scholarly journals Peningkatan Apresiasi Seni Dan Budaya Masyarakat Dalam Upaya Mewujudkan Desa Mergowati Sebagai Desa Wisata

Abdi Seni ◽  
2020 ◽  
Vol 10 (1) ◽  
pp. 34-46
Author(s):  
Soemaryatmi Soemaryatmi
Keyword(s):  
Social Life ◽  
Tourism Industry ◽  
Economic Activities ◽  
Cultural Traditions ◽  
Creative Dance ◽  
Traditional Art ◽  
The Arts ◽  
The People ◽  
Arts And Culture ◽  
Traditional Arts

AbstrakPeningkatan Apresiasi Seni Dan Budaya Masyarakat  Dalam Upaya Mewujudkan Desa Mergowati  Sebagai Desa Wisata, merupakan kegiatan dalam rangka meningkatkan kesadaran masyarakat Desa Mergowati terhadap potensi seni budaya yang dimiliki untuk dijadikan industri wisata. Mergowati adalah wilayah pedesaan yang memiliki lingkungan alam yang sejuk asri, dan pemandangan yang indah serta kehidupan sosial  masyarakat yang ramah dan penuh kekeluargaan. Desa Mergowati memiliki sejarah yang menarik, didukung dengan situs-situs peninggalan Kerajaan Mataram dan memiliki seni budaya serta kerajinan tangan terbuat dari bambu. Metode apresiasi dengan pendekatan aplikatif dan dengan meminjam pemikiran Alfian tentang kreatif, digunakan untuk membahas bagaimana  meningkatkan apresiasi seni tradisional masyarakat Desa Mergowati, dan bagaimana meningkatkan kreativitas pengrajin  anyaman  bambu. PPM Tematik di Desa Mergowati kali ini difokuskan pada peningkatan apresiasi seni tradisioal,  workshop pemanfaatan bambu untuk cinderamata, dan mengapresiasi tradisi budaya (Grebeg Gunung Boto). Hasil kegiatan dapat disampaikan sebagai berikut, (1) Pelatihan seni tradisional Tari Kuda Lumping, Tari Kreasi Baru: Tari Rigen, Tari Kupu-Kupu, Tari Merak, Tembang Mocopat, Tembang Dolanan. (2) Workshop pemanfaatan bambu: Lampu Hias, Pot Gerabah Hias, Gantungan Kunci. Diharapkan muncul kegiatan yang bernuansa ekonomi kreatif.Keywords. Apresiasi,  Seni, Mergowati, Wisata. AbstractIncreasing the Appreciation of Arts and Culture in the Community Efforts to Realize Mergowati  as a Tourism Village, is an activity in order to increase the awareness of the Mergowati people  to the potential of the arts and culture they have to make into the tourism industry. Mergowati is a rural area which has a cool natural environment, beautiful scenery and social life that is friendly and full of family. Mergowati village has an interesting history, supported by sites of the kingdom of Mataram and has cultural and handicraft made from bamboo. The appreciation method, with an applicative approach and by borrowing Alfian’s thoughts about creative, is used to discuss how to increase the appreciation  of  traditional  art  from  the  people  of  Mergowati  Village,  and  how  to  increase  the creativity of woven bamboo craftsmen. Thematic PPM in Mergowati Village this time is focused on increasing  appreciation  of  traditional  art,  workshops  on  the  use  of  bamboo  for  souvenirs,  and appreciating cultural traditions (Grebeg Gunung Boto). The results of the activities can be delivered as  follows,  (1)  Traditional  arts  training  on  Kuda  Lumping  Dance,  New Creative  Dance:  Rigen Dance, Kupu Kupu Dance, Merak Dance, Mocopat Song, Dolanan Song. (2) Workshop on the use of bamboo: Decorative lamps, decorative pottery pots, key chains. It is hoped that creative economic activities will emerge.Keywords: Appreciation, Art, Mergowati, Tourism  

On History of Cultural Traditions Transformation

2016 ◽  
Vol 96 (1) ◽  
pp. 3-24
Author(s):  
Risalat U. Karimova
Keyword(s):  
Arts And Crafts ◽  
Cultural Traditions ◽  
Traditional Art ◽  
The Arts ◽  
Historical Factors ◽  
Political Events ◽  
History Of ◽  
The Russian Empire ◽  
Traditional Arts ◽  
Modern Artists

The article examines the development of traditional arts and crafts among Kazakhstan’s Uyghurs under the influence of various historical factors. The Uyghurs of Kazakhstan and other Central Asian countries comprise ethnographic group which developed over the last centuries separated from the main Uyghur population in Xinjiang, China, which resulted in emergence of their particular features. The article argues that the transformation of traditional arts and crafts among the Uyghurs of Kazakhstan occurred under the influence of political events, which changed dramatically the life of the entire population of the Russian Empire. With the establishment of Soviet power, the country’s rapid industrialization meant that products produced by individuals in workshops could not compete with less expensive and more practical products manufactures at factories and plants. Thus, blacksmiths, and artisanal producers of leather and cloth declined. Nevertheless, certain types of traditional art crafts (jewellery art, production of musical instruments, working out calabash) survived albeit on a limited scale due to the development of national idea, which requires symbols of ethnic culture. Modern artists exploit fantasy and go beyond traditional frames of ethnicity. The article argues that the arts and crafts of the Uyghurs received a new impetus in the Soviet era, despite the threat of a certain loss of ethnic peculiarities.

scholarly journals REPRESENTASI KOMUNIKASI BUDAYA “NGARAK PENGANTIN BUAYA PUTIH” DALAM PERUBAHAN SOSIAL MASYARAKAT PADARINCANG

2017 ◽  
Vol 10 (2) ◽  
pp. 22
Author(s):  
Rahmi Mulyasih ◽  
Ahmad Sururi
Keyword(s):  
Social Change ◽  
Data Collection ◽  
Cultural Communication ◽  
Communication Model ◽  
Traditional Art ◽  
Community Activities ◽  
The Arts ◽  
Traditional Arts ◽  
The Impact ◽  
Made In

As one part of local wisdom, traditional art of Ngarak Pengantin Buaya Putih in Padarincang Village, Serang Regency experienced various dimensions of change in facing social change. The tendency is that people are slowly starting to display the outside culture in the wedding. This indicates a social change in Padarincang society, this social change is characterized by the reluctance of some younger generation to preserve the arts of " Ngarak Pengantin Buaya Putih ". The purpose of this study is to find out how the representation of cultural communication of White Buaya bride in the changes of social change at this time, the identification of efforts made in maintaining the traditional arts of white crocodile bride, the obstacles faced and the model of cultural communication in social change. The method used in this study is phenomenology with data collection techniques using interviews, observation and documentation. The results of the study and discussion show that the interaction and transactional communication model between Padarincang community and the outside community has resulted in the impact of social change which resulted in the local cultural stragnation. Although Padarincang society still strives to maintain the existence of art of " Ngarak Pengantin Buaya Putih " in the middle of social change and communication model that occurs in a responsive and transactional interaction. Various efforts of the stakeholders have been done in maintaining the existence of art of white crocodiles bride like the presence of sanggar, socialization and appreciation of local art displays in various community activities.

Impacts of COVID-19 on the Economy of Pakistan

2021 ◽  
pp. 410-419
Keyword(s):  
Primary Objective ◽  
Tourism Industry ◽  
Economic Losses ◽  
Poor People ◽  
Economic Activities ◽  
Services Sector ◽  
The People ◽  
The Government ◽  
Novel Coronavirus ◽  
The Individual

The deadly coronavirus has affected not only the lives of the people but also the economies of all states of the world. Mainly the lockdown to control the spread of the virus has affected economies. The primary objective of this study was to explore the impacts of novel coronavirus pneumonia on the economy of Pakistan and the government response to it. It has also severely affected the already vulnerable economy of Pakistan by limiting the economic activities, a lot of industrial units and small and medium-sized enterprises either stopped or limited their productions, foreign trade decreased by 40.74 percent, affected the services sector, reduced the tax collection volume, 2.06 million people lost their jobs, increased poverty ratio, tourism industry ruined, and GDP recorded negative for the first time in the history (0.38 percent). The pandemic not only affected the economy of the state but also severely affected the individual economies. The government of Pakistan released some relief packages for industries and poor people but could not control the impacts of a pandemic on the economy. Pakistan is required to formulate and implement comprehensive microeconomic policies to reduce economic losses.

scholarly journals Inovasi Kuda Lumping di Desa Tegalrejo Kabupaten Temanggung

Abdi Seni ◽  
2020 ◽  
Vol 10 (2) ◽  
pp. 65-73
Author(s):  
Dewi Nurnani
Keyword(s):  
Service Program ◽  
Central Java ◽  
The Arts ◽  
The People ◽  
Target Program ◽  
Village People ◽  
Group Members ◽  
Traditional Arts ◽  
The Village ◽  
Musical Accompaniment

AbstrakTulisan tentang Program Pengabdian Pada Masyarakat ini membahas tentang Inovasi Kuda Lumping Di Desa Tegalrejo Kabupaten Temanggung. Program ini bertujuan untuk mendorong dan memotivasi masyarakat pedesaan untuk menjaga dan melestarikan seni tradisional yang mereka miliki dengan cara inovasi kesenian Kuda Lumping yang sudah ada sehingga kedepan dapat memperbaiki ekonomi mereka. Target program pengabdian ini adalah kelompok Kuda Lumping Turonggo Setyo Budi yang dimiliki oleh masyarakat Desa Tegalrejo, Kecamatan Bulu, Kabupaten Temanggung, Jawa Tengah.kelompok kesenian tersebut masih eksis meskipun perkembangannya kurang baik. Program ini diharapkan dapat membangkitkan aktifitas anggota kelompok dengan harapan mereka akan lebih mencintai dan mau mengembangkan kesenian tersebut dengan cara mengadakan inovasi sehingga tetap berkelanjutan. Pendekatan yang digunakan dalam program ini adalah pelatihan dan pembimbingan masyarakat serta sosialisasi program inovasi yang meliputi iringan musik, gaya tabuhan, tari, dokumentasi dan identitas kelompok kesenian. Hasil penelitian menunjukkan bahwa anggota kelompok tersebut menjadi terdorong dan termotivasi untuk mengikuti setiap pelatihan dan pembimbingan. Inovasi yang mereka hasilkan dapat dilihat dalam pertunjukan di akhir program pengabdian tersebut.Kata kunci: Kuda Lumping, inovasi, tari, iringan musik. AbstractThe  Community  Service  Program  is  about  Innovation  of  Kuda  Lumping  in  Tegalrejo  Village, Temanggung Regency. This program aims to encourage and motivate the village people to maintain the traditional arts they have by innovation of kuda lumping that can later improve their economy. The target of this service program is a group of kuda lumping Turonggo Setyo Budi owned by the people of Tegalrejo village, Bulu district, Temanggung district, Central Java. The art group still exists even though its development is not so good. This program is expected to be able to arouse the activities of the group members to be more loving and to develop the arts they have by innovating so that the arts are sustainable. This program uses an approach through training and mentoring the community and socialization of innovation programs which include musical accompaniment, gaya tabuhan,  dance,  documentation  and  identity  of  the  arts  group.  The  result  shows  that  the  group members  become  encouraged  and  motivated  in  following  the  training  and  mentoring.  The innovations can be seen in their performance at the end of the program.Keywords: kuda lumping, innovation, dance, accompaniment music.

scholarly journals Traditional arts and crafts of the peoples of Chukotka and its traditions in the modern subculture

2021 ◽  
pp. 240-253
Author(s):  
Валерия Юрьевна Швец-Шуст
Keyword(s):  
Indigenous Population ◽  
Arts And Crafts ◽  
Cultural Traditions ◽  
Traditional Art ◽  
Mixed Marriages ◽  
Research Material ◽  
Applied Art ◽  
Local Residents ◽  
The Creation ◽  
Traditional Arts

В статье представлен обзор объектов декоративно-прикладного искусства коренного населения в Чукотском автономном округе. Материалом исследования послужили музейные коллекции Чаунского краеведческого музея, основу которых составляют предметы быта, этнографии и декоративно-прикладного искусства «оленных» (кочевых) и «сидячих» (оседлых) чукчей, эскимосов и других народов; а также архив Певекской школы искусств. Опираясь на опыт Чаунского краеведческого музея в области комплектования и экспонирования предметов декоративно-прикладного искусства, предлагается рассмотреть образцы традиционного чукотского искусства, а также его традиции в современной субкультуре. Под традиционным искусством понимается косторезное искусство народов Чукотки, а также вышивка из кожи и меха — такое разделение соответствует делению коренных жителей на кочевых и оседлых. Под современной субкультурой в данном случае понимается культура, созданная в многонациональном регионе в процессе ассимиляции местных жителей и так называемого «пришлого» населения — русских, украинцев и многих других. В результате происходили не только смешанные браки, но и взаимное обогащение культурных традиций — это ярко проявилось в проведении праздников, создании литературных произведений, а также в создании предметов декоративно-прикладного искусства. В собрании Чаунского краеведческого музея представлены подобные образцы декоративно-прикладного искусства как чукотских мастеров, так и мастеров других национальностей. The article presents an overview of objects of decorative and applied art of the indigenous population in the Chukotka. The research material was the museum collections of the Chaunsky Museum of Local Lore, which are based on household items, ethnography and decorative and applied art of the "reindeer" (nomadic) and "sedentary" Chukchi, Eskimos and other peoples; as well as the archive of the Pevek School of Arts. Based on the experience of the Chaunsky Museum of Local Lore in the field of acquiring and exhibiting objects of decorative and applied art, the author examines examples of traditional Chukchi art and its traditions in the modern subculture. Traditional art is understood as bone carving art of the peoples of Chukotka, as well as embroidery from leather and fur — this division corresponds to the division of indigenous people into nomadic and sedentary. In this case, the modern subculture is understood as a culture created in a multinational region in the process of assimilation of local residents and the so-called “newcomer” population — Russians, Ukrainians and many others. As a result, not only mixed marriages took place, but also the mutual enrichment of cultural traditions — this was clearly manifested in the celebration of holidays, the creation of literary works, as well as in the creation of objects of decorative and applied art. In the collection of the Chaunsky Museum of Local Lore, there are similar examples of decorative and applied art of both Chukchi masters and masters of other nationalities.

scholarly journals Social Unrest of Betawi‘s Traditional Arts and Culture Performers during COVID-19 Pandemic

The Winners ◽  
2020 ◽  
Vol 21 (2) ◽  
Author(s):  
Iwan Henry Wardhana ◽  
Renny Nurhasana
Keyword(s):  
City Government ◽  
Capital City ◽  
Economic Activities ◽  
Social Unrest ◽  
Cultural Activities ◽  
Intensive Interview ◽  
Arts And Culture ◽  
Sudden Decrease ◽  
Traditional Arts

The Covid-19 pandemic has led many people to reduce gathering outside their homes. The imposition of social restrictions and territorial quarantine has caused social unrest in many sectors of society. This social unrest occurs because economic activities have stopped or decreased suddenly and income has decreased drastically. Social unrest is an escalation process that must be handled immediately so that it does not escalate to a higher level. The level of social unrest begins with disappointment with a policy experienced by a community. This social unrest is experienced by Betawi’s traditional arts and culture performers in Jakarta due to a sudden decrease in the number of artistic and cultural activities that have an impact on their economic activities. Their social unrest data is then collected by Jakarta Capital City Government, through the Jakarta Culture Office via an intensive interview with Betawi’s traditional arts and culture figures. The results of the interviews were identified and then used as the basis for formulating policies that could reduce social unrest in the Betawi arts and cultural performers. Preventing social unrest from moving to a greater level means preventing greater handling costs that have to be carried out at a larger level.

scholarly journals PERANAN SANGGAR DALAM MELESTARIKAN KESENIAN TRADISIONAL BETAWI

2015 ◽  
Vol 7 (3) ◽  
pp. 461
Author(s):  
Yuzar Purnama
Keyword(s):  
Local Community ◽  
Traditional Art ◽  
The Public ◽  
Descriptive Research ◽  
Arts And Culture ◽  
Development And Utilization ◽  
The Government ◽  
Traditional Arts ◽  
And Training

AbstrakIndonesia memiliki khasanah budaya yang relatif  banyak, salah satunya adalah kesenian tradisional. Kondisi real kesenian tradisional sekarang ini sebagian punah dan sebagian lagi  diujung kepunahan (hidup enggan mati tak mau). Upaya pelestarian yaitu perlindungan, pengembangan, dan pemanfaatan sudah dilakukan baik oleh pemerintah maupun  masyarakat. Salah satu penyebabnya adalah kurangnya perhatian terhadap wadah/tempat bernaung kesenian, sanggar. Tulisan ini mengupas peran sanggar dalam menjaga kelestarian kesenian tradisional, yang dibatasi pada sanggar yang terdapat di wilayah Betawi, dengan pertimbangan bagaimana kehidupan sanggar kesenian tradisional yang berada di wilayah paling modern di Indonesia. Penelitian bertujuan untuk mendapatkan pengetahuan tentang korelasi sanggar dengan kesenian tradisional. Penelitian ini menggunakan pendekatan kualitatif dengan metode penelitian deskriptif. Penelitian didahului dengan studi pustaka, pengambilan data dengan observasi dan wawancara, dilanjutkan dengan klasifikasi data, analisis data, dan hasil. Kesimpulan penelitian adalah pentingnya eksistensi sanggar sebagai salah satu upaya untuk mengantisipasi kepunahan kesenian  khususnya kesenian topeng Betawi, topeng blantek, dan tanjidor. Peranan sanggar dalam kesenian tradisional adalah sebagai wadah/ tempat bernaung sejumlah seni budaya, sebagai media edukasi baik pendidikan maupun latihan, sebagai media hiburan bagi masyarakat sekitar dan peminat seni, sebagai tempat mengatur strategi seputar seni yang ditekuni sebagai tempat bersilaturahmi (berkumpul dan berdiskusi) dalam rangka mempererat persaudaraan. AbstractRelatively, Indonesia has many cultural treasures, one of them is a traditional art. Real conditionsof traditional art today partly extinct and partly at the threshold of extinction (reluctant live, but do not want todead). The preservation effort that is the protection, development and utilization has been done either by the government or the public. One reason is the lack of attention to the shelter of art, a studio. This writing examines the role of studios in preserving traditional art, which is restricted to the studio located in the region of Batavia, with consideration of how the life of a traditional art studio located in the most modern in Indonesia. The research aims is to gain the informationrelated to the traditional art studio. This study used a qualitative approach with descriptive research method. Proceeded by doing literature research and collecting data through observation and interviews, followed by data classification, data analysis, and data findings. The results showed that the importance of the existence of the studio as an effort to anticipate the extinction of Betawi art, especially art masks, masks Blantek, and tanjidor. The role of studios in the traditional arts isas a shelter of a number of arts and culture, as a medium of education both education and training, as a medium of entertainment for the local community and art enthusiasts, as a set strategy in the art that occupied as a place to stay in touch (get together and discuss) in order to strengthen the brotherhood. 

Behind the Scenes

2017 ◽  
Vol 6 (2) ◽  
pp. 80-90
Author(s):  
Adilla Anggraeni ◽  
Adilla Amelia
Keyword(s):  
Collection Method ◽  
Traditional Art ◽  
The Arts ◽  
Arts Marketing ◽  
Art Consumption ◽  
Traditional Arts ◽  
Performing Art ◽  
Service Experiences ◽  
Art Elements ◽  
Depth Interviews

Delivering a satisfactory experience to the customers is an inseparable part of a service organization. This article investigates how two different groups of wayang orang (human wayang), a form of traditional art in Indonesia deliver service experiences to the audiences. Qualitative methods consisted of in-depth interviews and open-ended survey were utilized as the data collection method. The findings suggest that service experiences were delivered through the combination of various art elements in the performance, and some of the elements are considered to be more important than the others. Several barriers have also been identified as the barriers that inhibit consumption of this traditional art. Bharata and Swargaloka performing art groups were utilized as the context of this research. This article contributes to limited studies on traditional arts within the arts marketing domain, especially with regards to art experience delivery and art consumption.

scholarly journals Sinematografi Wayang: Persoalan Transmedia Seni Pertunjukan Tradisional dalam Program Tayangan Televisi

2019 ◽  
Vol 15 (2) ◽  
pp. 137-152
Author(s):  
Arif Eko Suprihono
Keyword(s):  
Cultural Change ◽  
Performing Arts ◽  
Research Work ◽  
Research Process ◽  
Television Industry ◽  
Traditional Art ◽  
The Arts ◽  
The World ◽  
Conflicting Interests ◽  
Traditional Arts

ABSTRAKMerujuk pada proses penelitian delapan tahun terakhir, dan melihat hasil kerja Penelitian Hibah Bersaing, Penelitian Produk Terapan, terungkap kompleksitas pengelolaan kegiatan seni pertunjukan tradisional di masyarakat. Berkait erat dengan budaya industri televisi, terbentang peluang sekaligus ancaman serius bagi eksistensi seni tradisi. Hasil  kerja penelitian dalam rencana makro, disarankan urgensi tindakan konstruktif dan sistematis kepada para pekerja seni untuk mengantisipasi benturan kepentingan industri pertelevisian Indonesia dengan pengelolaan seni pertunjukan tradisional. Persoalan cinematography seni  tradisional  membahas proses dialektika kreatif mengarah pada pemikiran, tindakan, dan produk budaya dengan menyadari kerangka perubahan dan penyesuaian kultural. Diyakini, bahwa kesenian tradisi memiliki nilai luhur, kearifan lokal, identitas karakter masyarakat, menunjuk pada kebhinnekaan dan keunggulan, kekhasan suku bangsa Indonesia, berbeda dibandingkan dengan bangsa-bangsa lain di dunia. Referring to the research process of the last eight years, and looking at the work of the Competitive Grant Research, Applied Product Research, revealed the complexity of managing traditional performing arts activities in the community. Closely related to the culture of the television industry, opportunities and serious threats lie for the existence of traditional arts. The results of research work, suggest the urgency of constructive and systematic action to the arts workers to anticipate the conflicting interests of the Indonesian television with the management of traditional performing arts. The issue of traditional art cinematography refers to the process of creative dialectics leading to thoughts, actions, and cultural products by being aware of cultural change and adjustment frameworks. It is believed, that traditional arts have noble values, local wisdom, the identity of the character of the community, pointing to diversity and excellence, the uniqueness of Indonesian from other nations in the world.

scholarly journals PERAN KESENIAN REYOG KENDHANG SANGTAKASTA SEBAGAI SARANA BEREKSPRESI MASYARAKAT DESA TUGU KECAMATAN SENDANG KABUPATEN TULUNGAGUNG

2019 ◽  
Vol 2 (1) ◽  
pp. 35
Author(s):  
Mayendra Rifai Yahya
Keyword(s):  
Young People ◽  
Contemporary Art ◽  
Descriptive Analysis ◽  
Traditional Art ◽  
Current Trends ◽  
The Arts ◽  
Efficient Information ◽  
Changing Times ◽  
The Times ◽  
Traditional Arts

Keberadaan Sangtakasta memiliki daya tarik tersendiri untuk dijadikan sebagai objek penelitian. Kesenian-kesenian tradisional dihadapkan dengan modernitas kemajuan zaman di era globalisasi yang serba canggih ini. Perubahan kebudayaan suatu daerah sedikit banyak dipengaruhi oleh perubahan-perubahan masyarakatnya. Kesenian-kesenian tradisional dengan konsep-konsep lama semakin sulit mencari peminat, setelah para generasi mudanya kurang tertarik karena tidak adanya suatu pembaharuan. Anak-anak muda lebih cenderung menyukai bentuk kesenian yang kekinian atau masa kini. Munculnya grup-grup kesenian di Kabupaten Tulungagung dengan kreativitasnya masing-masing, sedikit banyak memberi angin segar terhadap pelestarian kearifan lokal daerah. Kesenian tradisional seperti Reyog Kendhang tak luput dari objek ajang berkreativitas dalam berkesenian. Sangtakasta sebagai sanggar seni yang berada di Desa Tugu Kabupaten Tulungagung ini, saat ini sangat berperan penting dalam hal memfasilitasi minat dan bakat anak-anak muda yang ingin terjun langsung dalam berkesenian. Konsep garapan baik tarian atau musikal, semuanya disesuaikan dengan perkembangan zaman atau tren masa kini tanpa meninggalkan dasar-dasar dari kesenian itu sendiri. Kesenian tanpa adanya sebuah pembaharuan mustahil akan tetap eksis melintasi generasi ke generasi, sebab sebuah kesenian akan selalu berkembang sesuai dengan perubahan zaman. Reyog Kendhang sebagai kesenian ikon dari Kabupaten Tulungagung saat ini juga tidak luput dari sebuah pembaharuan, karena kearifan lokal akan hilang tanpa adanya masyarakat pendukung. Pendekatan etnomusikologi,sosiologi dan antropologi digunakan sebagai sarana untuk memperoleh informasi yang lebih efisien dengan metode deskriptif analisis. Hasil daripada penelitian ini bahwasanya sebuah kesenian akan terus berkembang sesuai dengan perubahan zaman, mengikuti alur perkembangan zaman sah-sah saja asalkan tidak meninggalkan dasar dari kesenian itu sendiri. Musik Reyog Kendhang Sangtakasta saat ini mampu menyesuaikan zaman sesuai dengan minat masyarakat pendukungnya.Sangtakasta's existence has its own attraction to be used as the object of research. Traditional arts are confronted with modernization in globalization era. Changes of the culture in region are influenced by changes of society. Traditional arts with old concepts are difficult to find enthusiasts, after young people generation is less interested because there is no update in traditional art. Young people prefer contemporary art forms. The emergence of art groups in Tulungagung Regency with their respective creativity, gave a fresh update to the preservation of the local wisdom of the region. Traditional arts such as Reyog Kendhang is always as an objects of creativity in the arts. Sangtakasta as an art studio located in Tulungagung Regency Tugu Village currently plays an important role in facilitating young people’s talent who want to get involved in art. The project of sangtakasta studio is dance and musical, all adapted to the current trends without leaving the basics of the art itself. Art without update is can’t exist across generations, because an art will always develop in accordance with changing times. Reyog Kendhang as an iconic art from Tulungagung Regency is currently has an update, because local wisdom will be lost without the support community. Ethnomusicology, sociology and anthropology approaches are used to obtain more efficient information with descriptive analysis methods. The results of this study that an art will continue to develop in accordance with the changing times, follow the flow of the development of the times is fine as long as it does not leave the basis of art itself. Reyog Kendhang Sangtakasta Music is currently able to adjust the times according to the interests of the supporting community

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