{"id":735,"date":"2026-01-31T16:20:00","date_gmt":"2026-01-31T16:20:00","guid":{"rendered":"https:\/\/binus.ac.id\/bandung\/interior-design\/?p=735"},"modified":"2026-01-31T16:20:00","modified_gmt":"2026-01-31T16:20:00","slug":"pelestarian-budaya-tradisi-perlukah-itu-part-1","status":"publish","type":"post","link":"https:\/\/binus.ac.id\/bandung\/interior-design\/2026\/01\/31\/pelestarian-budaya-tradisi-perlukah-itu-part-1\/","title":{"rendered":"PELESTARIAN BUDAYA TRADISI,\u00a0perlukah\u00a0itu?\u00a0\u00a0 Part 1\u00a0"},"content":{"rendered":"

PELESTARIAN BUDAYA TRADISI,\u00a0perlukah\u00a0itu?\u00a0<\/span><\/b>\u00a0<\/span><\/p>\n

Part 1<\/span><\/b>\u00a0<\/span><\/p>\n

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Otak\u00a0manusia\u00a0tidak\u00a0ada\u00a0yang\u00a0pemikirannya\u00a0sama\u00a0persis,\u00a0namun\u00a0secara\u00a0alamiah\u00a0akan\u00a0mengkotak-kotakan\u00a0diri\u00a0pada\u00a0lingkungan\u00a0sosialnya\u00a0menurut\u00a0kesesuaian\u00a0pemikiran\u00a0yang\u00a0serupa\u00a0akan\u00a0suatu\u00a0hal\u00a0spesifik\u00a0tertentu\u00a0(<\/span>homologos<\/span><\/i>).\u00a0Namun\u00a0pada\u00a0kenyataannya\u00a0otak\u00a0manusia\u00a0dalam\u00a0satu\u00a0individu\u00a0pun\u00a0tidaklah\u00a0sama\u00a0karena\u00a0manusia\u00a0merupakan\u00a0mahluk\u00a0<\/span>multi-oriented<\/span><\/i>.\u00a0Pengelompokan\u00a0sosial\u00a0atas\u00a0manusia\u00a0yang\u00a0memiliki\u00a0orientasi\u00a0nilai\u00a0yang\u00a0sama\u00a0tersebut\u00a0dapat\u00a0saling\u00a0beririsan\u00a0antar\u00a0kelompok\u00a0(<\/span>gemeinschaft<\/span><\/i>)\u00a0lainnya\u00a0bergantung\u00a0pada\u00a0konteks.\u00a0Pengkotak-kotakan\u00a0yang\u00a0hanya\u00a0dapat\u00a0mewakili\u00a0aspek\u00a0tertentu\u00a0saja\u00a0masing-masing\u00a0akan\u00a0menciptakan\u00a0solidaritas\u00a0yang\u00a0kemudian\u00a0dapat\u00a0berkembang\u00a0menjadi\u00a0suatu\u00a0bentuk\u00a0fanatisme.\u00a0Ketika\u00a0solidaritas\u00a0berada\u00a0pada\u00a0kulit\u00a0saja,\u00a0fanatisme\u00a0memiliki\u00a0jangkar\u00a0yang\u00a0lebih\u00a0dalam,\u00a0walau\u00a0keduanya\u00a0\u2013\u00a0terkadang\u00a0semacam\u00a0<\/span>defend something over nothing<\/span><\/i>.\u00a0Namun\u00a0pada\u00a0kenyataannya,\u00a0bahkan\u00a0solidaritas\u00a0dan\u00a0fanatisme\u00a0dapat\u00a0dibeli,\u00a0dibentuk,\u00a0didoktrinkan,\u00a0dan\u00a0diterorkan\u00a0melalui\u00a0berbagai\u00a0media.\u00a0Fanatisme\u00a0terhadap\u00a0suatu\u00a0hal\u00a0selalu\u00a0menimbulkan\u00a0persoalan,\u00a0termasuk\u00a0fanatisme\u00a0pada\u00a0budaya.\u00a0Kemunculan\u00a0ego dan \u2018merasa\u00a0paling\u00a0baik\u2019\u00a0muncul\u00a0pula pada\u00a0ranah\u00a0budaya\u00a0justru\u00a0ketika\u00a0kondisi\u00a0interaksi\u00a0antar\u00a0budaya\u00a0semakin\u00a0intens.\u00a0Pelestarian\u00a0budaya\u00a0tradisi\u00a0kerap\u00a0digadang-gadang\u00a0dengan\u00a0jargon \u2018<\/span>pelestarian\u00a0budaya\u00a0tradisi\u00a0dan\u00a0identitas\u00a0lokal\u00a0yang\u00a0otentik\u2019<\/span><\/i>.<\/span>\u00a0Hal\u00a0ini\u00a0dapat\u00a0menarik\u00a0suatu\u00a0bentuk\u00a0fanatisme\u00a0pula,\u00a0namun\u00a0hasilnya\u00a0justru\u00a0terkadang\u00a0mendangkalkan\u00a0nilai-nilai\u00a0yang\u00a0tadinya\u00a0diusung.\u00a0Kondisi\u00a0ini\u00a0kemudian\u00a0menimbulkan\u00a0pertanyaan:\u00a0<\/span>Lantas\u00a0sebernilai\u00a0apakah\u00a0pelestarian\u00a0budaya\u00a0itu?\u00a0<\/span><\/i>atau\u00a0<\/span>apa\u00a0pentingnya\u00a0mengkonservasi\u00a0budaya\u00a0tertentu\u00a0dan\u00a0produk-produknya?<\/span><\/i>\u00a0<\/span>\u00a0<\/span><\/p>\n

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Pada\u00a0seni\u00a0tradisi\u00a0di Indonesia,\u00a0contohnya\u00a0pada\u00a0seni\u00a0tari\u00a0tradisi,\u00a0produk\u00a0budaya\u00a0tersebut\u00a0pada\u00a0awalnya\u00a0hadir\u00a0dalam\u00a0upaya\u00a0menjaga\u00a0hubungan\u00a0mendalam\u00a0dengan\u00a0warisan\u00a0spiritualnya.\u00a0Dengan\u00a0kata lain,\u00a0tarian\u00a0selalu\u00a0berkaitan\u00a0dengan\u00a0kegiatan\u00a0religius. Seiring\u00a0waktu,\u00a0dengan\u00a0berbagai\u00a0perkembangan\u00a0kebudayaan\u00a0global,\u00a0dimana\u00a0religi-religi\u00a0besar\u00a0masuk\u00a0dan\u00a0mengambil\u00a0alih\u00a0dunia spiritual\u00a0lokal,\u00a0maka\u00a0tarian\u00a0tradisi\u00a0yang\u00a0sakral\u00a0tersebut\u00a0bergerak\u00a0ke\u00a0arah\u00a0tarian\u00a0kontemporer\u00a0yang\u00a0profan.\u00a0<\/span>\u00a0<\/span><\/p>\n

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Tarian\u00a0kontemporer\u00a0yang\u00a0berkembang\u00a0pada\u00a0saat\u00a0ini\u00a0walaupun\u00a0memiliki\u00a0unsur\u00a0profan\u00a0yang\u00a0kuat\u00a0bukan\u00a0berarti\u00a0tidak\u00a0mengandung\u00a0nilai-nilai\u00a0luhur,\u00a0bahkan\u00a0bisa\u00a0jadi\u00a0mengandung\u00a0aspek\u00a0spiritualitas\u00a0dengan\u00a0pemaknaan\u00a0yang\u00a0mendalam\u00a0tak\u00a0kalah\u00a0dengan\u00a0tarian\u00a0tradisi.\u00a0Kontekstualitasnya\u00a0akan\u00a0lebih\u00a0dapat\u00a0menyentuh\u00a0jiwa-jiwa\u00a0manusia\u00a0masa\u00a0kini\u00a0dibandingkan\u00a0tarian\u00a0tradisi\u00a0sakral\u00a0yang\u00a0masih\u00a0menggunakan\u00a0pakem-pakem\u00a0lawas\u00a0– yang\u00a0metaforanya\u00a0mungkin\u00a0hanya\u00a0mampu\u00a0dimengerti\u00a0oleh\u00a0manusia\u00a0generasi\u00a0terdahulu.\u00a0Artinya,\u00a0dalam\u00a0pelestarian\u00a0budaya\u00a0tradisi, yang\u00a0penting\u00a0bukanlah\u00a0\u2018kemasan\u2019nya\u00a0melainkan\u00a0<\/span>value<\/span><\/i><\/b>\u00a0mendasar<\/span><\/b>\u00a0yang\u00a0ingin\u00a0disampaikan.\u00a0<\/span>\u00a0<\/span><\/p>\n

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KESEPAKATAN,\u00a0Sebagai\u00a0Upaya\u00a0Pelestarian\u00a0Budaya\u00a0Tradisi<\/span><\/b>\u00a0<\/span><\/p>\n

Sumber\u00a0persoalan\u00a0kultural\u00a0masa\u00a0kini\u00a0salah\u00a0satunya\u00a0adalah\u00a0sikap\u00a0yang\u00a0menganggap\u00a0budaya\u00a0sebagai\u00a0benteng\u00a0identitas\u00a0yang solid,\u00a0dalam\u00a0arti\u00a0semacam\u00a0\u2018<\/span>strategy of othering\u2019<\/span><\/i>\u00a0yang\u00a0dapat\u00a0memicu\u00a0antagonistik, paranoid,\u00a0xenofobik,\u00a0genosidal,\u00a0teroristik;\u00a0mereka\u00a0yang\u00a0berbeda\u00a0perlu\u00a0disingkirkan\u00a0<\/span>\u200b<\/span>(Sugiharto, 2019).<\/span>\u200b<\/span><\/span>\u00a0Jargon\u00a0pelestarian\u00a0budaya\u00a0tradisi\u00a0dan\u00a0identitas\u00a0lokal\u00a0yang\u00a0otentik\u00a0perlu\u00a0dipertanyakan\u00a0kembali,\u00a0karena\u00a0<\/span>jika\u00a0digali\u00a0lebih\u00a0dalam,\u00a0identitas\u00a0lokal\u00a0pun\u00a0menjadi\u00a0sesuatu\u00a0yang\u00a0samar\u00a0karena\u00a0tidak\u00a0ada\u00a0budaya\u00a0yang\u00a0benar-benar\u00a0otentik.\u00a0Pelestarian\u00a0budaya\u00a0tradisi\u00a0dengan\u00a0sikap\u00a0<\/span>overdefensive<\/span><\/i>\u00a0dan\u00a0<\/span>m<\/span>empertebal\u00a0batas-batas\u00a0kategorisasi\u00a0identitas\u00a0konvensional\u00a0pada era\u00a0sekarang\u00a0bukanlah\u00a0langkah\u00a0yang\u00a0strategis.\u00a0Budaya\u00a0lain\u00a0bukan\u00a0ancaman,\u00a0melainkan\u00a0peluang\u00a0untuk\u00a0memperkaya,\u00a0bahkan\u00a0melestarikan,\u00a0memberikan\u00a0kontribusi\u00a0berharga\u00a0pada\u00a0peradaban\u00a0manusia<\/span>\u00a0<\/span>\u200b<\/span>(Sugiharto, 2019)<\/span>\u200b<\/span><\/span>.\u00a0Ketakutan\u00a0akan\u00a0terjadinya\u00a0perusakan\u00a0tradisi\u00a0\u2018awal\u2019\u00a0dengan\u00a0menciptakan\u00a0batas-batas\u00a0tersebut\u00a0justru\u00a0dapat\u00a0membuatnya\u00a0bergerak\u00a0menuju\u00a0kepunahan.\u00a0<\/span>\u00a0<\/span><\/p>\n

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Pada\u00a0kasus\u00a0seni\u00a0tari\u00a0tradisi,\u00a0<\/span>p<\/span>elestarian\u00a0tidak\u00a0dapat\u00a0lagi\u00a0dipandang\u00a0sebagai\u00a0sesuatu\u00a0yang\u00a0harus\u00a0mempertahankan\u00a0\u2018pakem\u2019 yang\u00a0seolah-olah\u00a0otentik\u00a0dengan\u00a0<\/span>border<\/span><\/i>\u00a0dan\u00a0ketertutupan.\u00a0Budaya\u00a0tradisi\u00a0dan\u00a0objek-objeknya\u00a0pada\u00a0akhirnya\u00a0akan\u00a0dihadapkan\u00a0pada dua\u00a0kemungkinan:\u00a0berkembang\u00a0dengan\u00a0cara\u00a0membuka\u00a0diri\u00a0(evolusi\u00a0dan\u00a0adaptasi),\u00a0atau\u00a0punah.\u00a0Keterbukaan\u00a0budaya\u00a0tersebut\u00a0justru\u00a0menjadi\u00a0salah\u00a0satu\u00a0syarat\u00a0<\/span>survival<\/span><\/i>\u00a0dan\u00a0merupakan\u00a0kunci\u00a0dari\u00a0strategi\u00a0budaya\u00a0agar\u00a0<\/span>resilience<\/span><\/i>.\u00a0Proses\u00a0evolusi\u00a0dan\u00a0adaptasi\u00a0pada\u00a0suatu\u00a0budaya\u00a0tradisi\u00a0berupa\u00a0kesepakatan-kesepakatan\u00a0yang\u00a0dibangun\u00a0sesuai\u00a0<\/span>ruang<\/span><\/b>,\u00a0<\/span>waktu<\/span><\/b>, dan\u00a0<\/span>aktor<\/span><\/b>. Seni tari\u00a0tradisi\u00a0yang pada\u00a0pementasan\u00a0awalnya\u00a0bersifat\u00a0kultural-spiritual,\u00a0kemudian\u00a0beradaptasi\u00a0menjadi\u00a0tarian\u00a0kontemporer-profan,\u00a0dengan\u00a0kata lain,\u00a0ada\u00a0proses\u00a0<\/span>desakralisasi<\/span><\/b>.\u00a0Desakralisasi\u00a0dalam\u00a0perspektif\u00a0ini,\u00a0tidak\u00a0harus\u00a0selalu\u00a0berkonotasi\u00a0negatif. Ketika\u00a0ada\u00a0<\/span>reduksi<\/span><\/b>\u00a0nilai-nilai\u00a0sakralitas, pada\u00a0saat\u00a0yang\u00a0sama\u00a0terjadi\u00a0proses\u00a0<\/span>ekspansi<\/span><\/b>\u00a0berupa\u00a0penguatan\u00a0eksistensi\u00a0pada\u00a0objek\u00a0budaya\u00a0tersebut\u00a0(paradoks).\u00a0Sebagai\u00a0contoh, di Indonesia yang\u00a0sedang\u00a0berada\u00a0pada masa\u00a0transisi,\u00a0perkembangan\u00a0ini\u00a0masih\u00a0banyak\u00a0berlangsung\u00a0diantaranya\u00a0karena\u00a0pengaruh\u00a0faktor\u00a0perkembangan\u00a0teknologi\u00a0yang\u00a0memungkinkan\u00a0munculnya\u00a0ruang-ruang\u00a0publik\u00a0kontemporer\u00a0(ruang\u00a0maya) di mana\u00a0seni\u00a0tari\u00a0tradisi\u00a0yang\u00a0sakral\u00a0kini\u00a0dapat\u00a0dipublikasikan\u00a0secara\u00a0global\u00a0tanpa\u00a0batasan\u00a0aspek\u00a0ruang\u00a0dan\u00a0waktu. Hal\u00a0ini\u00a0membuat\u00a0daya\u00a0jangkau\u00a0(<\/span>reach<\/span><\/i>)\u00a0dari\u00a0penonton\u00a0yang\u00a0lebih\u00a0luas\/global\u00a0sehingga\u00a0eksistensinya\u00a0meningkat,\u00a0walaupun\u00a0terjadi\u00a0penurunan\u00a0intensitas\u00a0kesakralan\u00a0dari\u00a0nilai-nilai\u00a0yang\u00a0terkandung\u00a0dalam\u00a0produk\u00a0budaya\u00a0tersebut.\u00a0Di\u00a0sisi\u00a0lain\u00a0masih\u00a0terdapat\u00a0kekhawatiran\u00a0bahwa\u00a0perkembangan\u00a0ini\u00a0semakin\u00a0membuka\u00a0peluang\u00a0untuk\u00a0mengubah\u00a0kebenaran\u00a0budayawi\u00a0dan\u00a0pemahaman\u00a0masyarakat\u00a0akan\u00a0nilai\u00a0budayanya\u00a0itu\u00a0sendiri.<\/span>\u00a0<\/span><\/p>\n

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\u00a0\u00a0\u00a0<\/span><\/b> Proses\u00a0Desakralisasi\u00a0pada Seni Tari\u00a0Tradisi<\/span><\/b>\u00a0<\/span><\/p>\n

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Adaptasi\u00a0dan\u00a0evolusi\u00a0dalam\u00a0kasus\u00a0seni\u00a0tari\u00a0tradisi\u00a0merupakan\u00a0suatu\u00a0bentuk\u00a0<\/span>kesepakatan<\/span><\/b>. Ada\u00a0<\/span>pakem-pakem<\/span><\/i>\u00a0yang\u00a0memiliki\u00a0standar\u00a0nilai\u00a0tertentu\u00a0yang\u00a0dijaga\u00a0dan\u00a0tetap\u00a0dipertahankan,\u00a0sementara\u00a0hal\u00a0lainnya\u00a0dapat\u00a0bertransformasi,\u00a0bahkan\u00a0berevolusi.\u00a0Sebagai\u00a0contoh, pada tari Legong di Bali,\u00a0ada\u00a0pakem-pakem\u00a0gerakan,\u00a0busana, dan\u00a0atribut\u00a0yang\u00a0mengandung\u00a0nilai-nilai\u00a0dengan\u00a0batas spiritual\u00a0tertentu\u00a0sehingga\u00a0dia\u00a0dapat\u00a0dikatakan\u00a0sebagai\u00a0tari Legong.\u00a0Selebihnya\u00a0dia\u00a0berkembang\u00a0dan\u00a0berekspansi\u00a0hingga\u00a0menjadi\u00a0tari Legong\u00a0kontemporer.\u00a0Tetapi\u00a0tetap\u00a0membawa\u00a0nama \u2018Legong\u2019\u00a0selama\u00a0masih\u00a0mengacu\u00a0pada\u00a0<\/span>core<\/span><\/i>\u00a0kesepakatan\u00a0yang\u00a0berlaku.<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Jika\u00a0mengambil\u00a0contoh\u00a0yang\u00a0lebih\u00a0spesifik\u00a0seperti\u00a0seni\u00a0tari\u00a0tradisi\u00a0Bali,\u00a0pengelompokan\u00a0jenis\u00a0tari\u00a0telah\u00a0disepakati\u00a0pada\u00a0tahun\u00a01971 pada seminar\u00a0Listibiya\u00a0(<\/span>The Balinese Art Council<\/span><\/i>) yang\u00a0khusus\u00a0membahas\u00a0kategorisasi\u00a0tarian\u00a0sakral\u00a0dan\u00a0profan\u00a0di Bali\u00a0<\/span>\u200b<\/span>(Dibia and Ballinger, 2023).<\/span>\u200b<\/span><\/span>\u00a0Hal\u00a0ini\u00a0dilakukan\u00a0dalam\u00a0upaya\u00a0memberikan\u00a0penguatan\u00a0terhadap\u00a0eksistensi\u00a0seni\u00a0tari\u00a0tradisi\u00a0di Bali yang\u00a0selalu\u00a0bergantung\u00a0pada\u00a0ruang,\u00a0waktu, dan\u00a0aktor.\u00a0Kesepakatan\u00a0itu\u00a0berupa:\u00a0<\/span>Apabila\u00a0pertunjukan\u00a0seni\u00a0tari Bali\u00a0berada\u00a0pada\u00a0ruang\u00a0<\/span>jeroan\u00a0pura<\/span><\/i>\u00a0pada\u00a0saat\u00a0ritual\u00a0keagamaan\u00a0tertentu,\u00a0maka\u00a0tarian\u00a0tersebut\u00a0berfungsi\u00a0sebagai\u00a0<\/span>tari\u00a0wali<\/span><\/i>\u00a0yang\u00a0bersifat\u00a0sakral\u00a0dan\u00a0mengandung\u00a0nilai-nilai\u00a0spiritualitas. Jika\u00a0tarian\u00a0yang\u00a0sama\u00a0dipertunjukan\u00a0di area\u00a0<\/span>jaba\u00a0tengah\u00a0pura<\/span><\/i>\u00a0pada\u00a0saat\u00a0upacara\u00a0untuk\u00a0tujuan\u00a0hiburan,\u00a0maka\u00a0tarian\u00a0tersebut\u00a0berfungsi\u00a0sebagai\u00a0<\/span>tari\u00a0bebali<\/span><\/i>, yang\u00a0mengandung\u00a0semi-profan.\u00a0Sementara\u00a0jika\u00a0tarian\u00a0yang\u00a0sama\u00a0dipertunjukan\u00a0di\u00a0gedung\/panggung\u00a0pertunjukan\u00a0pada\u00a0saat\u00a0tertentu\u00a0(tidak\u00a0terikat),\u00a0maka\u00a0tarian\u00a0ini\u00a0disebut\u00a0<\/span>tari\u00a0balih-balihan<\/span><\/i>\u00a0yang\u00a0bersifat\u00a0profan. Pada\u00a0pertunjukan\u00a0seni\u00a0tari\u00a0tradisi\u00a0di Bali,\u00a0tarian\u00a0yang\u00a0sama\u00a0dapat\u00a0memiliki\u00a0fungsi\u00a0yang\u00a0berbeda\u00a0tergantung\u00a0ruang,\u00a0waktu, dan\u00a0aktornya.\u00a0Namun\u00a0kesemuanya\u00a0itu\u00a0masih\u00a0berada\u00a0pada\u00a0<\/span>core<\/span><\/i>\u00a0kesepakatan\u00a0yang\u00a0sama,\u00a0yaitu\u00a0seni\u00a0tari Bali\u00a0selalu\u00a0merupakan\u00a0ungkapan\u00a0dari\u00a0masyarakat\u00a0Bali\u00a0sebagai\u00a0<\/span>bhakti<\/span><\/i>\u00a0kepada\u00a0<\/span>Ida Sang Hyang\u00a0Widhi\u00a0Wasa<\/span><\/i>.\u00a0Hampir\u00a0semua\u00a0ritual\u00a0keagamaan\u00a0di Bali\u00a0memiliki\u00a0objek\u00a0seni\u00a0yang\u00a0terkait\u00a0dengannya. Metode\u00a0dasar\u00a0penciptaannya\u00a0lahir\u00a0melalui\u00a0prosesi\u00a0ritual\u00a0olah\u00a0spiritual\u00a0dengan\u00a0konsep\u00a0Tri-Sukma,\u00a0sehingga\u00a0pada\u00a0dasarnya\u00a0selalu\u00a0bersifat\u00a0religius\u00a0<\/span>\u200b<\/span>(Dibia, 2020)<\/span>\u200b<\/span><\/span>.\u00a0Sebaliknya,\u00a0religi\u00a0pun\u00a0menjadi\u00a0sumber\u00a0inspirasi\u00a0dalam\u00a0penciptaan\u00a0karya\u00a0seni\u00a0tari\u00a0Bali. Seni\u00a0tari\u00a0Bali\u00a0lahir\u00a0dari\u00a0kreativitas\u00a0religius\u00a0sehingga\u00a0menghasilkan\u00a0objek\u00a0seni\u00a0yang\u00a0selalu\u00a0mengandung\u00a0nilai-nilai\u00a0spiritual\u00a0<\/span>\u200b<\/span>(Agastia, 1994)<\/span>\u200b<\/span><\/span>.\u00a0Kreativitas\u00a0religius\u00a0itu\u00a0terdiri\u00a0dari\u00a0komponen\u00a0ide,\u00a0teknik\u00a0dan\u00a0wujud,\u00a0sebagai\u00a0representasi\u00a0dari\u00a0Tri-Sukma: Brahma, Wisnu,\u00a0dan\u00a0Iswara.\u00a0Ketiganya\u00a0saling\u00a0berpengaruh\u00a0dan\u00a0terkait\u00a0dalam\u00a0usaha\u00a0membentuk\u00a0<\/span>kharisma\u00a0spiritual<\/span><\/b>\u00a0(<\/span>mataksu<\/span><\/i>).<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

KOMODIFIKASI pada\u00a0Budaya\u00a0Tradisi<\/span><\/b>\u00a0<\/span><\/p>\n

Desakralisasi\u00a0yang\u00a0terjadi\u00a0pada\u00a0contoh\u00a0kasus\u00a0seni\u00a0tari\u00a0berkaitan\u00a0erat\u00a0pula\u00a0dengan\u00a0faktor\u00a0ekonomi,\u00a0terutama\u00a0pada\u00a0pementasan\u00a0seni\u00a0tari\u00a0kontemporer\u00a0yang\u00a0dapat\u00a0dianggap\u00a0sebagai\u00a0sebuah\u00a0peristiwa\u00a0besar\u00a0(<\/span>mega-event<\/span><\/i>).\u00a0\u00a0Peristiwa\u00a0ini\u00a0kerap\u00a0dikaitkan\u00a0dengan\u00a0upaya\u00a0meraih\u00a0keuntungan\u00a0ekonomi\u00a0dari\u00a0sebuah\u00a0gelaran\u00a0acara yang\u00a0besar\u00a0<\/span>\u200b<\/span>(Miles, 2010)<\/span>\u200b<\/span><\/span>.\u00a0Orientasi\u00a0kepada\u00a0ekonomi\u00a0serta\u00a0keuntungan-keuntungannya\u00a0merupakan\u00a0bentuk\u00a0dari\u00a0ekspresi\u00a0manusia\u00a0sebagai\u00a0<\/span>homo economicus<\/span><\/i>\u00a0yang\u00a0hidup\u00a0dari\u00a0<\/span>oikonomia<\/span><\/i>\u00a0yang\u00a0bertujuan\u00a0untuk\u00a0mencari\u00a0hidup\u00a0dari\u00a0upaya\u00a0mengumpulkan\u00a0materi\u00a0demi\u00a0kesenangan\u00a0tubuh\u00a0dan\u00a0pemenuhan\u00a0hasrat\u00a0<\/span>\u200b<\/span>(Piliang, 2016)<\/span>\u200b<\/span><\/span>.\u00a0Terbentuknya\u00a0kehidupan\u00a0yang\u00a0berorientasi\u00a0kepada\u00a0ekonomi\u00a0ini\u00a0merupakan\u00a0prasyarat\u00a0munculnya\u00a0<\/span>komodifikasi<\/span><\/b>.\u00a0Secara\u00a0sederhana,\u00a0komodifikasi\u00a0ini\u00a0dapat\u00a0dipahami\u00a0sebagai\u00a0proses\u00a0perubahan\u00a0materi\u00a0menjadi\u00a0komoditas\u00a0(benda\u00a0jual\u00a0atau\u00a0produk\u00a0ritel) yang\u00a0bernilai\u00a0ekonomi. Materi-materi\u00a0yang\u00a0menjadi\u00a0sasaran\u00a0komodifikasi\u00a0ini\u00a0sangat\u00a0beragam. Bagi dunia\u00a0bisnis\u00a0pertunjukan,\u00a0seni\u00a0tari\u00a0merupakan\u00a0salah\u00a0satu\u00a0sasaran\u00a0yang\u00a0dapat\u00a0dijadikan\u00a0komoditas\u00a0jualnya.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Perkembangan\u00a0seni\u00a0tari dan\u00a0panggung\u00a0pementasannya\u00a0pada\u00a0dasarnya\u00a0merupakan\u00a0bagian\u00a0dari\u00a0kreativitas\u00a0yang\u00a0diciptakan\u00a0oleh para\u00a0pelaku\u00a0seni.\u00a0Kreativitas\u00a0di\u00a0sini\u00a0tidak\u00a0lain\u00a0merupakan\u00a0hal\u00a0yang\u00a0sudah\u00a0sangat\u00a0melekat\u00a0dalam\u00a0keseharian\u00a0manusia.\u00a0\u00a0<\/span>\u200b<\/span>Getz and\u00a0Lubart\u00a0(1999)<\/span>\u200b<\/span><\/span>\u00a0mencatat\u00a0bahwa\u00a0karya\u00a0kreatif\u2015dalam\u00a0perspektif\u00a0humanistik\u2015\u00a0kerap\u00a0kali\u00a0dipandang\u00a0sebagai\u00a0cara\u00a0untuk\u00a0mengekspresikan\u00a0emosi\u00a0idiosinkratik\u00a0seseorang\u00a0dan\u00a0respon\u00a0afektif\u00a0terhadap\u00a0dunia. Karya\u00a0kreatif\u00a0ini\u00a0pun\u00a0tidak\u00a0hanya\u00a0berfokus\u00a0pada\u00a0kebaruan\u00a0semata\u00a0melainkan\u00a0dapat\u00a0menciptakan\u00a0nilai\u00a0dan\u00a0makna\u00a0tertentu\u00a0<\/span>\u200b<\/span>(Vosburg and Kaufmann, 1999)<\/span>\u200b<\/span><\/span>.\u00a0Nilai-nilai\u00a0serupa\u00a0dengan\u00a0seni\u00a0tari\u00a0tradisi\u00a0dapat\u00a0disampaikan\u00a0dalam\u00a0bentuk\u00a0baru\u00a0yang\u00a0lebih\u00a0kontekstual\u00a0dan\u00a0dengan\u00a0daya\u00a0serap\u00a0yang\u00a0lebih\u00a0besar.\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Daftar Pustaka<\/span><\/b>\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u200b<\/span>\u200b<\/span>Agastia (1994):\u00a0<\/span>Kesusastraan\u00a0Hindu Indonesia (Sebuah\u00a0Pengantar). .<\/span><\/i>, Yayasan Dharma Sastra.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Dibia, I. W. (2020):\u00a0<\/span>Panca\u00a0Sthiti\u00a0Ngawi\u00a0Sani-Metodologi\u00a0Penciptaan\u00a0Seni.\u00a0<\/span><\/i>,\u00a0ISI Denpasar Press.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Dibia, I. W., and Ballinger, R. (2023):\u00a0<\/span>Balinese Dance, Drama and Music – A Beginner\u2019s Guide to The Performing Arts of Bali<\/span><\/i>, Tuttle Publishing.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Getz, I., and\u00a0Lubart, T. I. (1999): The Emotional Resonance Model of Creativity: Theoretical and Practical Extensions, 41\u201356\u00a0<\/span>in<\/span><\/i>\u00a0S. R. RUSS, ed.,\u00a0<\/span>Affect, Creative Experience,\u00a0and\u202f Psychological\u00a0Adjustment\u00a0<\/span><\/i>,\u00a0Brunner\/Mazel ,\u00a0Philadephia.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Miles, S. (2010):\u00a0<\/span>Spaces for Consumption<\/span><\/i>, SAGE Publications\u00a0Ltd. ,\u00a0London.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Piliang, Y. A. (2016):\u00a0Kondisi\u00a0Manusia\u00a0dan\u00a0Kebudayaan\u00a0di Abad\u00a0Informasi. ,\u00a0<\/span>Orasi\u00a0Ilmiah\u00a0Guru Besar,\u00a0Institut\u00a0Teknologi\u00a0Bandung.\u00a0<\/span><\/i>.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Sugiharto, B. (2019):\u00a0<\/span>Kebudayaan\u00a0dan\u00a0Kondisi\u00a0Post-Tradisi\u00a0– Kajian\u00a0Filosofis\u00a0Atas\u00a0Permasalahan\u00a0Budaya\u00a0Abad ke-21<\/span><\/i>,\u00a0Kanisius.<\/span><\/span>\u00a0<\/span><\/p>\n

\u200b<\/span>Vosburg, S., and Kaufmann, G. (1999): Mood and Creativity Research: The View from a Conceptual Organizing Perspective, 19\u201339\u00a0<\/span>in<\/span><\/i>\u00a0S. R. RUSS, ed.,\u00a0<\/span>Affect, Creative Experience, and Psychological\u00a0Adjustment\u00a0<\/span><\/i>,\u00a0dan Kaufmann, G. (1999). Mood and Creativity Research: The View from a Conceptual Organizing Perspective. In S. R. RUSS (Ed.). Affect, Creative\u00a0Experience,\u202f and\u202f\u00a0Psychological\u202f Adjustment\u202f (pp.\u202f 19-39).\u202f:\u202f Brunner\/Mazel. ,\u00a0Philadephia.<\/span>\u202f<\/span>\u200b<\/span><\/span>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

PELESTARIAN BUDAYA TRADISI,\u00a0perlukah\u00a0itu?\u00a0\u00a0 Part 1\u00a0 \u00a0 Otak\u00a0manusia\u00a0tidak\u00a0ada\u00a0yang\u00a0pemikirannya\u00a0sama\u00a0persis,\u00a0namun\u00a0secara\u00a0alamiah\u00a0akan\u00a0mengkotak-kotakan\u00a0diri\u00a0pada\u00a0lingkungan\u00a0sosialnya\u00a0menurut\u00a0kesesuaian\u00a0pemikiran\u00a0yang\u00a0serupa\u00a0akan\u00a0suatu\u00a0hal\u00a0spesifik\u00a0tertentu\u00a0(homologos).\u00a0Namun\u00a0pada\u00a0kenyataannya\u00a0otak\u00a0manusia\u00a0dalam\u00a0satu\u00a0individu\u00a0pun\u00a0tidaklah\u00a0sama\u00a0karena\u00a0manusia\u00a0merupakan\u00a0mahluk\u00a0multi-oriented.\u00a0Pengelompokan\u00a0sosial\u00a0atas\u00a0manusia\u00a0yang\u00a0memiliki\u00a0orientasi\u00a0nilai\u00a0yang\u00a0sama\u00a0tersebut\u00a0dapat\u00a0saling\u00a0beririsan\u00a0antar\u00a0kelompok\u00a0(gemeinschaft)\u00a0lainnya\u00a0bergantung\u00a0pada\u00a0konteks.\u00a0Pengkotak-kotakan\u00a0yang\u00a0hanya\u00a0dapat\u00a0mewakili\u00a0aspek\u00a0tertentu\u00a0saja\u00a0masing-masing\u00a0akan\u00a0menciptakan\u00a0solidaritas\u00a0yang\u00a0kemudian\u00a0dapat\u00a0berkembang\u00a0menjadi\u00a0suatu\u00a0bentuk\u00a0fanatisme.\u00a0Ketika\u00a0solidaritas\u00a0berada\u00a0pada\u00a0kulit\u00a0saja,\u00a0fanatisme\u00a0memiliki\u00a0jangkar\u00a0yang\u00a0lebih\u00a0dalam,\u00a0walau\u00a0keduanya\u00a0\u2013\u00a0terkadang\u00a0semacam\u00a0defend something over nothing.\u00a0Namun\u00a0pada\u00a0kenyataannya,\u00a0bahkan\u00a0solidaritas\u00a0dan\u00a0fanatisme\u00a0dapat\u00a0dibeli,\u00a0dibentuk,\u00a0didoktrinkan,\u00a0dan\u00a0diterorkan\u00a0melalui\u00a0berbagai\u00a0media.\u00a0Fanatisme\u00a0terhadap\u00a0suatu\u00a0hal\u00a0selalu\u00a0menimbulkan\u00a0persoalan,\u00a0termasuk\u00a0fanatisme\u00a0pada\u00a0budaya.\u00a0Kemunculan\u00a0ego dan \u2018merasa\u00a0paling\u00a0baik\u2019\u00a0muncul\u00a0pula pada\u00a0ranah\u00a0budaya\u00a0justru\u00a0ketika\u00a0kondisi\u00a0interaksi\u00a0antar\u00a0budaya\u00a0semakin\u00a0intens.\u00a0Pelestarian\u00a0budaya\u00a0tradisi\u00a0kerap\u00a0digadang-gadang\u00a0dengan\u00a0jargon \u2018pelestarian\u00a0budaya\u00a0tradisi\u00a0dan\u00a0identitas\u00a0lokal\u00a0yang\u00a0otentik\u2019.\u00a0Hal\u00a0ini\u00a0dapat\u00a0menarik\u00a0suatu\u00a0bentuk\u00a0fanatisme\u00a0pula,\u00a0namun\u00a0hasilnya\u00a0justru\u00a0terkadang\u00a0mendangkalkan\u00a0nilai-nilai\u00a0yang\u00a0tadinya\u00a0diusung.\u00a0Kondisi\u00a0ini\u00a0kemudian\u00a0menimbulkan\u00a0pertanyaan:\u00a0Lantas\u00a0sebernilai\u00a0apakah\u00a0pelestarian\u00a0budaya\u00a0itu?\u00a0atau\u00a0apa\u00a0pentingnya\u00a0mengkonservasi\u00a0budaya\u00a0tertentu\u00a0dan\u00a0produk-produknya?\u00a0\u00a0 \u00a0 Pada\u00a0seni\u00a0tradisi\u00a0di Indonesia,\u00a0contohnya\u00a0pada\u00a0seni\u00a0tari\u00a0tradisi,\u00a0produk\u00a0budaya\u00a0tersebut\u00a0pada\u00a0awalnya\u00a0hadir\u00a0dalam\u00a0upaya\u00a0menjaga\u00a0hubungan\u00a0mendalam\u00a0dengan\u00a0warisan\u00a0spiritualnya.\u00a0Dengan\u00a0kata lain,\u00a0tarian\u00a0selalu\u00a0berkaitan\u00a0dengan\u00a0kegiatan\u00a0religius. Seiring\u00a0waktu,\u00a0dengan\u00a0berbagai\u00a0perkembangan\u00a0kebudayaan\u00a0global,\u00a0dimana\u00a0religi-religi\u00a0besar\u00a0masuk\u00a0dan\u00a0mengambil\u00a0alih\u00a0dunia spiritual\u00a0lokal,\u00a0maka\u00a0tarian\u00a0tradisi\u00a0yang\u00a0sakral\u00a0tersebut\u00a0bergerak\u00a0ke\u00a0arah\u00a0tarian\u00a0kontemporer\u00a0yang\u00a0profan.\u00a0\u00a0 \u00a0 Tarian\u00a0kontemporer\u00a0yang\u00a0berkembang\u00a0pada\u00a0saat\u00a0ini\u00a0walaupun\u00a0memiliki\u00a0unsur\u00a0profan\u00a0yang\u00a0kuat\u00a0bukan\u00a0berarti\u00a0tidak\u00a0mengandung\u00a0nilai-nilai\u00a0luhur,\u00a0bahkan\u00a0bisa\u00a0jadi\u00a0mengandung\u00a0aspek\u00a0spiritualitas\u00a0dengan\u00a0pemaknaan\u00a0yang\u00a0mendalam\u00a0tak\u00a0kalah\u00a0dengan\u00a0tarian\u00a0tradisi.\u00a0Kontekstualitasnya\u00a0akan\u00a0lebih\u00a0dapat\u00a0menyentuh\u00a0jiwa-jiwa\u00a0manusia\u00a0masa\u00a0kini\u00a0dibandingkan\u00a0tarian\u00a0tradisi\u00a0sakral\u00a0yang\u00a0masih\u00a0menggunakan\u00a0pakem-pakem\u00a0lawas\u00a0– yang\u00a0metaforanya\u00a0mungkin\u00a0hanya\u00a0mampu\u00a0dimengerti\u00a0oleh\u00a0manusia\u00a0generasi\u00a0terdahulu.\u00a0Artinya,\u00a0dalam\u00a0pelestarian\u00a0budaya\u00a0tradisi, yang\u00a0penting\u00a0bukanlah\u00a0\u2018kemasan\u2019nya\u00a0melainkan\u00a0value\u00a0mendasar\u00a0yang\u00a0ingin\u00a0disampaikan.\u00a0\u00a0 \u00a0 \u00a0 KESEPAKATAN,\u00a0Sebagai\u00a0Upaya\u00a0Pelestarian\u00a0Budaya\u00a0Tradisi\u00a0 Sumber\u00a0persoalan\u00a0kultural\u00a0masa\u00a0kini\u00a0salah\u00a0satunya\u00a0adalah\u00a0sikap\u00a0yang\u00a0menganggap\u00a0budaya\u00a0sebagai\u00a0benteng\u00a0identitas\u00a0yang solid,\u00a0dalam\u00a0arti\u00a0semacam\u00a0\u2018strategy of othering\u2019\u00a0yang\u00a0dapat\u00a0memicu\u00a0antagonistik, paranoid,\u00a0xenofobik,\u00a0genosidal,\u00a0teroristik;\u00a0mereka\u00a0yang\u00a0berbeda\u00a0perlu\u00a0disingkirkan\u00a0\u200b(Sugiharto, 2019).\u200b\u00a0Jargon\u00a0pelestarian\u00a0budaya\u00a0tradisi\u00a0dan\u00a0identitas\u00a0lokal\u00a0yang\u00a0otentik\u00a0perlu\u00a0dipertanyakan\u00a0kembali,\u00a0karena\u00a0jika\u00a0digali\u00a0lebih\u00a0dalam,\u00a0identitas\u00a0lokal\u00a0pun\u00a0menjadi\u00a0sesuatu\u00a0yang\u00a0samar\u00a0karena\u00a0tidak\u00a0ada\u00a0budaya\u00a0yang\u00a0benar-benar\u00a0otentik.\u00a0Pelestarian\u00a0budaya\u00a0tradisi\u00a0dengan\u00a0sikap\u00a0overdefensive\u00a0dan\u00a0mempertebal\u00a0batas-batas\u00a0kategorisasi\u00a0identitas\u00a0konvensional\u00a0pada era\u00a0sekarang\u00a0bukanlah\u00a0langkah\u00a0yang\u00a0strategis.\u00a0Budaya\u00a0lain\u00a0bukan\u00a0ancaman,\u00a0melainkan\u00a0peluang\u00a0untuk\u00a0memperkaya,\u00a0bahkan\u00a0melestarikan,\u00a0memberikan\u00a0kontribusi\u00a0berharga\u00a0pada\u00a0peradaban\u00a0manusia\u00a0\u200b(Sugiharto, 2019)\u200b.\u00a0Ketakutan\u00a0akan\u00a0terjadinya\u00a0perusakan\u00a0tradisi\u00a0\u2018awal\u2019\u00a0dengan\u00a0menciptakan\u00a0batas-batas\u00a0tersebut\u00a0justru\u00a0dapat\u00a0membuatnya\u00a0bergerak\u00a0menuju\u00a0kepunahan.\u00a0\u00a0 \u00a0 Pada\u00a0kasus\u00a0seni\u00a0tari\u00a0tradisi,\u00a0pelestarian\u00a0tidak\u00a0dapat\u00a0lagi\u00a0dipandang\u00a0sebagai\u00a0sesuatu\u00a0yang\u00a0harus\u00a0mempertahankan\u00a0\u2018pakem\u2019 yang\u00a0seolah-olah\u00a0otentik\u00a0dengan\u00a0border\u00a0dan\u00a0ketertutupan.\u00a0Budaya\u00a0tradisi\u00a0dan\u00a0objek-objeknya\u00a0pada\u00a0akhirnya\u00a0akan\u00a0dihadapkan\u00a0pada dua\u00a0kemungkinan:\u00a0berkembang\u00a0dengan\u00a0cara\u00a0membuka\u00a0diri\u00a0(evolusi\u00a0dan\u00a0adaptasi),\u00a0atau\u00a0punah.\u00a0Keterbukaan\u00a0budaya\u00a0tersebut\u00a0justru\u00a0menjadi\u00a0salah\u00a0satu\u00a0syarat\u00a0survival\u00a0dan\u00a0merupakan\u00a0kunci\u00a0dari\u00a0strategi\u00a0budaya\u00a0agar\u00a0resilience.\u00a0Proses\u00a0evolusi\u00a0dan\u00a0adaptasi\u00a0pada\u00a0suatu\u00a0budaya\u00a0tradisi\u00a0berupa\u00a0kesepakatan-kesepakatan\u00a0yang\u00a0dibangun\u00a0sesuai\u00a0ruang,\u00a0waktu, dan\u00a0aktor. Seni tari\u00a0tradisi\u00a0yang pada\u00a0pementasan\u00a0awalnya\u00a0bersifat\u00a0kultural-spiritual,\u00a0kemudian\u00a0beradaptasi\u00a0menjadi\u00a0tarian\u00a0kontemporer-profan,\u00a0dengan\u00a0kata lain,\u00a0ada\u00a0proses\u00a0desakralisasi.\u00a0Desakralisasi\u00a0dalam\u00a0perspektif\u00a0ini,\u00a0tidak\u00a0harus\u00a0selalu\u00a0berkonotasi\u00a0negatif. Ketika\u00a0ada\u00a0reduksi\u00a0nilai-nilai\u00a0sakralitas, pada\u00a0saat\u00a0yang\u00a0sama\u00a0terjadi\u00a0proses\u00a0ekspansi\u00a0berupa\u00a0penguatan\u00a0eksistensi\u00a0pada\u00a0objek\u00a0budaya\u00a0tersebut\u00a0(paradoks).\u00a0Sebagai\u00a0contoh, di Indonesia yang\u00a0sedang\u00a0berada\u00a0pada masa\u00a0transisi,\u00a0perkembangan\u00a0ini\u00a0masih\u00a0banyak\u00a0berlangsung\u00a0diantaranya\u00a0karena\u00a0pengaruh\u00a0faktor\u00a0perkembangan\u00a0teknologi\u00a0yang\u00a0memungkinkan\u00a0munculnya\u00a0ruang-ruang\u00a0publik\u00a0kontemporer\u00a0(ruang\u00a0maya) di mana\u00a0seni\u00a0tari\u00a0tradisi\u00a0yang\u00a0sakral\u00a0kini\u00a0dapat\u00a0dipublikasikan\u00a0secara\u00a0global\u00a0tanpa\u00a0batasan\u00a0aspek\u00a0ruang\u00a0dan\u00a0waktu. 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