Portal Jurnal UPI


Antologi Jurnal Sejarah Dan Pendidikan Sejarah

« Volume 2, Nomor 1, April 2013


Neneng Yessi
Indonesia is one country that is rich in culture. Arising and evolving culture in every tribe has a unique and distinct different so that each region has at least one culture to be proud of. The diversity of types of traditional art in its development can not be separated from public life supporters. This happens because the art was born, grow and thrive in a community environment buffer. Similarly, the development under the influence of the environment. One is the Javanese culture. Culture Java in this regard West Java have a vagaries cultural, one of them being is the Arts Genjring Burok. Research using qualitative methods that are descriptively. Research sites in Cirebon regency. Data collection techniques used were observation, interviews, and documentation. Data analysis is data reduction, data display and conclusion drawing or verification. This study departed from the state of the art Genjring Burok extinction. The symptoms that appear interesting to study a variety of problems that can be studied in this research are: 1) What is the background of Art Genjring Burok in Cirebon regency? 2) How does the development of Art Genjring Burok in Cirebon regency? 3) How do people's responses both actors and audience Genjring Burok Arts in Cirebon regency? 4) What efforts have been done the Cirebon to retain Arts Genjring Burok? The results showed that: First, art Genjring born Burok anonymously meaning is not known how the background Genjring Burok born and who the creator. But even so, the arts Genjring Burok is one of the cultural assets in the district of Cirebon. Secondly, art Genjring Burok in Cirebon developing since 1934. Burok Genjring art changed in 1971, with the replacement of a stuffed animal form Burok badawangan. Waditra adding a guitar, keyboard, and others. Going into 2000, art Genjring Burok setbacks. Most public taste began to shift in line with the rise of modern art modern art that emerged in the community. Third, there are people who respond to positive and negative. In the development of this art still not widely recognized by the community in Cirebon regency. Burok Genjring art can only be known on the extent of environmental actors and the people who fan. Fourth, the existence of the art Genjring Burok already displaced by modern art, efforts are required to preserve and maintain it. Efforts include the support of the community, especially the perpetrators or supporters and local governments are also still in love with its local arts. In this discussion the authors emphasize that conservation efforts going on in the arts Genjring Burok the two elements most relevant and responsible for its development. Both of these elements none other is the perpetrator or artist Genjring Burok it's itself and the of course government or of local institutions.

Kata kunci : Art, Genjring Burok, Cirebon

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