In the rice culture of KasepuhanCiptagelar society, life will emerge after sakuren brought together (pangawinan). Life is not static, but dynamic and cyclical. Sakuren should be sought through the ngalasuwung, that is a process of ritual activity. Ngalasuwung performed through pattern of space motion katuhu or kenca. Goal of ngalasuwung is to achieve a suwung. The process of ngalasuwung does not cease after the reality of sakuren found. Reality of sakuren remains to be mated (pangawinan) in suwung space. Aim of pangawinan is obtain pancer. Through an ethnographic approach, sakuren cultural theme as a result of a domain analysis, studied simultaneously with taxonomic analysis and elaborated with thick description. Comprehensive studies show that sakuren is an existential meaning which should be pursued and a prerequisite for obtaining safety and sustainability.Keywords: KasepuhanCiptagelar, pangawinan, pancer, sakurenABSTRAKDalam budaya padi masyarakat Kasepuhan Ciptagelar, kehidupan akan muncul setelah sakuren dipertemukan. Kehidupan tidak bersifat statis, melainkan dinamis dan siklis. Sakuren adalah konsep sepasang. Sakuren harus dicari melalui proses ngalasuwung, yaitu sebuah proses aktivitas ritual. Ngalasuwung dilakukan dengan dengan pola gerak ruang katuhu atau kenca. Tujuan ngalasuwung adalah mencapai ruang suwung. Proses ngalasuwung tidak berhenti setelah realitas sakuren ditemukan. Realitas sakuren masih harus dikawinkan dalam ruang suwung. Tujuan pangawinan adalah memperoleh pancer (keselamatan). Melalui pendekatan etnografi, tema kultural sakuren sebagai hasil dari analisis domain, dikaji secara simultan dengan analisis taksonomi dan dielaborasi dengan thick description. Kajian komprehensif menunjukkan bahwa sakuren merupakan makna eksistensial yang harus diupayakan dan menjadi prasyarat untuk memperoleh keselamatan dan keberlanjutan hidup masyarakat budaya padi Ciptagelar.Kata Kunci :Kasepuhan Ciptagelar, pangawinan, pancer, sakuren

In Sundanese culture, local wisdom is the middle sineger (sineger tengah) or middle siger (siger tengah) a middleground that is moderate. The excavation of local Sundanese wisdom means finding a rational pattern or basicphilosophy that is suitable for living in this area. In other areas where the situation is similar it is possible to find abasic philosophy which is more or less the same. Foreign local wisdom which enters the local wisdom of Sundanese tendsto conform not the other way around. Times will always change but Sundanese become another Sundanese of its ownkinds. The outward form can change, but the structure and pattern of building the meaning of life tend to remain workgenetically unnoticed because since childhood has been investigated by the older generation in the same pattern. Therevitalization of Sundanese culture is necessary or not depending on its actuality to solve the present problems.

Pre-modern humans Indonesia is very respectful of  nature which is a pair of  human life. If  youcut down a tree, picking rice, take honey, slaughtering animals, it is always preceded by a smallritual apology. To understand the local culture, it cannot be used the measures of  modernity thatrejects the things metaphysical and supernatural things. Inevitably we have to be willing to leaveour modern rationality to understand other types of  rationality that develops in the local culture of Indonesia. The realities for local cultures include things that are visible (empiricism) and invisible(hidden). Human being is in the nature both of  them. The Local human pay attention more on thesupernatural than empirical, when the empirical is not able to solve their problems, at least there isa guarantee from supernatural power in solving the empirical ones. To realize the highest humangoal, people should become a perfect human being, and then every local knows the virtues of  each.On the other hand, in fact, humans do not have any freedom which lies precisely in compliancein framed structures. When running what is in accordance with the concept structuralism, thenhumans really feel free, carefree, contented and happy, whatever happens, and surrender to the willof  god. The main human always close and remember the Lord. He was gone just as a mere tool.For further explanation, in this study, it will discuss about National Unity, Concept of  Almighty,Concept of  Plurality, Relationships among the one with the Human life, the Almighty Patterns, andthe Concept of  Freedom.Keywords: local human, supernatural, local culture.

ABSTRACT This paper analyzes Gending Karesmen that had been living and developing in Priangan, cen- tered in Bandung City, in 1904 to 1942. Gending Karesmen emerged as Tunil Tembang which came up in 1904. In the begining, the performance of Tunil Tembang was plain and simple, then it gradu- ally became more complex and specific. The story, dance, music, and performance were established. The music became dominant factor related to the song (tembang) performed by the player in every dialog expression. Gending Karesmen grew well, almost without any hindrance, because it was sup- ported by the local officials (e.g. Bupati) and intellectuals. It was also because of the socio culture, economic and politic atmosphere in Priangan that were conducive in that period. Keywords: Gending Karesmen, Ménak Traditional Theater  ABSTRAK Tulisan ini menganalisis tentang Gending Karesmen yang hidup dan berkembang di Priangan, yang berpusat di Kota Bandung, pada tahun 1904-1942. Gending Karesmen mun- cul sebagai Tunil Tembang yang berkembang pada tahun 1904. Pada mulanya pertunjukan Tunil Tembang itu polos dan sederhana, kemudian secara bertahap menjadi lebih kompleks dan spesifik. Cerita, tarian, musik, dan pertunjukannya menjadi berkembang. Musiknya menjadi faktor dominan yang berhubungan dengan lagu (tembang) yang dimainkan oleh pemainnya dalam setiap ekspresi dialog. Gending Karesmen berkembang dengan baik, hampir tidak ada hambatan, karena didukung oleh para pejabat setempat (misalnya Bu- pati) dan intelektual. Hal ini juga dikarenakan sosial budaya, suasana ekonomi dan politik di Priangan yang kondusif pada periode tersebut. Kata kunci: Gending Karesmen, Teater Tradisional Ménak