DECONSTRUCTION OF TRADITIONAL ART: PRESENTATION STYLE OF CENK BLONK LEATHER PUPPET ON DEWATA TV I Dewa Made Darmawan Indonesia Institute of the Arts Denpasar email: dmd190259@yahoo.com ABSTRACT The presentation of Cenk Blonk Leather Puppet on Dewata TV, as a cultural phenomenon with a variety of complex problems, has been observed by most people. However, it is still enthusiastically welcome by the lovers of the Balinese leather puppet both in Bali and outside Bali. It seems that they are not aware of some basic changes in the way it is presented on TV. The way in which it is presented on TV is different from the way in which it is presented on the stage. It is such a cultural art which inspired the writer to explore and analyze in depth the way in which it is presented on TV. This study focuses on how the Cenk Blonk leather puppet is presented on Dewata TV to perform the theme “Dyah Ratna Takeshi”. It was found that the presentation of the Cenk Blonk leather puppet on Dewata TV in its program entitled “Pentas Wayang Kulit’ (the Leather Puppet Performance) was the aesthetic presentation in which the elements of the traditional art were mixed with the modern technology medium (television). The material of the presentation of the Cenk Blonk leather puppet on Dewata TV employed the production of Bali Record which had been reprocessed (deconstructed and reconstructed). Advertisements and other materials were added and some parts were edited so that it suited the pattern of presentation and the slot of time during which it was presented. The Cenk Blonk leather puppet presented on Dewata TV was not completed with any accurate text and context. It gave impression that the traditional art was used to “package” advertisements and other promotions. The presentation of the Cenk Blonk leather puppet on Dewata TV proved to be able to attract many people, especially the young people. They were made to be addicted to the puppetry art. Before, they were not interested in it. Keywords: deconstruction, traditional art, presentation style, leather puppet. INTRODUCTION “Badan Sejuk Aktivitas Lancar” (if the body is cool every activity can be fluently done) was the head line of the television advertisement uttered by an actor as what was inserted in the television program entitled “pentas wayang kulit” (leather puppet performance). It was also completed with imaginary words which were clearly shown in the illusion of the movements made by the actors of the angle camera and textual animation which contained the hidden massage of the products advertised on the TV screen. Unconsciously, it entered the mind at once through the eye lens. The presentation of the informative and persuasive advertisements on television, which was interestingly packaged with spectacular pictures using picture designing and audiovisual technology showed that the traditional art was used to package a variety of products needed for life. Various types of products, starting from the products primarily needed for daily life to the products needed to enhance identity, washed our brains in such a way that we decided to buy the products which were shown and caught by our eyes every second and minute while we were enjoying the program entitled “Pentas Wayang Kulit” (the leather puppet performance). The sophistication of the technology of mass media (television) appeared to give opportunities and challenges to the forms of the Balinese traditional art which was adopted as the material presented. The introduction of the Balinese leather puppet such as the Cenk Blonk Leather Puppet to Dewata TV was a cultural phenomenon showing that there was a “collision” between the traditional cultural values (the leather puppet) and the new technology (the medium technology), while the traditional leather puppet was being marginalized. The fact that the Ramayana leather puppet and the purwa leather puppet were scarcely performed proved this. This present study was intended to understand, discuss, and explain the cultural phenomenon showing that there was a “collision” between the traditional art and the modern technology. In particular, this present study was intended to analyze in depth how the Cenk Blonk leather puppet was presented on Dewata TV, to identify how the material of the Cenk Blonk Leather Puppet presented on Dewata TV was produced, and to interpret the impact and meaning of the material the Cenk Blonk leather puppet presented on Dewata TV. In theory, it was expected that the results of the present study would contribute to the treasure of the cultural studies. In relation to that, it was also expected that the results of the present study would also enrich the sciences which are related to the traditional art presented on television. In practice, it was expected that the results of the present study would give information and motivation to the lovers of the Balinese leather puppet to conduct research on the leather puppet presented on television. In this present study three theories were used; they are the theory of deconstruction, the theory of hegemony, and the theory of aesthetics. In general, it could be stated that the theory of deconstruction and the theory of hegemony were used to analyze the problems related to the leather puppet presented on television. In particular, it could be stated that the theory of deconstruction was used to analyze how the Cenk Blonk Leather Puppet was presented on Dewata TV. The theory of hegemony was used to analyze how the material of the Wayang Kulit Cenk Blonk presented on Dewata TV was produced. Finally, the theory of aesthetics was used to analyze the impact of the Cenk Blonk Leather Puppet presented on Dewata TV on the art life and the puppetry in Bali. RESEARCH METHOD This present study was designed to be qualitative research using phonological approach. It is assumed in the phonological approach that knowledge is not objective and static in nature, but it is interpretative (Mulyana, 2002: 33-34). A social phenomenon is always contemporary in nature; even it is polysemic (multimeaning) in nature; it is still assumed in that way until it is negotiated in order to determine the status of such a social reality. In the present study, qualitative method with phenomenological approach was used as guidance or the working principle, starting from collecting the data, sorting the authentic data through the process of analysis, to explaining the synthesis of the results obtained in order to draw conclusions. All the data presented in the present study were obtained by observing (a) the Cenk Blonk Leather Puppet directly performed at Dalem Temple Serongga, Gianyar; (b) the recorded Cenk Blonk Leather Puppet presented by Dewata TV. The data were also obtained by interviewing in depth the leather puppet lovers and the puppeteers in Bali. The key informant was I Wayan Nardayana, the puppeteer. The primary data were collected using the observation and interview techniques. The secondary data, as the supporting data, were obtained through the documentary study; the recordings, the pictures, the results of the studies previously conducted related to the Cenk Blonk Leather Puppet were learned thoroughly. Qualitative method was used and the data were descriptively, qualitatively, and interpretatively analyzed. The writer narrated, pictured or described the object objectively as it was and interpreted all the information obtained in the field. RESULTS AND DISCUSSION The results of the study can be described as follows. First, the Cenk Blonk Leather Puppet presented on Dewata TV was the presentation of the innovative leather puppet which had been deconstructed through several stages. The implication was that what was not presented was not in accordance with the original, meaning that what was presented was less intact and less unified. Second, the production of the Cenk Blonk Leather Puppet was deconstructed through two stages; they are (1) the recording of the Cenk Blonk Leather Puppet was deconstructed in such a way that it could be recorded in the form of Vidio Compact Disk (VCD) and (2) the VCD was processed again in such a way that advertisements and the promotion of what was programmed by Dewata TV, bumper in, bumper out, could be inserted in the leather puppet performance before it was presented on Dewata TV. It was the materials which were inserted which degraded the aesthetic values of the Cenk Blonk Leather Puppet on Dewata TV. Third, the Cenk Blonk Leather Puppet presented on Dewata TV also had socio-cultural, aesthetic, and economic impacts. In addition, it also gave educational meaning, the meaning of preservation and welfare to the puppetry art in Bali. As the illustration of the deconstruction and reconstruction of the Cenk Blonk Leather Puppet presented on Dewata TV, one episode is presented as in the following table. Segment EPISODE 1 Time Opening Program of Dewata TV, Bumper In, Teaser 04’01’’ I Opening; Igel Kayonan, Jejer Wayang, Cabut Kayonan Penyacah Parwa (one part) 09’31’’ Bumper out, Advertisement, promotional programs 03’03’’ II Bumper in 00’29’’ Opening; Penyacah Parwa (continued) 04’29’’ Paguneman (one part) Yudistira is accompanied by Tualen at Bale Paseban 09’46’’ Bumper out, advertisements, promotional program 02’00’’ III Bumper in 00’29’’ Paguneman (continued) Kanda Tualen-Merdah 10’40’’ Bumper out, Advertisements, Promotional Program 02’31’’ IV Bumper in 00’30’’ Paguneman (lanjutan) Bimasena-Ahimanyu Kanda Bimasena – Tualen, Kanda Bimasena - Abhimanyu 06’59’’ Credit tirle, tanjeb kayonan, Bali Record logo, Dewata logo 00’49’’ Time of the Cenk Blonk Leather Puppet Presentation 41’25’’ (Source: Tayangan Dewata TV, 17 November 2013). CONCLUSION AND SUGGESTION First, the Cenk Blonk Leather Puppet presented on Dewata TV in the program entitled “Pentas Wayang Kulit” (the Leather Puppet Performance) was an aesthetic presentation which mixed the elements of the traditional art and the modern technological medium (television). The leather puppet presentation could be clearly understood using the theory of deconstruction and the theory of aesthetics. Second, the Cenk Blonk Leather Puppet presented on Dewata TV was produced through three stages; they are the preproduction stage, the production stage, and the after production stage. The theory of deconstruction and the theory of hegemony were used to discuss and explain how the material presented was produced. The material presented on Dewata TV was adopted from the production of the Bali Record (which was deconstructed before it was reconstructed). After it was produced, it was edited and then advertisements and other materials were inserted in it in order to suit the pattern of presentation and the time slotted for presentation. The process of deconstruction and reconstruction caused the Cenk Blonk Leather Puppet presented on Dewata TV to lose its textual accuracy and context, and to give impression that the traditional art was used to “package” advertisements and other promotions. Third, the Leather Puppet presented on Dewata TV had social, cultural, aesthetic and economic impacts and meanings. The social and cultural impact was that the leather puppet presented on television led to less social interaction among the viewers of the leather puppet in Bali. The reason was that the viewers could watch the Leather Puppet performance from their respective home. The aesthetic impact was that the Leather Puppet presented on TV did not reflect an intact performance of the leather puppet, as advertisements, promotions and other messages were inserted in it. The economic impact was that the Cenk Blonk Leather Puppet presented on Dewata TV could be used as a promotional medium for the art groups so that they would be well known by the public. The meaning of Cenk Blonk Leather Puppet presented on TV was significant enough. It was meaningful from the points of view of preservation, education, and welfare. The fact that the Leather Puppet presented on Dewata TV could attract many people especially the young people proved the meaning of preservation. The young people used to dislike the leather puppet performance. The fact that the Cenk Blonk Leather Puppet gave educational messages which were highly needed by the public proved the educational meaning. The educational messages starting from the ethic values to the moral and spiritual values were neatly packaged in the form of fresh jokes. The meaning of welfare could be seen from the fact that being presented on Dewata TV could promote so widely the puppetry art in general and the Cenk Blonk Leather Puppet in particular to the public which strengthened the market and increased its selling value. As a result, the group ‘sekaa’ members became more welfare. It was expected that the results of the present study could give new understanding to the lovers of the Balinese puppetry art of the leather puppet presented on television. It was also expected that the results of the study would motivate the Balinese puppetry artists, especially the puppeteers who are interested in performing the leather puppet on mass media to prepare themselves. It is also important for the writer to remind the producer and editor of television programs of being more careful in processing the materials of the traditional art which will be presented on television especially the Balinese leather puppet. ACKNOWLEDGEMENT The writer owed many parties for the completion of this article. Therefore, in this opportunity the writer would like to thank and highly appreciate Prof. Dr. I Wayan Dibia, SST.,MA., Prof. Dr. I Nyoman Kutha Ratna, S.U., Prof. Dr. Emiliana Mariyah, M.S., Ir. I Nyoman Artha (the Director of Dewata TV), Yudith Erawathi (the Programmer and Producer of Dewata TV), I Gede Arimbawa (the Senior Editor of Dewata TV), Tugung Prabuwana (Activation/producer of Dewata TV), and I Wayan Sutawan, S.Sn. (the former producer of Dewata TV. The writer would also like to thank I Wayan Nardayana (the puppeteer of the Cenk Blonk Leather Puppet), I Ketut Muada (the puppeteer of the Leather Puppet of Joblar ABG), I Made Nuarsa (the puppeteer of the Leather Puppet of D’Karbhit). BIBLIOGRAPHY Abdullah, Irwan. 2006. Konstruksi dan Reproduksi Kebudayaan. Yogyakarta: Pustaka Pelajar. Aminuddin. 2002. "Pendekatan Pasca-Struktural: Jacques Derrida". Dalam Analisis Wacana dari Linguistik Sampai Dekonstruksi. Yogyakarta: Kanal. Baudrillard, Jean P. 2004. Masyarakat Konsumsi. Yogyakarta: Kreasi Wacana. Bungin, Burhan. 2001. Imaji Media Massa Konstruksi dan Makna Realitas Sosial Iklan Televisi dalam Masyarakat Kapitalistik. Yogyakarta: Jendela. ______. 2008. Konstruksi Sosial Media Massa: Kekuatan Pengaruh Media Massa, Iklan Televisi dan Keputusan Konsumen serta Kritik terhadap Peter L. Berger & Thomas Luckmann. Jakarta: Kencana. Burton, Graeme. 2008. Yang Tersembunyi di Balik Media.Yoyakarta: Jalasutra. 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