). Denpasar: Universitas Udayana.

Sudana, I Wayan. 1996. “Dramatari Calonarang Sebuah seni Pertunjukan Ritual Magis Di Desa Batubulan Bali”, (Tesis). Yogyakarta: Program Pascasarjana, Universitas Gajah Mada (UGM) Yogyakarta.

Sulastriani, Ni Wayan. 2001. “Tari Tektekan Di Desa Kukuh Kecamatan Kerambitan Kabupaten Tabanan”, (Tesis). Denpasar: Program Magister Ilmu Agama Dan Kebudayaan Program Pascasarjana, Universitas Hindu Indonesia Denpasar (UNHI).

KOMODIFIKASI TEKTEKAN CALONARANG

DI DESA BATURITI, KERAMBITAN, TABANAN

I Ketut Sariada

Program Magister (S2) Program Pascasarjana

Institut Seni Indonesia Denpasar, Bali, Indonesia

e-mail: iketutsariada@gmail.com

ABSTRAK

Tektekan Calonarang merupakan sebuah drama tari Calonarang untuk pariwisata model baru. Penyajiannya diiringi oleh gamelan tektekan, sebuah musik tradisional bambu berukuran kecil, khas Desa Baturiti, Kerambitan, Tabanan. Pada umumnya masyarakat Bali tidak setuju menampilkan unsur budaya yang bersifat sakral untuk pariwisata. Namun, berbeda halnya dengan masyarakat Desa Baturiti, Kerambitan, Tabanan. Mereka justru mendukung komodifikasi Tektekan Calonarang dengan menggunakan barong dan rangda sakral untuk pariwisata. Hal itu menimbulkan berbagai pertanyaan, karena bertentangan dengan sikap masyarakat Bali pada umumnya.

Tujuan penelitian ini adalah untuk memahami komodifikasi Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan yang menggunakan barong dan rangda sakral untuk pariwisata. Penelitian yang berlokasi di Desa Baturiti, Kerambitan, Tabanan ini dilakukan dengan metode kualitatif. Permasalahan yang dikaji meliputi (1) mengapakah masyarakat di Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan menggunakan barong dan rangda sakral untuk pariwisata; (2) bagaimanakah bentuk komodifikasi Tektekan Calonarang tersebut; (3) apakah implikasinya bagi pelaku, masyarakat, dan pertunjukan itu sendiri. Untuk menjelaskan permasalahan tersebut digunakan teori dekonstruksi, teori praktik sosial, teori estetika, dan teori kuasa pengetahuan.

Hasil penelitian menunjukkan bahwa (1) masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan barong dan rangda sakral untuk pariwisata dilatari oleh ideologi pasar, ideologi pembangunan, ideologi religi, dan ideologi konservasi; (2) masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang dengan barong dan rangda sakral dalam bentuk prosesi dan pertunjukan Tektekan Calonarang; (3) komodifikasi Tektekan Calonarang dengan barong dan rangda sakral itu berimplikasi pada peningkatan pendapatan pelaku, masyarakat (multiplier effects), kelangsungan kekuatan magis barong dan rangda tersebut, peningkatan animo pasar/pariwisata, serta sebagai penguat solidaritas sosial masyarakat setempat.

Temuan baru penelitian ini adalah tidak terjadi desakralisasi walaupun barong dan rangda sakral itu dikomodifikasikan untuk pariwisata. Hal itu disebabkan oleh pelaku/masyarakat setempat melakukan upacara penyucian khusus terhadap barong dan rangda tersebut sesuai dengan konteksnya masing-masing pada setiap penyajiannya.

Kata kunci: komodifikasi, Tektekan Calonarang, barong dan rangda sakral, ideologi, pariwisata.

ABSTRACT

Keywords: commodification, Tektekan Calonarang, sacred barong and rangda, ideology, tourism.

PENDAHULUAN

Tektekan Calonarang merupakan sebuah dramatari tradisional Bali yang disajikan dalam konteks pariwisata. Dramatari tersebut sangat unik karena selain menampilkan lakon Calonarang, seni pertunjukan pariwisata itu diiringi gamelan tektekan, sebuah jenis gamelan tradisional Bali terbuat dari bambu berukuran kecil, yang dimainkan dengan cara dipukul secara bergantian dengan dinamika dan tempo bervariasi. Sebagai salah satu jenis seni pertunjukan pariwisata Bali, Tektekan Calonarang merupakan seni pertunjukan yang khas dan berbeda dibandingkan dramatari Calonarang pada umumnya. Pada umumnya dramatari Calonarang dalam konteks pariwisata diiringi gamelan Gong Kebyar. Oleh sebab itu Tektekan Calonarang yang berasal dari desa Baturiti, Kerambitan, Tabanan itu sangat diminati wisatawan. Oleh karenanya, sebagai salah satu jenis seni pertunjukan pariwisata Tektekan Calonarang itu tidak saja ditampilkan di desa Baturiti, Kerambitan sendiri, tetapi juga disajikan dalam konteks pariwisata hingga ke luar wilayahnya sendiri yakni di daerah-daerah obyek wisata lainnya di Bali.

Secara umum penelitian ini bertujuan untuk mengetahui dan memahami komodifikasi Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan, dengan barong dan rangda sakral untuk pariwisata sebagai salah satu unsur kebudayaan masyarakat Desa Baturiti, Kerambitan, Tabanan yang kini berkembang sebagai identitas budaya dan produk pariwisata desa tersebut. Secara khusus penelitian ini bertujuan untuk memahami latar belakang, bentuk dan implikasi komodifikasi Tektekan Calonarang yang menampilkan barong dan rangda sakral untuk pariwisata di Desa Baturiti, Kerambitan, Tabanan.

Manfaat penelitian secara teoretis, penelitian ini diharapkan bermanfaat atau sebagai bahan acuan dalam menambah pengetahuan, khususnya di bidang kajian budaya. Oleh karena adanya temuan konsep, maka dipakai sebagai bahan masukan bagi peneliti selanjutnya. Secara praktis penelitian ini bermanfaat sebagai sumbangan pemikiran kepada masyarakat dalam menumbuhkan kepedulian dan apresiasinya terhadap Tektekan Calonarang di Desa Baturiti, Kerambitan, Tabanan.

METODE PENELITIAN

Rancangan penelitian ini mempergunakan pendekatan kualitatif ditinjau dari perspektif culture studies. Lokasi penelitian terletak di Desa Baturiti, Kerambitan, Tabanan. Jenis data: kualitatif didukung juga data kuantitatif. Sumber data: primer dan sekunder. Teknik penentuan Informan menggunakan Purposive Sampling. Instrumen penelitian yaitu peneliti sbg instrumen utama dibantu dengan instrumen lain spt pedoman wawancara, tape recorder, kamera foto dan video. Teknik pengumpulan data menggunakan studi dokumen, wawancara, kepustakaan. Teknik Analisis Data dilakukan dengan reduksi, penyajian, dan penarikan kesimpulan sehingga menemukan temuan baru. Teknik penyajian hasil analisis data dilakukan secara informal dibantu dengan penyajian formal.

HASIL DAN PEMBAHASAN

Ideologi Di Balik Komodifikasi Tektekan Calonarang

Ideologi yang melatari komodifikasi Tektekan Calonarang yang menampilkan barong dan rangda sakral untuk pariwisata Desa Baturiti, Kerambitan, Tabanan adalah ideologi pasar, ideologi pembangunan, ideologi religi, dan ideologi konservasi.

(a) Ideologi pasar. Tektekan Calonarang yang sering tampil di Puri Anyar Kerambitan dan di hotel-hotel kawasan Nusa Dua dengan mempergunakan barong dan rangda dengan label '''sakral" sangat jelas memiliki tendensi kepentingan pasar, sebab menurut penuturan pimpinan Sekaa Tektekan Calonarang Rama Bawa, I Wayan Arsana (59 tahun), bahwa sekaa tektekan yang ia pimpin tidak akan laku dan metaksu apabila tampil tidak dengan barong dan rangda sakral. Dengan pernyataan tersebut bahwa, dengan melibatkan barong dan rangda sakral pertunjukan Tektekan Calonarang disukai oleh para wisatawan karena unik dan menarik. Ternyata dengan barong dan rangda sakral mampu mengangkat popularitas sekaa Tektekan Calonarang Rama Bawa dengan identitasnya tersendiri. Lekatnya program pengembangan seni budaya Bali dengan usaha pemerintah dalam upaya memajukan dunia kepariwisataan, otomatis menggiring arah kebijakan yang lebih berorientasi pada dunia pasar. Dengan kata lain, pemberlakuan produk-produk kesenian cenderang ditempatkan sebagai barang komoditi. Peluang pariwisata ini dimanfaatkan dengan baik oleh Puri Anyar Kerambitan dengan menjadikan puri sebagai tempat tujuan wisata. Dengan dapatnya puri memberikan lapangan kerja bagi masyarakat di sekitarnya, puri berharap akan tetap menjadi pusat orientasi masyarakat dalam melakukan kegiatan-kegiatan sosial maupun kegiatan berkesenian sebagaimana tradisi sebelumnya. Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan di samping memiliki fungsi ritual magis juga berfungsi ekonomi yaitu sekaa tektekan ini sedikit tidaknya menghandalkan pertunjukan untuk mampu membantu kebutuhan hidupnya.

(b) Ideologi Pembangunan terkait dengan aspek peningkatan kesejahteraan masyarakat Desa Baturiti. Pertama, peningkatan kesejahteraan lahir, Tektekan Calonarang bisa dikembangkan dalam rangka mendukung timbulnya pariwisata yang ujung-ujungnya masyarakat akan memperoleh dampak ekonomi secara langsung. Selain itu pula dengan munculnya industri kreatif yang berbasis budaya lokal juga mendorong Usaha Kecil Masyarakat untuk tumbuh dan berkembang di wilayah pedesaan. Kedua, peningkatan kesejahteraan batin, komodifikasi Tektekan Calonarang mampu menumbuhkan nilai-nilai kesetiakawan sosial, nasionalisme, cinta terhadap budaya sendiri, toleransi, ramah, sopan santun, dan toleransi tinggi. Dalam hal ini pembangunan kebudayaan merupakan bagian yang tidak bisa dipisahkan dari pembangunan pendidikan. Gambaran untuk membentuk manusia Indonesia yang kreatif, berkarakter, dan produktif merupakan keterpaduan antara pembangunan di bidang pendidikan dan kebudayaan. Pembangunan Nasional Indonesia pada dasarnya bertujuan agar mampu menciptakan bangsa Indonesia seutuhnya, baik lahiriah maupun batiniah. Dengan demikian diharapkan bahwa, akan tercipta keseimbangan diantara keduanya. Oleh karena itu pula kedua bagian yang tidak dapat dipisahkan ini haruslah mendapat perhatian yang serius serta ditangani secara seimbang. Konsep keseimbangan atau keharmonisan sudah kita warisi pula sejak masa lampau. Sebagai sebuah contoh saja di Bali dikenal salah satu konsep keseimbangan atau keharmonisan yang disebut Tri Hita Karana. Tri Hita Karana itu merupakan sebuah konsep yang menghendaki adanya keseimbangan antara manusia dengan tuhan, manusia dengan manusia, manusia dengan alam atau lingkungan. Dalam hubungan dengan keseimbangan ini telah terbukti bahwa seni memiliki peranan yang sangat penting dalam kehidupan manusia. Komodifiksi Tektekan Calonarang merupakan pengembangan kreativitas seni pertunjukan. Mengacu pada pendapat tersebut kreativitas dalam penelitian ini dapat diartikan sebagai pengetahuan dan kemampuan yang dimiliki kreator untuk mengembangkan daya kreatifnya dalam menciptakan, mewujudkan gagasan baru ataupun komodifikasi Tektekan Calonarang yang menimbulkan bertambahnya nilai guna maupun nilai jual pertunjukan tersebut. Hal itu dapat dilihat apabila karya yang mereka hasilkan itu untuk kepentingan ekonomi maka orientasi karya yang diwujudkan itupun mengarah kepada seni industri, yang kreativitas pengembangan bentuk penyajiannya pun sesuai dengan selera pasar atau pemilik modal. Demikian pula jika penciptaannya dilakukan untuk disajikan untuk kepentingan upacara keagamaan (persembahan) maka orientasi menciptaan karya seni itupun akan mengedepankan nilai-nilai spiritual dan religius. Begitu pula apabila karya seni yang diciptakan bertujuan untuk festival (art for art), maka karya seni yang diciptakan itupun diciptakan berdasarkan kaidah-kaidah seni festival atau bukan untuk pasar atau ekonomi. Dengan demikian, dapat dikatakan bahwa tujuan dan oriantesi pengembangan seni selalu terkait dengan tujuan yang mendasarinya serta kemampuan kreatif para senimannya.

(c) Ideologi Religi ditunjukan dengan mitos yang diyakini dan upacara yang digunakan dalam Tektekan Calonarang. Barong dan Rangda sungsungan yang bersinergi dengan Tektekan Calonarang dipandang sebagai pelindung dari berbagai hal negatif yang tidak diinginkan. Mitos memang sangat banyak pengaruhnya terhadap eksistensi Tektekan Calonarang. Mitos yang paling diyakini adalah barong dan rangda sungsungan sebagai pengusir wabah penyakit apabila menimpa masyarakat Baturiti. Dengan keyakinan masyarakat seperti itu akhirnya Tektekan Calonarang sering kali difungsikan sebagai tolak bala, yaitu tari yang diyakini dapat melindungi masyarakat dari kemungkinan mara bahaya. Fungsi Tektekan Calonarang sebagai tolak bala ini merupakan salah satu bentuk dari upaya masyarakat pendukung Calonarang dalam menjaga keseimbangan dan keselarasan antara manusia dan lingkungan alamnya. Kegiatan yang biasanya dilakukan dalam upaya tersebut adalah ngelawang, yaitu tektekan, barong dan rangda sungsungan diarak keliling kampung diikuti oleh seluruh masyarakat Baturiti.

(d) Ideologi Konservasi ditunjukan dengan pemelihaaran Tektekan Calonarang sebagai identitas masyarakat Desa Baturiti yang membedakan antara budaya Bali dengan budaya-budaya lainnya di dunia. Keberadaan Tektekan Calonarang, yang memiliki ciri pada pola garap serta gayanya yang sangat dinamis, sesungguhnya sudah menunjuk pada identitas etnis budaya masyarakat Baturiti. Terkait dengan intensitas para seniman yang senantiasa berpacu dalam mempresentasikan eksistensi diri mereka melalui ajang pertunjukan Tektekan Calonarang, maka tindakan mereka (seniman) mampu menunjukkan dan membangun suatu identitas, baik secara individu (pribadi) maupun kelompok. Dengan perkataan lain, selain telah terpatri suatu identitas budaya Tektekan Calonarang bagi masyarakat Baturiti, terjadi pula mekanisme ke arah proses pembentukan identitas baru. Tektekan Calonarang juga sebagai penguat relasi sosial masyarakat. Hubungan patron-client antara pihak puripun dengan masyarakat sekitarnya masih terpelihara dengan baik. Pola hubungan seperti ilu tampak pula dalam setiap kegiatan sosial (upacara adat dan agama) yang diselenggarakan di lingkungan puri Anyar Kerambitan. Masyarkat di lingkungan puri tersebut tanpa dipaksa akan datang untuk ngayah mengabdi ke puri untuk membantu mempersiapkan dan menyelesaikan setiap rangkaian upacara yang sedang berlangsung. Pihak puri Anyar Kerambitan juga merasa bangga bahwa mereka masih mempunyai panjak (rakyat) yang dengan setia membantu dan meringankan tugas-tugas puri dalam penyelenggaraan upacara tersebut. Hubungan yang bersifat priciple of resiprocity itu kiranya juga merupakan dampak dari keberhasilan pihak puri Anyar Kerambitan dalam mendatangkan wisatawan ke desa tersebut sehingga setiap orang di masyarakat itu mendapat trickle side efect dari acara tesebut.

Bentuk komodifikasi Tektekan Calonarang

Bentuk komodifikasi Tektekan Calonarang adalah disajikan dalam bentuk prosesi dan bentuk Dramatari Tektekan Calonarang. Bentuk prosesi Tektekan Calonarang yang ditampilkan oleh Puri Anyar Kerambitan yang dirangkai penyambutan tamu melibatkan sedikitnya 300 orang pelaku di setiap penyajiannya. Anak Agung Oka Silagunada selaku tetua puri menampilkan tema pertunjukan "prosesi penyambutan tamu kerajaan". Hal ini dilakukannya karena mempertimbangkan potensi yang dimiliki masyarakat setempat, misalnya keterampilan masyarakat membuat makanan tradisional, membuat jajan tradisional, dan sebagainya. Dengan melihat potensi tersebut, Anak Agung Oka Silagunada memilih tema pertunjukan "prosesi penyambutan tamu kerajaan". Untuk menampilkan pertunjukan yang bertemakan "prosesi penyambutan tamu kerajaan" ini, puri Kerambitan pun tidak membuat stage khusus. Berbagai komponen pertunjukan yang ditampilkan ini digelar di depan puri, di halaman depan puri, dan di halaman tengah puri. Khusus untuk Tektekan Calonarang di pentaskan di halaman jaba sisi dari puri Anyar Kerambitan, Tabanan. Bentuk pertunjukan Tektekan Calonarang berbentuk dramatari dengan mempergunakan lakon/cerita Calonarang yang berjudul Ni Diah Ratna Mangali. Tektekan Calonarang diproduksi untuk diperjual belikan guna menunjang perekonomian masyarakat di Desa Baturiti, Kerambitan, Tabanan. Distribusi Tektekan Calonarang telah dilakukan secara luas, lokal dan global, baik melalui situs internet atau melalui iklan komersial televisi maupun melalui berbagai media cetak, seperti buku, surat kabar, majalah, buletin, dan brosur. ada tiga elemen penting yang berperan dalam distribusi yaitu pemerintah, biro perjalanan wisata (BPW), dan masyarakat. Tektekan Calonarang dikonsumsi oleh wisatawan asing maupun domistik yang dipertunjukan di Puri Anyar Kerambitan, Tabanan dan di hotel-hotel kawasan Nusa Dua Bali,

Implikasi Komodifikasi Tektekan Calonarang

Implikasi komodifikasi Tektekan Calonarang pada pelaku pertunjukan, pada seni pertunjukan, pada ekonomi, pada puri, dan pada sosial budaya. Komodifikasi Tektekan Calonarang dengan barong dan rangda sakral itu berimplikasi terhadap peningkatan keyakinan pelaku dan masyarakat setempat terhadap kekuatan magis barong dan rangda tersebut, peningkatan animo pasar/pariwisata untuk menonton Tektekan Calonarang tersebut, yang tentu berimplikasi pada peningkatan pendapatan ekonomi pelaku, masyarakat setempat. Dengan komodifikasi Tektekan Calonarang yang dilakukan para pihak terkait berimplikasi terhadap pembentukan citra dan identitas pertunjukan Caloarang yang dimiliki desa tersebut. Seringnya Tektekan Caloarang tersebut pentas berimplikasi terhadap konservasi, keberlangsungan Tektekan Calonarang itu, meningkatnya kuantitas pertemuan warga, yang secara tidak langsung berfungsi sebagai pengikat solidaritas sosial masyarakat setempat.

Sebagai temuan baru dalam penelitian ini adalah. 1) Tidak terjadinya desakralisasi walaupun barong dan rangda sakral itu digunakan disajikan dalam Tektekan Calorang untuk pariwisata, karena pada setiap penyajiannya pelaku/masyarakat melakukan upacara penyucian yang berbeda-beda sesuai dengan konteks penyajian barong dan rangda sakral tersebut. (2) Berkembangnya komodifikasi Tektekan Calonarang di Desa Baturiti, Kerambitan, Tabanan tersebut menguatnya legitimasi puri dengan rakyat. Puri dapat mempertahankan hubungan patron-client, gengsi/wibawa puri yang dalam hal ini dapat menguntungkan bagi masyarakat sekitarnya untuk kepentingan ekonomi dan politik puri. (3) Menguatnya solidaritas dan identitas dengan ikon Tektekan Calonarang, secara sosial budaya mempunyai makna "simbiosis mutualistis" bagi puri, masyarakat di sekitarnya, biro perjalanan wisata (BPW), dan pengayaan bagi khasanah kebudayaan Bali.

Sebagai saran antara lain (1). Untuk mencegah terjadinya konflik di masyarakat dalam memenuhi kebutuhan akan seni pertunjukan pariwisata berwawasan budaya Bali, sebaiknya perlu ditiru konsep komodifikasi Tektekan Calonarang yang dikemas dari berbagai potensi seni budaya masyarakat setempat sesuai dengan potensi yang dimilikinya. (2). Untuk menjaga eksistensi Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan, agar dalam pertunjukannya tetap mejaga kualitas, sehingga dapat bersaing baik lokal maupun global. (3). Untuk menyikapi persaingan, sebaiknya Pemerintah TK.II Kabupaten Tabanan tetap sebagai pelindung dan kelestarian seni budaya yang ada di kabupaten Tabanan. Begitu pula puri terus meningkatkan kualitas pertunjukan, pelayanan, promosi, dan meningkatkan jaringan, kerjasama dengan berbagai pihak baik dalam maupun luar. Sehingga roh dari seni pertunjukan Bali yang adi luhung tetap hidup dan berkembang dengan baik sesuai dengan etika, logika, dan estetika.

PENUTUP

Simpulan

1) masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang menggunakan barong dan rangda sakral untuk pariwisata dilatari oleh ideologi religi, ideologi pasar, ideologi konservasi, dan ideologi budaya.

2) Masyarakat Desa Baturiti, Kerambitan, Tabanan mengomodifikasikan Tektekan Calonarang menggunakan barong dan rangda sakral dalam bentuk prosesi dan Dramatari Calonarang.

3) Komodifikasi Tektekan Calonarang dengan barong dan rangda sakral itu berimplikasi terhadap peningkatan keyakinan pelaku dan masyarakat setempat terhadap kekuatan magis barong dan rangda tersebut, peningkatan animo pasar/pariwisata untuk menonton Tektekan Calonarang tersebut, yang tentu berimplikasi pada peningkatan pendapatan ekonomi pelaku, masyarakat setempat. Dengan komodifikasi Tektekan Calonarang yang dilakukan para pihak terkait berimplikasi terhadap pembentukan citra dan identitas pertunjukan Caloarang yang dimiliki desa tersebut. Seringnya Tektekan Caloarang tersebut pentas berimplikasi terhadap konservasi, keberlangsungan Tektekan Calonarang itu, meningkatnya kuantitas pertemuan warga, yang secara tidak langsung berfungsi sebagai pengikat solidaritas sosial masyarakat setempat.

Temuan Baru Penelitian

(1) Tidak terjadinya desakralisasi walaupun barong dan rangda sakral itu digunakan disajikan dalam Tektekan Calorang untuk pariwisata, karena pada setiap penyajiannya pelaku/masyarakat melakukan upacara penyucian yang berbeda-beda sesuai dengan konteks penyajian barong dan rangda sakral tersebut.

(2) Berkembangnya komodifikasi Tektekan Calonarang di Desa Baturiti, Kerambitan, Tabanan tersebut menguatnya legitimasi puri dengan rakyat. Puri dapat mempertahankan hubungan patron-client, gengsi/wibawa puri yang dalam hal ini dapat menguntungkan bagi masyarakat sekitarnya untuk kepentingan ekonomi dan politik puri.

(3) Munculnya komodifikasi Tektekan Calonarang di Desa Baturiti, Kerambitan, Tabanan tersebut ditemukan menguatnya solidaritas dan identitas dengan ikon Tektekan Calonarang, secara sosial budaya mempunyai makna "simbiosis mutualistis" bagi puri, masyarakat di sekitarnya, biro perjalanan wisata (BPW), dan pengayaan bagi khasanah kebudayaan Bali.

Saran

Sebagai saran atas keberadaan komodifikasi Tektekan Calonarang yang menampilkan barong dan rangda sakral untuk pariwisata, antara lain :

(1). Untuk mencegah terjadinya konflik di masyarakat dalam memenuhi kebutuhan akan seni pertunjukan pariwisata berwawasan budaya Bali, sebaiknya perlu ditiru konsep komodifikasi Tektekan Calonarang yang dikemas dari berbagai potensi seni budaya masyarakat setempat yang memungkinkan mereka mendapat peluang untuk dapat tampil bersama-sama sesuai dengan potensi yang dimilikinya.

(2). Untuk menjaga eksistensi Tektekan Calonarang Desa Baturiti, Kerambitan, Tabanan, agar dalam pertunjukannya tetap mejaga kualitas, sehingga dapat bersaing baik lokal maupun global.

(3). Untuk menyikapi persaingan, sebaiknya Pemerintah TK.II Kabupaten Tabanan tetap sebagai pelindung dan kelestarian seni budaya yang ada di kabupaten Tabanan. Begitu pula puri terus meningkatkan kualitas pertunjukan, pelayanan, promosi, dan meningkatkan jaringan, kerjasama dengan berbagai pihak baik dalam maupun luar. Sehingga roh dari seni pertunjukan Bali yang adi luhung tetap hidup dan berkembang dengan baik sesuai dengan etika, logika, dan estetika.

Dengan keterbatasan waktu dan kemampuan penulis, kiranya masih banyak hal-hal menarik lainnya yang belum terungkap dalam penelitian ini. Oleh sebab itu penulis sarankan agar dilakukan penelitian lanjutan guna mengungkap hal-hal yang belum terungkap dalam penelitian ini.

UCAPAN TERIMA KASIH

Akhirnya, semoga Ida Sang Hyang Widhi Wasa/Tuhan Yang Mahaesa selalu melimpahkan rahmat-Nya kepada pihak-pihak yang telah membantu pelaksanaan dan penyelesaian disertasi ini. Dengan selesainya disertasi ini, mudah-mudahan bermanfaat sebagai khasanah karya ilmiah Indonesia.

DAFTAR PUSTAKA

Ardika, I Wayan, 2005. “Strategi Bali Mempertahankan Kearifan Lokal di Era Global” dalam Putra, Dharma & Sancaya, Windhu, (ed.) Kompetensi Budaya Dalam Globalisasi, Denpasar: Fakultas sastra Universitas Udayana dan Pustaka Larasan. Hlm. 17-27).