1 Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification Agus Maladi Irianto, Arido Laksono, Hermintoyo Faculty of Humanities, Universitas Diponegoro, Indonesia Received: November 6, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract The aim of this study is to describe traditional art capitalization as the cultural identity of a so- ciety and a strategy of the society which supports traditional art in developing cultural comodi- fication in line with the demands of the tourism industry. The paper is based on field research presenting a case study of the existence of Kubrosiswo traditional art from Magelang Regency, Central Java, Indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. One alternative strategy which is developed in this research is by making a documentary film. The documentary film is one of the strategies to present the real- ity based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of Kubrosiswo traditional art. Keywords: Art Capitalization; Cultural Commodification; Kubrosiswo; Documentary Film How to Cite: Irianto, A. M., Laksono, A., & Hermintoyo. (2018). Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification. Harmonia: Journal of Arts Research And Education, 18(1), 1-12. doi:http://dx.doi.org/10.15294/harmonia.v18i1.11363 Harmonia: Journal of Arts Research and Education 18 (1) (2018), 1-12 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.11363 transformation of capitalist consumption. Today, some members of society have to consume and buy some goods not becau- se the goods have utility value, but they tend to be influenced by lifestyle and ima- ge (Irianto, 2017a). The mass media games show the illustration of knowledge forma- tion which is marked by the work of power through the social practices of some actors who are mutually contested. The contes- tation of power due to the mass media game is understood as a picture of vario- us power relations which support, strugg- le, compete, and destroy each other in the knowledge formation process and product discourse (Irianto, 2008). The hegemony of global culture has led to the marginalization of local culture INTRODUCTION Basically, the present social develop- ment has transcended from modern thin- king (marked by the emergence of goods and services industry) to postmodern thin- king which tends to be more organized by the development of information technolo- gy, cultural consumption provocation, and mass media games (Smith, 2001). The de- velopment of communication technology makes interaction among people around the world become faster, effective and ef- ficient (Surahman, 2016). Provocation of cultural consumption has illustrated the consumer society who grows in line with the economic globalization history and the Corresponding author: Jl.Prof.H.Soedarto, S.H.Tembalang, Tembalang, Kota Semarang, Jawa Tengah 50275 E-mail: ami.fibundip@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-122 that becomes the social phenomenon de- veloped in this postmodern era. Ethnicity and kinship, system and social order, ritual and religion, and art and tradition - which have been the keywords in a number of cultural definitions - have been margina- lized into global cultural simplification (Irianto, 2017a). The global cultural simp- lification through the process of internatio- nal communication and transportation has removed the cultural boundaries of every nation. The culture of each nation leads to globalization and becomes a world ci- vilization, so it involves people as a who- le, including Indonesian people. Through interaction with various other societies, Indonesian people have undergone a pro- cess of influencing and being influenced (Surahman, 2016). For instance, Indonesian traditional art has been addressed as an expression, cultural identity based on local wisdom and the uniqueness of a society. For the supporters, traditional art is also perceived as a cultural identity based on local wis- dom and uniqueness (Panjaitan & Sunda- wa, 2016). Traditional art is an integrative need of human beings in order to improve and maintain the standard of living. (Irian- to, Suharyo, & Hermintoyo, 2015). It me- ans that no matter how simple human life is, in the struggle of fulfilling the primary needs, people are also looking for oppor- tunities to express and take advantages of the beauty through the arts. In addition, traditional arts exist and they are standar- dized through the social traditions as well as to sustain and retain social collectivity (Irianto, 2005). In line with the civilization deve- lopment, economic globalization has chal- lenged the cultural development in Indone- sia. Economic globalization triggers every cultural product to be open and creative. The impact of economic globalization is also distributed to a number of community life relations and also the existence of tra- ditional art which has been regarded as a cultural identity for its supporting society (Irianto, Suharyo, & Hermintoyo, 2015; 2016b). Today, economic globalization in the context of Indonesian society grows in line with the development of cultural con- sumption. The growth of economic globa- lization forms a transformation of capita- lism consumption which is marked by the growth of stylish shopping centers such as shopping malls, leisure industry, mode or fashion industry, beauty industry, culinary industry, advice industry, gossip industry, luxury dwelling, apartments, instant food, and lifestyle reproduction and transfer through advertising and media (Irianto, 2009). For instance, the presence of today’s broadcasting industry in Indonesia has created the fast knowledge of reality in- cluding communication strategy in order to be able to maintain or change people’s attitudes or opinions for the interest of the strategist (Irianto, 2013). Further, the influx of globalization into Indonesia has made traditional arts to face global challenges. Traditional art which long has supported societies’ expression to create harmony between people and their environment must adapt to the market needs which is in line with the globalization demands (Kus- warsantyo, 2013). One of the products of globalizati- on which demands the standardization of traditional art production is the emergen- ce of the tourism industry. The tourism industry demands the standardization of cultural objects production – one of which is traditional art – to be traded for financial gain or commonly called as cultural com- modification (Irianto, Suharyo, & Wiranto, 2010). The demand for tourism changes the perspective of traditional art suppor- ters towards the existence of traditional art. It is not only addressed as a cultural identity which accommodates the suppor- ters’ ritual demands. Traditional art is also required as the entertainment commodity which contains commercial aspects. Thus, the existence of traditional art in this glo- balization era shows the illustration of the clash between traditional values which maintain harmony and postmoderni- ty which tends to be capitalistic (Irianto, 2016b). Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 3 The article, which applies the field research method, describes the existence of Kubrosiswo traditional art in Magelang Regency, Central Java, Indonesia. Basical- ly, the traditional art supporters develop cultural commodification as the strategy to respond to the demands of the tourism in- dustry which appear in this globalization era. The study location was selected based on several considerations. First, Magelang regency is one of the regencies in Central Java which has hundreds of traditional art groups that are still doing activities. Accor- ding to the interview with the informant in Department of Education and Culture of Magelang Regency in 2017, at least hun- dreds of traditional art groups (1156 group types) are still actively preserving tradi- tional art (both in the process of training and performance) in this region. Second, Kubrosiswo is the traditional art of Mage- lang regency which has survived since its birth decades ago until now. Almost every district in Magelang regency has Kubrosis- wo art groups. This description identifies that the local wisdom of the community in Magelang regency is maintained and preserved. Third, Magelang district has a number of tourism objects included in the International scale (one of them is Borobu- dur Temple) demanding the standardiza- tion which is in fact related to the global tourism industry. METHOD The researcher uses two stages in conducting this study, which is literature review and field research. In the literature review stage, researchers get some refe- rences to the historical data of Kubrosiswo in Indonesia. The references are obtained from journals, newspapers, internet, se- minar paper, textbooks, and some rese- arch reports which has been conducted by previous researchers. After reviewing the literature, the researchers conduct field re- search. At the field research stage, the rese- archers collect the data by conducting ob- servation which is an in-depth interview with a number of respondents who will be appointed to describe comprehensively the existence of traditional Kubrosiswo art. Observation is intended to make a record of all observed circumstances and activi- ties, and an in-depth interview is addres- sed to the key informants who are conside- red to know and to have information about Kubrosiswo art. To understand the inter- related factors of the data obtained, the re- searchers developed the analysis based on the learned societal framework rather than the size of researchers (Denzin & Lincoln, 1994). While concerning to the data analy- sis, this study applies descriptive analytical method. This method is an approach which is used to describe an inter-phenomenon relationship in society (Creswell, 1994). By using this method of approach, the study will provide an explanation about the rea- son, background, and some meanings un- derlying the actions and decision-making by the society supporters in response to the existence of Kubrosiswo art. The data obtained then are implemented as models, views, motivation, knowledge system, and society’s background in developing the traditional art. RESULT AND DISCUSSION Essentially, discussing the strategy of Kubrosiswo traditional art in response to capitalization over the demands of the tourism industry in the global era can be explained into three things. First, the over- view of traditional art in the location, both relating to the spreading level of Kubrosis- wo traditional art and the society’s com- prehension and response toward the tradi- tional art. Second, the nature and function of art Kubrosiswo art for the supporting society. Third, Kubrosiswo traditional art development strategy faces the demands of capitalization. To explain each descrip- tion, it can be described as follows. Kubrosiswo Art Overview at the Study Location The research area is located at of Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-124 Magelang Regency, in the basin of Mount Merapi, Merbabu, Andong, Telomoyo, Sumbing and Menoreh Mountains which basically explains that this district is a mountainous area. As a mountainous area, Magelang regency is also fed by two ma- jor rivers, which are Elo river and Progo river. Starting from these geographical conditions, the majority of local people are farmers. Moreover, from the total area of Magelang Regency which is 108,573 hec- tares, for about 80, 410 hectares is agricul- tural land (in the form of forest, fields, or rice fields). Thus, it can be said that about 80 percent of the Magelang Regency peop- le are in the agricultural world (Irianto, 2017b). In addition to the background of the agricultural world, the Magelang Regency people have a strong religious background especially the influence of Islam. Strong religious values of the influence of Islam are proven by the existence of hundreds of Islamic boarding schools (126 buildings) scattered in 21 sub-districts of the region. Among the number of Islamic boarding schools, some of them are quite influential at the national level. For example, Islamic Boarding School named Darussalam, Wa- tucongol Gunungpring Muntilan founded KH Nahrowi Dallar, and API (Islamic Bo- arding School) Tegalrejo which was es- tablished on September 15th, 1944 by KH. Chudlori who is a scholar coming from Tegalrejo Village. There is an Islamic Bo- arding School named Darul Qiyam which is a branch of modern Islamic Boarding School Darussalam Gontor located in Ga- dingsari, Mangunsari Village, Sawangan, Magelang Regency which is established by Hj. Qoyyumi Kafrawi. Indeed, during this time, the role of a number of scholars in Magelang District has made a valuable contribution to the Republic of Indonesia. For example, KH Nahrowi Dallar (Wa- tucongol) who belongs to a charismatic chaplain, and he is known as one of God’s most famous trustees in the land of Java. Similarly, KH Hasan Asy’ari or better kno- wn as Mbah Mangli is a name of scholars who are well known in this archipelago. Considering the background of the peasant society and supported by the par- ticipation of a number of Islamic Boarding Schools scattered over the 21 sub-districts, Kubrosiswo traditional art was born and developed to the present day. “Kubrosis- wo began to emerge in the 1960s, along with the rise of a communist ideology that at that time dominated the community around Mendut-Mungkid Magelang re- gency. On the basis of the concerns of local community leaders and scholars, Kubro- siswo traditional art was born, “said one informant from the Department of Edu- cation and Culture of Magelang Regency. Based on the field research until the end of 2016, in Magelang Regency, there are at least 93 Kubrosiswo art groups (For more information, look at the following Table 1. Starting from a number of descrip- tions, it can be said that the birth and de- velopment of Kubrosiswo art in Magelang regency are considered as the part of agra- rian world and religiosity which is belie- ved as cultural identity of its supporting society. That is, Kubrosiswo traditional art supporting society perceives and responds to the arts as entities which are basically in line with the background of the daily life as an agricultural community which is in line with its religiosity. As a peasant as well as the religious community, the supporters of the traditional arts consider them as both the entertainment that can create fun and a medium that facilitates their prayers and hopes (Irianto, 2016a). The Nature and Function of Kubrosiswo Art for Its Supporting Society As described above, Kubrosiswo’s nature and function of art are fundamen- tally close-related to the background of the supporting society’s response to the art. As a peasant society, for example, they main- tain and develop Kubrosiswo traditional art as an integrative needs and it is func- tionally related to the culture that prevails in the society. Kubrosiswo’s traditional art is seen by the supporting community as one of the means to legitimize the existen- ce of the community and to maintain their Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 5 profit, they work in the fields more to pro- vide for their simple family needs or the right to subsistence life (Irianto, Suharyo, & Hermintoyo, 2015). It is associated with the knowledge of the peasant society that is essentially more social than economic. The findings suggest that the values and attitudes of the peasant community tend to favor peace and tranquility without having to impose more desires than what they have had (Irianto & Thohir, 2004). On the other hand, as revealed by identity. As one of the means to sustain its identity, the supporting community will always pass it on to the next generation either verbally or through direct practice. Based on interviews with a number of informants, the supporting society re- tains Kubrosiswo art since they have long been tied up in a bond of tradition and feeling. By continuing to hold on to such traditions and feelings, they consider that the world of agriculture and art is a close- ly intertwined part. Instead of solely for Table 1. The Spread of Kubrosiswo Art in Magelang Regency Sub-district Name of Kubrosiswo Art Group Bandongan Kubro Mino Muda, Siswo Mudo Borobudur Krido Siswo, Siswo Mudo, Ginar Siswa, Putra Jaya, Siswo Mudo Bumen, Budi Siswo, Wargo Siswo, Bhumi Sembhara Budaya, Bronto Mudo, Suka Siswo, Siswo Mudo Sumberrejo, Wargo Mudo, Madyo Siswo Candimulyo Krido Siswo Dukun Mudo Budoyo, Bangun Mudo, Sari Siswo, Siwo Mudo Grabag Bintang Siswo Kajoran Sinar Remaja, Wargo Santoso Kaliangkrik Siswo Utomo, Hakaryo Iromo, Edi Siswo Bulusari, Edi Siswo Wonosari, Ku- bro Budi Mulyo, Sarisiswo Madyo Utomo, Seni Utomo, Sabo Gumboro Mertoyudan Suko Siswo, Tetro Siswo, Sinar Mudo, Andy Putro, Moncer Siswo Mungkid Siswo Mudo Cabean, Siswo Mudo Gondang, Bina Mudo Muntilan Panca Mudo, Siswo Mudo Cangkrang, Bnagun Muda, Sapta Muda, Bronto Mudo, Transaca Muda, Siswo Mudo Bludru, Kubro Seni Mudo, Siswo Mudo Semawe, Siswo Muda Krandon, Ngablak Siswo Mudo Keditan, Suryo Mudo Ngluwar - Pakis Siswo Mudo Salam Sinar Siswo Salaman Margo Siswo, Kubro Seni Mudo. Panca Siswo, Siswo Mudo Kedung, Suko Siswo Rukun Siswo Sawangan Suryo Mudo Kopeng, Setyo Muda, Argo Mudo, Konco Mudo, Bangun Mudo, Permata Muda, Bintang Jaya, Sinar Mudo Payakan, Rekso Mudo, Sinar Surya, Sinar Muda Ngentak, Tunas Muda, Sinar Muda Kapuhan, Rukun Mudo, Karya Muda Kenayan, Cahyo Eko Budaya, Sekar Siswo, Sekar Mudo, Karya Muda Sobowono Secang Siswo Mudo Krajan, Bintang Siswo, Asri Mudo, Srumbung Siswo Mudo Nggambrengan, Topeng Ireng Bina Muda, Krido Mudo Tegalrejo PKK Nurul Huda Tempuran OR Elvita 92, Siswo Mudo Kiringan Windusari Rukun Siswa, Mugi Utomo, Mudhosono, Kesenian Rakyat Islami Source: Processed from art organization data at the Department of Education and Culture Malang Regency 2016 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-126 a number of informants, Kubrosiswo is a traditional art whose background is the outspread of Islam in Java. Etymologically ‘kubro’ means immense and ’siswo’ means student or pupil. Therefore it can be in- terpreted that God’s disciples are imple- mented in the show that always upholds the greatness of God. Terminologically, Kubrosiswo is the abbreviation of “Ar- tistry of Body and Physic Change” or art that moves the body and soul, which me- ans that humans’ life must be well balan- ced between the world and the hereafter. Based on interviews with a number of informants, the nature of Kubrosiswo’s traditional art performances is an expres- sion of the soul and human behavior. It is expressed through the form of limb move- ments, and this form of body movement is believed to contain symbolic meanings about conflict as well as how to resolve it. Traditional art is performed because it is one of the human aesthetic expressions to meet integrative needs (Coates, 2017). The fulfillment of integrative needs arises be- cause there is a human impulse that essen- tially always wants to reflect its existence as a moral, intelligent, and callous being. According to one informant, initial- ly Kubrosiswo’s musical accompaniment only used traditional acoustic instruments such as flute, tambour, bedug and kendhang (drum-like instrument), and bendhe (little gong). However, in line with the demands of entertainment and variations of the song being played, Kubrosiswo dance accompa- nist also uses musical instruments such as organs, guitars and modern drums. Furt- hermore, the informant said: “Kubrosiswo art carries around 25 dan- cers. At first, all Kubrosiswo dancers are male, but now it also involves female dancers. The duration of this art perfor- mance is about 5 (five) hours, featuring a number of marching dance-line dan- ce compositions accompanied by music that adopts songs with Islamic preach- ing nuance. “ As mentioned in the description abo- ve, Kubrosiswo is a traditional art with a background of propagation or da’wah of Is- lam, in Indonesia. Da’wah is etymological- ly derived from Arabic, al-Da’wā, which is derived from the term al-du’ā ‘ which me- ans asking or begging. Terminologically, da’wah is the expression of a request or in- vitation from someone to others to uphold the truth. The spread of Islam in Indone- sia is way different from the way that was done in the Arabian Peninsula. The contact between the three pre-Islamic beliefs (ani- mism, Hinduism, and Buddhism) conti- nues to color Islam in its teachings and ri- tual activities. The acculturation of Islamic teachings with the values of local culture then happened. This is the form of inter- connection between the Islamic teachings with local wisdom (Jailani, 2014) The process of acculturation is a con- cept to illustrate the long process of two or more values encounter between Islam and local values in which individuals, groups and communities reside with the culture they have. (Widiana, 2015). Islam in Java, for example, is heavily influenced by the Indian (Hindu and Buddhist) religions that first existed in the archipelago. The diversity of the Islam propagation in Indo- nesia is not only apparent in the diversi- ty of groups and Islamic identity, but also variants and changes in the values and principles embraced by Muslim Indonesi- an. Traditional art performance and local- traditional expression in the propagation progress has led the search for noble va- lues of Indonesian Islam significantly (Su- warno, 2014). Kubrosiswo traditional art, according to a number of informants, is the accultu- ration art among Java, Islam, and Colonial. It can be seen from the costumes worn by the players. The musical accompanist, for instance, the majority of men wears beskap (traditional Javanese long-sleeved shirt) with blangkon (Javanese customary hat). Meanwhile, female dancers wear a hijab or veil (head coverings for Muslim women). Although they wear Javanese traditional top clothing or also Islamic head covering, the costumes worn by each player at the waist down resemble a soccer player. One of the informants added: Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 7 In addition to a number of costumes, there are one or two male players whose role as a singer. The singer wears a Dutch Colonial army captain who is considered a dance leader and always carries a whistle. The function is to mark the start and end of each dance movement per composition. As a traditional art which has pro- pagation function, the lyrics of the songs contain solicitation to others to establish the truth, as well as to run a religious or- der. Lyrics of the songs are written in among Arabic, Indonesian and Javanese. For example, the song lyrics below: Poro Muslimin podo bungah, puji syukur ing Gusti Allah Sasi rejeb tanggal pitulikur Allah animbali kanjeng Rosul, Nabi Mu- hammad kedawuhan anindaake marang ke- wajiban Nindaake sholat 50 waktu, kanggo sangune nyuwun pangestu 50 waktu mung kari limo, kanggoa ngen- teng-ngenteng poro manungso Sholat iku wajibe kang mulyo, ora abot lan ora rekoso Dengarkanlah saudara-saudaraku, aku akan bercerita padamu Menerangkanlah rukun agamamu, agar sau- dara siapa tahu Lima perkara banyak rukun Islam, agama suci di seluruh alam Ashaduala iilaha illallah Serta Muhammad utusan Allah Rukun pertama selesai sudah. Kedua kali mendirikan sholat, lima kali se- hari beribadah dengan pernah membaca ka- limah Membayar zakat rukun yang ketiga, sesudah cukup seni sehartanya Puasa Ramadhan yang keempatnya, dari awal sampai hari raya Sekarang satu lagi penghabisan, pergi ke Makkah mencari kesempurnaan Sudah cukuplah agaknya sekian, salam dan maaf kami ucapkan Bahagia kito muda Islam, muda yang tunduk pada peraturan Bersembahyang pada siang malam, untuk ingat pada nikmat Tuhan Sholat yang wajib lima waktu dalam sehari Dikerjakan dengan sungguh-sungguh Taatkanlah lelupa selalu Karena takut Allah Tuhanku. Para Muslimin sama senang, puji syukur kehadirat Allah Bulan rajab tanggal 27 Allah memanggil Rasulullah, Nabi Muham- mad menerima perintah Menjalankan kepada kewajiban Menjalankan sholat 50 waktu, buat bekal meminta restu (saat kita mati) 50 waktu tinggal lima, untuk meringankan semua manusia Sholat itu kewajiban yang mulya, tidak berat dan tidak menyulitkan Dengarkanlah saudara-saudaraku, aku akan bercerita padamu Menerangkanlah rukun agamamu, agar sau- dara siapa tahu Lima perkara banyak rukun Islam, agama suci di seluruh alam Ashaduala iilaha illallah Serta Muhammad utusan Allah Rukun pertama selesai sudah. Kedua kali mendirikan sholat, lima kali se- hari beribadah dengan pernah membaca ka- limah Membayar zakat rukun yang ketiga, sesudah cukup seni sehartanya Puasa Ramadhan yang keempatnya, dari awal sampai hari raya Sekarang satu lagi penghabisan, pergi ke Makkah mencari kesempurnaan Sudah cukuplah agaknya sekian, salam dan maaf kami ucapkan Bahagia kito muda Islam, muda yang tunduk pada peraturan Bersembahyang pada siang malam, untuk ingat pada nikmat Tuhan Sholat yang wajib lima waktu dalam sehari Dikerjakan dengan sungguh-sungguh Taatkanlah lelupa selalu Karena takut Allah Tuhanku. Translation: All moslem are together delighted, prai- se upon the God The month of Rajab on 27th God summoned the Messenger, Prophet Mohammed accepted the order To carry out 50 times of prayer, to beg the blessing over (when we die) 50 times become five, alleviating human entire Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-128 Prayer is a glorious duty, neither bur- densome nor complicate Listen to my fellow man, I will tell you a tale of mine About the pillars of your faith, just so you understand The very five Islamic pillars, the sacred faith throughout the universe Ashadualla illaha illallah And Mohammed is the messenger of Al- lah The first pillar has been cited out The second for putting up prayers, five times each day reciting the verse Thirdly paying the alms, as much as the fortune serves And fourth do fasting in Ramadan, from the day one until the last Based on the research of Pujiati (2012), the lyrics of traditional art song in Kubrosiswo basically contain three catego- ries of the message: the message of aqidah (faith), the message of shari’ah (rules), and akhlak (morals). Da’wah which contains the message of creed in Kubrosiswo poem is delivered through the lines about the faith in God regarded His favors and obligato- ry prayers for the followers of Islam. The message of shari’ah is in the form of prai- sing God and about the pillars of Islam as well as the religious guidelines. On the ot- her hand, the message of morality is about knowing the greatness and goodness of Prophet Muhammad as the exemplificati- on for his people. The result of observation and in- terview with a number of informants ex- plains that the essence and function of this art is not only as entertainment containing religious propaganda element, but also as an effective means to solve social prob- lems, both concerning environmental con- dition and social conflict among members of the surrounding community. For this reason, the majority of supporters who are farmers from generation to generation maintain Kubrosiswo art. They strive to preserve Kubrosiswo by establishing Kub- rosiswo art groups, as well as recruiting young people, both men and women. Until recently, almost 99 percent of the 21 sub- districts in Magelang District are still acti- vely maintaining traditional Kubrosiswo art as their cultural identity. It is reflected for instance by the Argo Mudo art group from Gunung Lemah Village, Gondowan- gi Village, Sawangan Sub-district—the existence of traditional arts is still growing, supported by the younger generation both men and women. Even every week the Argo Mudo group is always invited to per- form in various occasions, such as marri- age ceremonies, circumcisions, recitation, and Islamic as well as National day com- memoration. Kubrosiswo Development Strategy Fac- ing Capitaliasi Demands Each da’wah step which requires me- dia and art (performance art) is a very ef- fective medium to support the act. Each phase surely requires adjustment to the changing times, society and human cha- racter (Jabrohim, 2012). That is, a traditio- nal art that has been addressed as a cul- tural identity of society and becomes an effective means for the purposes of da’wah, basically have to adjust to the changing times (Pereira, 2017). Economic globaliza- tion demands—especially the birth of the tourism industry for example—is a neces- sity that must be faced for the growth and development of traditional art. In the cur- rent situation, when the cultural identity that refers to local wisdom must clash with global values demanding the capitalizati- on of art and tradition, each supportive so- ciety will seek to develop a strategy to deal with it (Radzuan, Fukami & Ahmad, 2014). The demand of the tourism industry has had a significant impact on the exis- tence of traditional art (Himawan, 2014). Impacts that occur, among others, created the transfer of the value of art from sacred to profane, mass production of traditional artworks, the creation of individualization of art that originally was the integration of religious and collective identity of so- cial groups, and the creation of changes in the making of traditional artwork that is more decorative. Economists often argue Tengku Ritawati, Pantun in The Text of Nyanyian Lagu Melayu Asli (NLMA) 9 that the tourism industry is able to create unemployment for people around tourism objects which are undeniable. On the ot- her hand, they also argue that traditional art which has been the integrative needs of supporting societies can be used as at- tractions supporting the attraction. The ar- gument is undeniable, but it must be reali- zed that it shows that that traditional art is merely the object of capitalization and also positioned as a tourism industry suppor- ter. Traditional art is regarded as a “direct object” from the tourism industry, but as has been disclosed in previous discussions of traditional art, traditional art is emerged and developed standardized through the traditions of a society, and it is used to sus- tain and maintain social collectivity (Irian- to, 2005). Tourism industry as the object of economic global demands the standar- dization of traditional art performances. These traditional art demands change the perspective of supporter society towards the existence of traditional art. It is not only addressed as the cultural identity which accommodates the ritual demands of the society supporters. In this time, the existence of traditional art is also required to be an entertainment commodity which contains commercial aspects. The deve- lopment of the tourism industry demands some commodities which are expected to be traded and consequently impact on cul- tural commodification (Irianto, 2016b). Ideally, the interaction between tra- ditional art and tourism industry should strive to be always in equity relationship framework, which is hoped to grow a di- versity of choice in appreciating many forms of art. To create an ideal interacti- on between traditional art and tourism industry, a comprehensive culture com- modification is needed. The problem is traditional art – like Kubrosiswo – can be appreciated and enjoyed only when it is being performed; its form will dissolve af- ter the performance ends. Literature can be read over and over again, fine arts can be kept and enjoyed for a long time. That is why audiovisual documentation of tradi- tional performing arts is needed so it can be watched outside the live performance. By doing audiovisual documentation, it is expected for traditional performing arts to create awareness for people to get to know, deepen knowledge, review history, and criticize the development of art cultu- re and its supporters (Utami, 2010). Traditional art Kubrosiswo, based on its nature and function other than cultural identity for supporting people, is also as a means to invite others to uphold the truth (dakwah). As a means for dakwah, a concept and strategy that can be accepted by Indo- nesia, which has a multicultural society, is needed as a development strategy of Kubrosiswo (Jailani, 2014). By considering that condition, a development strategy for Kubrosiswo as a traditional art that con- tains islamic preaching should be done. In this contemporary era, Basit (2013) sug- gests that there are four things that can be done while preaching. The first is make dakwah as an object of science that can be investigated and developed in accordance with the needs and demands of society. Se- cond, change the paradigm of dakwah into the communication of Islam by synthesi- zing theories of communication with the- ories of dakwah built upon the teachings of Islam. Third, set a da’i that can adapt with the development of science and technolo- gy. Fourth, make use of communication and information media that are widely used by society. The existence of traditional art, in this era of postmodernism, is in between the determination of communication technology and media globalization. The development of information technology gives various choices and also influences the existence of traditional art to be insecu- re, and even forgotten. Meanwhile media globalization influences every aspect of so- ciety, including socio-cultural (Surahman, 2016). Based on these considerations, this research about Kubrosiswo does not only stop at the written report of description about a traditional art from Magelang. This research has produced a model in the form Harmonia: Journal of Arts Research and Education 18 (1) (2018): 1-1210 of a documentary about Kubrosiswo, con- cerning its historical background, the na- ture and functions of this art, along with its preservation strategy. In DVD format, the audio-visual depiction of this traditional art has been done by the researcher.With the subject of the Argo Muda group study from Gunung Lemah Village, Kelurahan Gondowangi, Sawangan District, Mage- lang District, the research has completed a 25-minute documentary film entitled “The Magic of Kubro Dancer”. The film documentary is one of the strategies to reveal the truth based on what happened on the field and is hoped to cre- ate awareness to get to know – to deepen the knowledge of Kubrosiswo. Just like literature that can be read over and over again or fine arts that can be enjoyed mul- tiple times, the documentary film of tradi- tional art Kubrosiswo can also be appre- ciated at different times during the show. Moreover, as a traditional art with dakwah (preaching), Kubrosiswo film documenta- ry can invite, push, and call people who watch it uphold the truth without force. It is hoped to create an alternative revitaliza- tion of a traditional art group that is in a death process facing global economics. It can be set as a model in instilling the sense of pride reflectively and intuitively. Tradi- tional art revitalization in the form of the documentary film gives a significant cont- ribution in the aspect of art, especially in the form of a creative industry, which is in accordance with today’s globalization era. CONCLUSION Indonesian traditional art, for example, has been addressed as an expres- sion and cultural identity; it is also based on local wisdom and uniqueness of so- ciety. It defines as no matter how simple a man’s life is, there are chances to express and harness the beauty of art while trying to fulfill their primary needs. Furthermore, a traditional art that is existed and develo- ped is standardized through the traditions of a society, as well as to sustain and retain social collectivity. Kubrosiswo, a traditional art, has moderate popularity in Magelang, Central Java, Indonesia. All this time, this traditio- nal art has always been addressed as a part of the agrarian world and as an expression of the supporters’ religiosity. The nature and function of this traditional art, other than as entertainment that consists of reli- gious dakwah for farmers, is as an effective medium to solve social problems invol- ving both environment and members of the surrounding society. 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