Kèjhungan: Gaya Nyanyian Madura dalam Pemaknaan Masyarakat Madura Barat pada Penyelenggaraan Tradisi Rèmoh

Abstract

Kèjhungan in Rèmoh Tradition on West Madura. Kèjhungan or singing style comes from the activity of peoplesinging about their everyday lives in Madura’s society. When the kèjhungan has become an “established” singing style,therefore the meaning of the kèjhungan includes the ownership meaning that is inherited through oral traditions andlegitimized in the culture of the people of Madura. The research’s assumption explains that the existence of the kèjhunganbecomes an important conscious for the whole singing culture of the Madura people. Even, in the elite village life for examplein the “gathering tradtion” of blatèr community, kèjhungan has become their identity of existence. This research is a studyon the representation of values when the kèjhungan is made as a symbol or legitimate image for the blatèr communityin the Madura society. The fi ndings of this research explains that kèjhungan has become the object of consumption thatis advanced to the blatèr community in achieving their respect. With their power, the blatèr can construct traditionalkèjhungan values into outstanding symbols in strengthening their existence in Madura’s society.

Commodification of Madurese Literature Containing Local Wisdom in Sumenep Regency

“…The tourist may improve the Madurese community's economy in several sectors. Tourism not only sells natural beauty but also sells community culture [19]. It shows that Madurese literature can be a product that has economic value.…”

“…In Madurese, literary activities are usually directly proportional to economic activities. So, the existence of Madurese literature is usually closely related to the function of this art in society [19].…”

“…It is to prevent certain parties from claiming Madurese literature as their own. This legalization will certainly strengthen ownership of Madurese literature as property of the community [19]. The legalization of Madurese literature in the form of regional regulations is also carried out to prevent the possibility of future conflicts among the Madurese people themselves, especially when the Madurese literature has developed and has a high selling value.…”

Menjadi Tandâ’ Binè’: Perjalanan Trisnawati Sebagai Penari Remo dan Pemain Ludruk Geddongan

“…Oleh ayahnya, ia dikenalkan pelbagai genre seni pertunjukan. Alih-alih hanya mengajarkannya menari, ia juga dipaksa untuk belajar ngèjhung (Mistortoify, Haryono, Simatupang, & Ganap, 2013) Madura/ menjadi sinden, melawak, menjadi pemeran drama dan lain sebagainya. Proses berkesenian yang ketat, menjadikan Trisnawati seniman perempuan yang serba bisa, bahkan ia mampu berproses di pelbagai panggung lintas genre seperti ketoprak, ludruk, lawak, janger, wayang orang, wayang topeng, bahkan wayang kulit.…”

Struktur, Fungsi, dan Makna Talempong Bundo dalam Upacara Maanta Padi Saratuih

“…Ini sejalan dengan pendapat Turner bahwa ekspresi merupakan pengungkapan kristalisasi dari suatu pengalaman hidup manusia. Menurut Bruner (Mistortoify, 2010: 1), ekpresi selalu mempunyai hubungan dengan pengalaman budaya masyarakatnya.…”