62 The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency: The Theoretical Study of Cultural Change Nurisa Widikurnia Universitas Negeri Surabaya, Indonesia Received: December 13, 2017. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract Kentrung “Tri Setyo Budoyo” is a traditional performing art of Blitar. That is a traditional per- forming art that can survive in the modern era. One of the factors affecting Kentrung “Tri Setyo Budoyo” to survive is adult acculturation on the performing arts. This article aims to (1) Describe the acculturation of art of Kentrungt “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency. (2) Explains the innovation of Kentrung art “Tri Setyo Budoyo” in Dayu Village, Ngle- gok District, Blitar Regency. This research is a qualitative research, with the object of research is the art of Reog Bulkiyo in Kemloko Village, Nglegok District, Blitar Regency. Data collection techniques used through observation, interviews and documentation. Data analysis technique used is taxonomic analysis.The results showed that cultural change is universal. If there is a change in the culture of a society, it will affect other aspects such as language, knowledge system, social organization, living equipment system and technology, living livelihood system, religious system, and arts. Art Kentrung Tri Sansoso Budoyo “experiencing acculturation and renewal or innovation, this happens because the culture in the community around the environment also experience acculturation. In the art that has an open mind, it will be able to get and go through these cultural changes so as to survive and thrive in the midst of changing times. Keywords: Acculturation; Kentrung Tri Setyo Budoyo; Cultural change How to Cite: Widikurnia, N. (2018). The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency: The Theoretical Study of Cultural Change. Harmonia: Journal of Arts Research And Education, 18(1), 62-66. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13971 Harmonia: Journal of Arts Research and Education 18 (1) (2018), 62-66 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.13971 on the development of information techno- logy, media, and science. Syani explained that “change means a process that cause a differentiation bet- ween the current situation and the past. The changes could emerge as a deterioration or a progression”. Every society surely experi- ence gradual changes either in a general or more specific sense and either they move quickly or slowly (evolution) (1995: 83). The principle of changes among so- ciety, either social or cultural change, is a INTRODUCTION Changes and dynamics are parts of the intrinsic character in society and culture. Change is a phenomenon that occurs toget- her with historical events of every societies and cultures. However, any changes has two possibilities whether it will bring such positi- ve vibes or the other way around. There are so many ways to keep improving the values and also the other aspects of culture based Corresponding author: Jl. Ketintang, Gayungan, Surabaya, Jawa Timur 60231 E-mail: acanurisa@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Nurisa Widikurnia, The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village ... 63 continuous process in order to build a deve- loped society. According to Davis (in Soejono Soekanto tth:263-267) “social change is a part of cultural change which includes the who- le aspects such as art performance, science, technology, philosophy and so on”. Social cultural change is an indicati- on of the structural change on one society’s culture. This change is a general phenome- non that occurs in people’s lifetime. People always adapt to the condition where they belong. They also have the consequence to synchronize both their internal and external relationship based on the society demand which also always change. A cultural change of a society would also give certain effect on the society’s art performance. Art is one of the elements of culture. In line with Kontjaraningrat’s state- ment that there are seven elements of culture that could be found around the world. They are (1) language, (2) knowledge, (3) social or- ganization, (4) technology, (5) system of live- lihood, (6) religion, (7) arts (1990:203). Art is one of cultural aspects that is very important to be studied further. At least people in their personal development should be aware of the importance of understanding art. A life without understanding art is a bo- ring life and could cause a narrow minded generation toward art itself. Kentrung is an art performance from Java which combine the art of voices and music. It is a narrative art performance that accompanied by musical instrument such as tabuh timlung (kentheng) and terbang besar (rebana). This traditional art always has certain message for the audi- ence or even the society on every performan- ce. Therefore, as one of the art performances, this traditional performances always exami- ne the current values in society then delive- red the message in the form of art perfor- mance whether it deals with politic, morality, social or other issues (Sujarno,dkk.2003:47). The history of Kentrung actually existed in the era of Japanese. At that time Kentrung did not use kendang (traditional tambour) on its show. The characters played in Kentrung were about the prophet, moslem guardian (wali) and Indonesian kingdom. So, it is clear that Kentrung is one kind of Islamic art performance. Summeh (76) is an artist of art performance Kentrung from Blitar. Around 1993-1994 he initiated studying Kentrung and develop it with his own version of creativity. He also build Kentrung ”Tri Santoso Budo- yo”. Kentrung ”Tri Santoso Budoyo” is played by four persons and one additional person as Sinden (traditional singer) if nee- ded. Every persons plays music instrument such as kendang, terbang, small kendang and ti- pung. The characters played in Kentrung ”Tri Santoso Budoyo” are mostly about folklore, legend of certain past event and the story of prophet. These characters will be played by request. The host will determine which cha- racter that will be played. According to Sum- meh (76), the popular character played was Jaka Tingkir. Kentrung itself contains local wisdom that represented in the performance. During the show, an artist narrates the story in order using sequence of parikan and puts in several jokes. The rhytmic parikan is sung accompanied by the play of two rebanas. Summeh (76) Kentrung is original from Sanan, Dayu Village, Nglegok District, Blitar Regency. Blitar is one of regions that become home of kentrung development. There used to many kinds of kentrung developed in Bli- tar, but now only Summeh (76) kentrung that is able to keep its existence. One of many fac- tors that make kentrung ”Tri Santoso Budo- yo” still survive is that it has inovation. The artists of kentrung ”Tri Santoso Budoyo” are able to adapt to the current situation and cur- rent demand. It deals with the value of enter- tainment aspect of art performance itself. In spite of its sacred Islamic value, kentrung is able to maintain the value of entertainment so it can fulfil the demand from society as an art performance. Now musical instrument used in kent- rung ”Tri Santoso Budoyo” are not only ken- dang, terbang, small kendang and tipung. Mo- dern musical instrument also used in kentrung ”Tri Santoso Budoyo”. The modern musical instrumens are keyboard, guitar, bass and a set of drum. This form of innovation is belie- ved as one of kentrung ”Tri Santoso Budoyo” powers in order to survive in the society until now. From that phenomenon we could say Harmonia: Journal of Arts Research and Education 18 (1) (2018): 62-6664 that kentrung ”Tri Santoso Budoyo” has been experiencing acculturation. Therefore, this article will examine, identify and study further the change towards kentrung ”Tri Santoso Budoyo” in Dayu vil- lage, Nglegok district, Blitar regency using theory of change and concept of accultura- tion process as the clue. This article will also discuss the process of acculturation occurred in kentrung ”Tri Santoso Budoyo” art perfor- mance in Dayu village, Nglegok district, Bli- tar regency. METHOD This study is using qualitative research method since the main concern is to search, figure out and explain the indications and relations between every aspects of accultura- tion process in kentrung ”Tri Santoso Budo- yo” in Dayu village, Nglegok district, Blitar regency. So the data used in this study will be based on the actual situation of the object without any manipulation or another inter- vention from researcher. The object of this study is kentrung ”Tri Santoso Budoyo” in Dayu village, Nglegok district, Blitar regency. The data were col- lected using observation, interview and do- cumentation technique. Validity is the degree of accuracy bet- ween the data that occurs on the object of research with data reported by researchers (Sugiyono, 2015:363). This study uses the validity of data with triangulation data to ob- tain valid data, then the researcher did: sour- ce triangulation, and triangulation method. The analytical technique used in this study is qualitative analysis. This study uses Spradly taxonomy analysis (in Sugiyono, 2012: 225) to obtain general image of the social situation of the research object. Ta- xonomy analysis is the analysis towards the whole collected data based on determined domains. The domains were arranged based on the statement of problems. RESULT AND DISCUSSION Acculturation to the of Kentrung “Tri Santoso Budoyo” in Dayu Village, Ng- legok District, Blitar Regency Kentrung “Tri Santoso Budoyo” in the Village District Dayu Nglegok Blitar is a tra- ditional art. An art of performances in the staging consists of 4 players and 1 person as sinden when needed, Each holding a musi- cal instrument in the form of drums, flying, small kendang and tipung. Since its founding in 1993-1994 the art still survive until 2015 with the fourth instrument. Over the course of Kesenian Kentrung “Tri Santoso Budo- yo” was confronted with the growing society. When people can enjoy other forms of art such as music shows on tv, comedy to tv dra- mas, kentrung art is considered ancient and considered to lack entertainment values. Artist Kentrung “Tri Santoso Budo- yo” is an art lover who has openness to new culture. The artists have a noble purpose, na- mely that the art of kentrung not disappear eroded by the arts carried by the new cultu- res. In the year 2015 the artists Kentrung “Tri Santoso Budoyo” then began to incorporate elements of modern music in its presentati- on. Modern musical instruments are musi- cal instruments that have gained a touch of technology in the making. In contrast to tra- ditional musical instruments that are made manually with natural materials, in modern musical instruments and manufacturing techniques are getting more recent. Modern musical instruments continue to grow and produce some modern musical streams like Rock, Pop, Jazz. Musical instruments that can then be included in the presentation of Art Kentrung “Tri Santoso Budoyo” is the bass, guitar, keyboard and drum set. By not eliminating the main elements in the form of drums, flying, small kendang and tipung and the art of speech that nuanced Islam. Art Kentrung “Tri Santoso Budoyo” at this time can develop following the cultural change of society. This is in line with the concept of ac- culturation that Koentjaraningrat discloses, that: acculturation is a social process arising in which a group of people with a particular culture they have are faced with elements of a foreign culture. So that foreign culture will gradually be accepted / impregnated and processed into its own culture without cau- sing the loss of the original cultural elements Nurisa Widikurnia, The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village ... 65 of the group itself (Koentjaraningrat, 1990: 248). Kentrung “Tri Setyo Budoyo” current- ly can be said to have been able to face the current development of the times. Incorpo- rate new cultural elements by not abando- ning the original essence of the art. Despite having a new formation on its presentation form, but artist Kentrung “Tri Setyo Bu- doyo” who wants to showcase the art can choose (request) to look at new formations or original formations. In this way, symbio- tic mutualism between artists and art lovers of “Tri Setyo Budoyo”, both of which sha- re a common goal, is to preserve the arts of “Kentrung Tri Setyo Budoyo”. Figure 1. Kentrung “Tri Santoso Budoyo” Renewal (Innovation) of Kentrung “Tri Santoso Budoyo” in the Village Dayu District Nglegok Blitar Innovation or renewal is a process of renewal of the use of natural resources, ener- gy, new arrangements of labor and the use of new technologies which will all lead to a sys- tem of production and cultural renewal espe- cially regarding technological and economic elements. (Koentjaraningrat, 1990: 258). The renewal of Kentrung “Tri Santoso Budoyo” is in the use of musical instruments. Music is an important part in art kentrung, because as an illustration of a story. The definition of music according to KBBI is the science or art of composing tones or sounds in sequences, combinations, and temporal relationships to produce a composition (sound) that has uni- ty and continuity (tt: 3241). Art Kentrung “Tri Santoso Budoyo” in the Village Dayu District Nglegok Blitar add modern musi- cal instruments in the form of bass, guitar, keyboard and drum set. The update has a primary mission so that Art Kentrung “Tri Santoso Budoyo” can adapt to the develop- ment of culture. Cultural developments also influence the taste of community entertain- ment. The community began to be introdu- ced to a new culture that is more able to at- tract people’s attention, which is feared from the phenomenon is that people can forget or abandon the existing culture. Therefore, Ar- tist Kentrung “Tri Setyo Budoyo” made an update to the instrument used. Another thing that becomes the driving force in the renewal of the musical presenta- tion of Kentrung art “Tri Santoso Budoyo” is the encouragement of (1) awareness of the artist that there should be an improvement for the sustainability of Kentrung Art Tri Se- tyo Budoyo, (2) the quality or quality modern music artists who deserve to be developed talent (3) the stimulation of the community environment to provide a new entertainment but still berpakem on kentrung art. The awareness of artists about the im- portance of renewal of Artistry “Kentrung Tri Setyo Budoyo” is something that deser- ves high appreciation. This is because, not all original artists of an art (who are notaben to have old age) can have an open mind towards a new culture. With the openness to new cul- ture, able to use power as one of art enhancer “Kentrung Tri Setyo Budoyo” to continue to live in modern era like nowadays, even can grow more advanced. Community support is very important for the artistry of “Kentrung Tri Setyo Bu- doyo”. If the support community has a high spirit to generate arts, then artists will be more motivated to struggle in preserving Art “Kentrung Tri Setyo Budoyo”. Textually, the art of Kentrung “Tri San- toso Budoyo” has not changed significantly. However, only the updates are expected to be accepted by the community. The existence of such renewal in addition to the development of the times, also influenced by society. The influence of society is in the form of stimu- lus or stimulus which is translated as idea by art artist Kentrung “Tri Setyo Budoyo”. The idea is an opinion that Kentrung art “Tri Setyo Budoyo” is able to show appropriate Harmonia: Journal of Arts Research and Education 18 (1) (2018): 62-6666 In Pottery Culture At “Kriya Nusanta- ra” Art Studio dalam proceeding 4th International Seminar of Nusantara Heritage, UPSI, Malaysia. Kontjaraningrat. (1990). Pengantar Ilmu Antropologi. Jakarta: PT Rineka Cip- ta Kontjaraningrat. 1990. Pengantar Ilmu Antropologi. Jakarta: PT Rineka Cipta Martono, Nanang. (2011). Sosiologi Pe- rubahan Sosial: Perspektif, Klaksik, Modern, Posmodern dan Poskolo- nial. Jakarta: PT Raja Grafindo Persa- da Monroe. Tanpa tahun. Kamus Besar Bahasa Indonesia Lengkap. Surabaya: Gresin- do Press Persada, Jakarta Soedarsono, Sugiyono. (2010). Metode Penelitian Pendidi- kan (Penelitian Kuantitatif, Kualitatif, dan R & D). Bandung: Al- fabeta Soekanto, Soerjono. , 2006. Sosiologi Suatu Pengantar, PT. Raja Grafindo Sudikan, Setya Yuana. (2000). Metode Penelitian Kebuday- aan. Surabaya: Unipress Unesa bekerjasama dengan Citra Wicak- sana. Sudikan, Setya Yuana. 2000. MetodePeneli- tian Kebudayaan. Surabaya: Unipress Unesa bekerjasama dengan Citra Wicaksana Sujarno, dkk.2003.Seni Pertunjukan Tradisional, Nilai, Fungsi Dan Tantangannya.Yogyakarta : Kemen- treian Kebudayaan dan Pariwisata. Syani, Abdul. 1995. Sosiologi Dan Perubahan Masyarakat. Jakarta: PT Pustaka Jaya Triyono Bramantyo, Susan Hung. (22017). The Javanese Panji Story: its transfor- mation and dissemination into the per- forming arts in Southeast Asia. Har- monia: Journal of Arts Research and Education, 17 (2) (2017), 113-119 Tudor, A. (1999). Theory and Method in Cul- tural Studies. California: SAGE Publi- cations Inc entertainment by cultural development. In other words, the people of Dayu Village have their own concept in evaluating an entertain- ment. Because of having the same culture, the majority of Dayu Village residents have the same view of an object of entertainment. This is in accordance with what is expressed by (Sudikan, 2000: 11) that cultural change is a change that takes place within the system of ideas shared with a number of concerned citizens, including the rules or norms used as guidelines in the lives of citizens , the techno- logical values of slera sense of beauty or art and language. CONCLUSION Cultural change is a universal matter. If there is a change on society’s culture, so it will give effect the other aspects such as language, knowledge, social organization, technology, system of livelihood, religion, and arts. Kent- rung ”Tri Santoso Budoyo” art performance has been experiencing acculturation, impro- vement or innvation. This phenomenon oc- curs because the society where kentrung ”Tri Santoso Budoyo” belong is also experiencing acculturation. The art performance that has more possibilities of innovation will also has more possibilities to survive and keep develo- ping in the midst of changing era. However, it will be great if those accul- turated art performance still keep their ori- ginal identity as traditional art performance. This is one of the efforts to keep the local wisdom, so a traditional art performance will has a strong character that cannot be erased by the cultural change. REFERENCES Dewan Redaksi Ensiklopedia Sastra. 2007. Ensiklopedia Sastra Indonesia. Band- ung: Titian Ilmu Hutomo, Suripan Hadi (Editor). 1993. Pan- tun Kentrung. Jakarta: Yayasan Obor Indonesia Iriaji. (2015). The Meaning, Value, And Sym- bol Transformation As A Phenomenon