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"Topeng Betawi sebagai tradisi lisan terus tumbuh dan mengalami pembaharuan di tengah modernisasi yang melingkupinya. Bertahannya Topeng Betawi menunjukkan bahwa kebudayaan bukan sesuatu yang kaku dan statis. Salah satu upaya yang dilakukan oleh kelompok Topeng Betawi Margasari Kacrit Putra untuk berhadapan dengan modernisasi dan perubahan di sekitaranya, yaitu dengan cara menyesuaikan struktur pertunjukannya dengan irama kehidupan yang semakin cepat. Melalui kajian metode transmisi, tampak ada seperangkat strategi yang diakukan untuk memelihara kelangsungan tradisinya. Topeng Betawi sebagai suatu pertunjukan yang mempunyai aspek teater dengan unsur hiburan dan ritual dengan unsur kemanjuran di dalamnya, diwujudkan melalui struktur pertunjukan yang digarap melalui strategi yang dimiliki, yaitu dengan dihadirkan elemen yang tetap dan elemen longgar.

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Topeng Betawi as an oral tradition continues to grow and innovate in the midst of modernization that surrounds it. The persistence of Topeng Betawi shows that culture is not rigid and static. An attempt made by Topeng Betawi Margasari Kacrit Putra Group to cope with modernization and change, is by adjusting the structure of the performance with the rapid rhythm of life. A study of the method of transmission shows there is a set of strategies used to preserve the tradition. Topeng Betawi as a performance that contains a theater aspect with the element of entertainment, and ritual aspect with the element of efficacy in it, is actualized through the structure of the performance that is brought out through those strategies, by featuring fixed elements as well as changeable elements."

"Penelitian ini bertujuan untuk mengidentifikasi unsur-unsur dalam tradisi lisan seni pertunjukan randai Minangkabau, kegiatan preservasi pengetahuan yang telah dilakukan, kendala dalam proses preservasi pengetahuan, serta langkah-langkah yang bisa dilakukan dalam rangka mempreservasi pengetahuan yang terdapat dalam tradisi lisan seni pertunjukan randai Minangkabau. Metode yang digunakan adalah metode penelitian dengan pendekatan kualitatif dan pengumpulan data melalui metode wawancara dan analisis dokumen. Hasil dari penelitian ini menyimpulkan bahwa randai merupakan kesenian tradisi masyarakat yang dibangun dari tiga komponen penting, yakni silek, kaba, dan dendang atau gurindam. Setiap unsur saling menunjang guna membangun fungsi utama randai sebagai representasi dan media komunikasi adat serta sebagai identitas budaya masyarakat Minangkabau. Perkembangannya, tradisi bakaba babarito masyarakat Minangkabau mempercepat proses sosialisasi dan transfer randai beserta pengetahuan di dalamnya. Akan tetapi hal tersebut pun menjadi kendala dan penghambat terjaganya originalitas dari kesenian randai itu sendiri. Kegiatan preservasi yang sudah dilakukan pada umumnya berupa kegiatan sosialisasi dalam bentuk interaksi tatap muka langsung serta proses imitasi. Eksternalisasi berupa pendokumentasian tradisi sudah mulai dilakukan, akan tetapi belum pada tataran analisa, kemas ulang, serta transfer pengetahuan sehingga sebagian besar pengetahuan tersebut hanya tersimpan di lembaga pemerintah seperti Dinas Pariwisata. Minimnya kebijakan sehubungan dengan penggunaan bahasa Minangkabau di lingkungan pendidikan formal serta kebijakan yang menghidupkan kembali fungsi surau sebagai media pendidikan informal masyarakat menjadi pemicu lain hilangnya pengetahuan randai dalam masyarakat. Oleh karena itu sangat disarankan peran serta seluruh lapisan masyarakat dan pemerintah untuk menjaga dan melestarikan pengetahuan dalam randai dengan lebih terstruktur dan berkesinambungan guna menjaga originalitas dan fungsi utama dari randai itu sendiri.

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The aims of this research is to identified the elements of the oral tradition on Minangkabau's Randai Performing Arts, knowledge preservation activities that have been done, all constrains in the knowledge preservations process and all steps that can be done to do the knowledge preservation on Minangkabau's randai performing arts. The research method that used in this research is qualitative approaches and the methods of data collection are through interviews and document analysis.

The result of this research conclude that randai is an artistic tradition which built from three component, namely silek, kaba and dendang or gurindam. Each element are being supporting each other in order to build the main function of randai, i.e. as representative and media communication as well as the cultural identity of Minangkabau indigenous community. In its development, the bakaba babarito Minangkabau's tradition accelerate the process of socialization of randai and the transfer of knowledge inside randai. However, it's not being an obstacles and barrier to maintain the originality of randai itself.

The preservation activities that have been done, on general, is in the form of socialization activity which is on face to face interaction and on the limitation process. The externalization activity on documentation of randai tradition is already begun, but not at the analysis level, repackaging, and also transfer of knowledge. So that most of the knowledge are only store in government agencies such as the department of tourism.

The lack of policy on the use of Minangkabau language in formal education environment and policy to revive the surau function as an informal education media for Minangkabau community became another trigger on knowledge loss of randai in society. Therefore, it is highly recommended the participation of all levels in society and government to maintain and preserve the knowledge of randai with more structured and continuous in order to maintain the originality and the main function of randai itself."

"Togal adalah tradisi hiburan yang ada pada masyarakat Makian di Propinsi Maluku Utara. Tradisi ini menggabungkan beberapa unsur, yaitu musik, tarian, lantunan syair dan pantun. Dalam perkembangannya togal cenderung melemah, meskipun lemah tradisi ini masih bertahan sampai saat ini, dan dimungkinkan terus bertahan hingga di masa-masa mendatang. Hipotesanya adalah togal bisa bertahan karena memiliki kekuatan tertentu. Dengan demikian, penelitian ini bermaksud memeriksa kekuatan apa yang dimiliki togal sehingga tradisi tersebut dimungkinkan bisa terus bertahan.Metode penelitian yang digunakan adalah kualitatif dengan pendekatan etnografi. Pilihan ini beradasarkan asumsi bahwa etnografi memanfaatkan tekhnik pengumpulan data pengamatan berperan serta (participant observation) yang memungkinkan togal bisa diungkapkan secara holistik.Hasil penelitian menunjukkan kekuatan togal berada pada wilayah komunikasi, selain itu hakikat togal yang menampakkan kelenturannya pada berbagai aspek ternyata juga turut menjaga tradisi ini terus bertahan.

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Togal is entertainment tradition of Makian society in North Maluku province. This tradition combines several elements, namely music, dance, syair, and pantun. In its development togal tends to be weakened, although togal is weak this tradition survived until now, and it is possible to continue to endure in the future. The hypothesis is togal can survive because it has certain strengths. Thus, this study intends to examine what powers belong to the traditions that made possible togal can continue to survive.The research method used is qualitative with the ethnographic approach. This option base on the assumption that ethnographic utilize participant observation that allows togal can be disclosed holistically.The result of the study showed strength of togal is at the communication, besides that, the essence of togal that appear flexible on various aspects is also take care of this tradition continue to survive."

"Tesis yang berjudul Wayang Cokek: Tradisi Lisan dan Pengelolaannya pada Masyarakat Cina Benteng, Tangerang ? Banten membahas tentang ekspresi kebudayaan masyarakat dalam sebuah acara pesta pada situasi masyarakat yang sedang menghadapi perubahan sosial. Penelitian tesis ini meliputi tiga tahap. Setelah menyelesaikan proposal (tahap pertama), selanjutnya dilanjutkan pada tahap kedua dan ketiga yang menggunakan metode etnografi, dengan menggunakan alat bantu perekaman (video).Tesis ini memaparkan tiga hal utama: deskripsi perubahan masyarakat Cina Benteng; pertunjukan dan kelisanan Wayang Cokek; dan pengelolaan Wayang Cokek. Masyarakat Cina Benteng di Tangerang yang sedang menghadapi perubahan social, terus menjaga kuat kepercayaan nenek moyangnya. Salah satu seni tradisi yang masih bertahan adalah Wayang Cokek yang diiringi musik Gambang Kromong.Dalam tesis ini formula sebagai kerangka konsep tradisi lisan dalam Wayang Cokek dilihat dari dua sisi: gerak dan lirik. Pembahasan selanjutnya, pengelolaan tradisi. Dalam perkembangannya kini dikelola oleh kelompok seniman (paguyuban). Terjadinya perubahan pengelola seni ini membawa implikasi pada: bentuk pertunjukan, tata kelola pertunjukan, kehidupan seniman, dan keberlangsungan seni tradisi.

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Wayang Cokek: Oral Tradition and its management on Cina Benteng Society, Tangerang - Banten discusses the cultural expressions in a party at the situation that is facing social change. This thesis includes three stages. After completing the proposal (the first stage), then continued in the second and third stages of the ethnographic method, using the tools of recording (video).This thesis presents three main things: the description of Cina Benteng society; Wayang Cokek performing and orality; Wayang Cokek and management. Cina Benteng community in Tangerang facing social change, continue to keep a strong faith of his ancestors. One of the traditional art that still survive are Wayang Cokek accompanied Gambang Kromong music.In this thesis formulas as oral tradition within the framework of the concept of Wayang Cokek seen from two sides: the motion and lyrics. Further discussion, the management of tradition. In development now run by a group of artists (community). The art of managing changes have implications for: the form of performance, governance performances, artist life, and sustainability of traditional arts."

"[ABSTRAKTesis ini merupakan penelitian mengenai tradisi lisan Gaok di Majalengka.Penelitian ini bertujuan untuk mengungkapkan fungsi dan makna Gaok bagikehidupan masyarakat Kulur Majalengka serta proses pemertahanan Gaok yangdilakukan dalang Rukmin. Sumber data diperoleh dari data lapangan dan studipustaka. Penelitian menggunakan beberapa konsep dan teori pertunjukan tradisilisan, kelisanan, teori struktural Propp dan pengelolaan tradisi lisan.Metode penelitian menggunakan metode etnografi (salah satu pendekatanKajian Tradisi Lisan). Hasil penelitian menunjukan bahwa Gaok memiliki maknadan fungsi bagi masyarakat Kulur Majalengka. Fungsi Gaok bagi masyarakat Kulurmeliputi: fungsi hiburan, media doa, dan fungsi penjaga nilai-nilai pendidikan.Makna Gaok meliputi: Representasi nilai-nilai spiritualitas, Representasi nilaiperempuan, representasi tradisi riungan dan pesta makanan, representasi normahukum, dan representasi sejarah Majalengka.Sedangkan upaya pemertahanan dilakukan oleh dalang melalui kreativitasmembuat Giok kombinasi, mengelola sanggar, dan menyimpan wawacan. Namundemikian upaya tersebut berjalan kurang optimal karena keterbatasan kemampuandan dana yang dimiliki Rukmin serta kurangnya dukungan dari pihak eksternal yaknipemerintah dan masyarakat. Akibatnya proses transmisi dan pewarisan melaluipengajaran terhadap generasi muda tidak berjalan.

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ABSTRACTThis thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch aimed to disclose a function and Gaok's meaning for society life of Kulur,Majalengka. As well as the survival process of Gaok which was done by "dalang"(the master) Rukmin. Data sources was obtained by field study and literary study.This research used various of concepts and the theories of oral tradition performance,orality, Propp structural theory and the management of oral tradition.The research method used ethnography method (one of the approaches of OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out.;This thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch aimed to disclose a function and Gaok's meaning for society life of Kulur,Majalengka. As well as the survival process of Gaok which was done by "dalang"(the master) Rukmin. Data sources was obtained by field study and literary study.This research used various of concepts and the theories of oral tradition performance,orality, Propp structural theory and the management of oral tradition.The research method used ethnography method (one of the approaches of OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out., This thesis indicated a research about Gaok 's oral tradition in Majalengka. Theresearch aimed to disclose a function and Gaok's meaning for society life of Kulur,Majalengka. As well as the survival process of Gaok which was done by "dalang"(the master) Rukmin. Data sources was obtained by field study and literary study.This research used various of concepts and the theories of oral tradition performance,orality, Propp structural theory and the management of oral tradition.The research method used ethnography method (one of the approaches of OralTradition Study). The research result showed that Gaok had meaning and function forKulur society. The function were: entertainment,praying media, as well as forkeeping education values. The meaning of Gaok were: Representatives of spiritualvalues, Representatives of women values, Representatives of "Riungan" tradition andmeal party, Representatives of law values, Representatives of Majalengka's History.The effort to converse was done by "dalang" Rukmin through the creativity ofrrraking combination of Gaok, managing a Sanggar (club) and saving wawacan(texts.) However those efforl was not optirnal enough due to the lirnitation of abilityand fund which was owned by Rukrnin and lack of support from external sidesnamely government and society. As a result, transmission process and inheritancethrough teaching to young generation were not carried out.]"

"Penelitian ini mengkaji tradisi lisan asli Betawi, ngerahul, yang dilakukan masyarakat Betawi Mampang melalui memori kolektif yang mereka miliki. Penelitian ini dilakukan dengan tujuan memperoleh dan mengungkapkan upaya yang nyata untuk mengembalikan peranan ingatan masyarakat Betawi Mampang terhadap tradisinya. Penelitian ini menggunakan metode kualitatif dengan dengan pendekatan deskriptif analitis karena menjelaskan, memberikan ilustrasi, dan simpulan terhadap permasalahan yang telah didapatkan dan diteliti sekaligus cukup adaptif dan peka terhadap pola-pola atau yang diterapkan masyarakat dalam tradisi ini. Metode pengumpulan data yang digunakan untuk penelitian ini adalah wawancara dengan beberapa narasumber terverifikasi, termasuk budayawan Betawi dan pelaku budaya tersebut. Penelitian ini memperoleh temuan bahwa ngerahul pada era modern di kawasan tersebut dijalankan atas dasar kebutuhan pelakunya dengan modal ingatan masa lalu. Di satu sisi, dengan ngerahul, mereka memperoleh timbal balik dan nilai-nilai yang bermanfaat untuk kehidupan mereka.

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This research examines the indigenous oral tradition of Betawi called ngerahul, which is practiced by the Betawi community in Mampang, through their collective memory. The purpose of this study is to obtain and reveal the genuine efforts to restore the role of Betawi Mampang community's memory in relation to their tradition. This research utilizes a qualitative method with an analytical descriptive approach, as it seeks to explain, illustrate, or draw conclusions regarding the identified and researched issues, while also being adaptable and sensitive to the patterns or practices implemented by the community in this tradition. The data collection method employed for this research is interviews with several verified sources, including Betawi cultural experts and practitioners. The study findings indicate that ngerahul, in the modern era of the area, is carried out based on the needs of its participants with the aid of past memories. With ngerahul, they gain reciprocity and values that are beneficial to their lives."

"ABSTRAKLakon Bapak Jantuk merupakan segmen terakhir dari struktur pertunjukan teater tradisional Topeng Betawi. Penelitian ini bertujuan untuk mengungkapkan pewarisan Lakon Bapak Jantuk yang selama ini berjalan. Sumber data diperoleh dari data lapangan dan studi pustaka. Penelitian menggunakan konsep/teori pewarisan, formula, kelisanan, pertunjukan, dan penciptaan tradisi lisan. Metode etnografi, dipilih sebagai metode penelitian karena memang kerap menjadi salah satu pendekatan terpenting dalam kajian tradisi lisan. Dengan pendekatan etnografi, pengetahuan tentang sosial budaya masyarakat Betawi dan pewarisan Lakon Bapak Jantuk kepada seniman generasi muda dapat diungkapkan.Hasil penelitian menunjukan bahwa model pewarisan Lakon Bapak Jantuk sejak dahulu hingga kini dilakukan secara alamiah. Pewarisan seperti ini rentan terhadap dinamika dunia hiburan populer. Dengan kata lain, pewarisan dilakukan dengan cara memperhatikan lalu menirukan permainan seniman senior di atas pentas, baik itu musik, dialog, lagu, tari, pantun, dan sebagaunya. Metode pewarisan itulah satu-satunya yang ada. Oleh karena itu perlu diciptakan metode pewarisan formal melalui pendidikan yang didukung kurikulum.

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ABSTRACT

This theses aim to uncovered the inheritance of the Lakon Bapak Jantuk. The main data resources had taken during the fieldwork and some of it had been conducted by doing related literary studies on the topic.

In this work, I use the inheritance concept, formula, orality, performance, and the recreation of oral tradition. In order to approach the data, ethnography research method is chosen because this method is always be an important approach for oral tradition research. Using the ethnographical approach, the sociocultural part of Betawinese people and the inheritance of Lakon Bapak Jantuk to the younger generation can be revealed.

The result shows that since long times ago up till now, the inheritance models of Lakon Bapak had been done in natural way. Therefore, this kind of inheritance model is vulnerable and can easily influenced by popular performance. Usually, this natural way, done by imitating the senior artists on the stage, from it?s music, dialogue, dance, songs, pantun, etc. Since there is only one inheritance method that exist, it is crucially need to create formal inheritance models through the educational aspect. Therefore, further preservation can be achieved effectively."

"ABSTRAKSkripsi ini membahas Salawat Wahidiyah karya KH. Abdoel Madjid Ma’roef.Salawat Wahidiyah terdiri dari dua bentuk sastra: prosa dan puisi. Penelitian inimenggunakan metode penelitian deskriptif analisis melalui pendekatan struktural.Teori yang digunakan untuk menganalisis bentuk salawat tersebut adalah strukturbahasa untuk prosa dan teori ilmu ‘aruud untuk puisi, sedangkan untuk menganalisismakna menggunakan teori ilmu Ma’ani. Hasil analisis menunjukkan bahwa teksSalawat Wahidiyah menggunakan bahasa Arab yang mudah dipahami dan bentukpuisinya mengikuti gaya puisi Klasik. Unsur Ma’ani yang dominan dari salawat iniadalah al-‘amr berjenis al-du’aa sehingga tema salawat ini adalah doa; doa kepadaAllah, kepada Nabi Muhammad SAW, dan kepada GauṡK

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ABSTRACTThis research about Salawat Wahidiyah of KH. Abdoel Madjid Ma’roef. ThisSalawat consist of two literature forms: proses and poetries. This research uses libraryresearch methods with structural approach. Grammatical in Arab language is theorywhich is used to analyze prose forms, and ‘aruud is theory which is used to analyzepoetry forms. In besides, ma’ani is used to analyze the meaning. The result show thatSalawat Wahidiyah uses Arabic language that easy to understand and appropriateArabic classic poem style. Al-du’aa which is the type of Al-Amr form is thedominant elements in this salawat, its show that the theme of this salawat is prayer.There are three kinds of prayer: pray to Allah, pray to Prophet Muhammad SAW,and, pray to Gauṡ."

"Skrispi ini membahas struktur dan makna tradisi lisan Nini Thowong. Nini Thowong adalah tradisi lisan yang terdapat di Desa Panjangrejo, Pundong, Bantul, Yogyakarta. Tradisi ini berpusat pada permainan boneka menyerupai manusia yang dirasuki roh. Nini Thowong ada sejak tahun 1938, tetapi dalam perkembangannya tradisi ini beberapa kali harus terhenti karena faktor situasi sosial dan bencana alam. Atas dasar itu, penulis ingin melihat lebih lanjut alasan masyarakat memertahankan tradisi yang sudah langka tersebut.Penulis menggunakan metode folklor holistik dan melakukan penelitian lapangan untuk mengumpulkan data. Sumber data didapat dari hasil wawancara, pengamatan, dan studi literature. Penulis melakukan analisis dengan memaparkan struktur pertunjukan Nini Thowong dan maknanya bagi masyarakat pemilik kebudayaan. Sebagai hasil, keinginan untuk memertahankan warisan nenek moyang adalah alasan utama masyarakat memertahankan Nini Thowong tradisi.

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This thesis elaborates the structure and meaning of Nini Thowong as an oral tradition. Nini Thowong is an oral tradition that comes from Panjangrejo village, Pundong, Bantul, Yogyakarta. This tradition is centered on human like doll that is possessed by a spirit. Nini Thowong exist since 1938, but on its development this tradition has to be stopped for a while due to social situation and natural disaster. On that basis, the authors want to see further reason of why society maintains this rare tradition.

The author uses a holistic folklore method and conducts field research to collect data. Sources of data obtained from interviews, observations, and literature studies. The author conducted an analysis by describing the structure of Nini Thowong performances and their significance for the society of culture owners. As a result, the desire to preserve the inheritance of the ancestors is the main reason why society retains Nini Thowong tradition."