I S S N25415360
Vo l . 01, no . 1. J a nJ un2016
J o ur na l o f I nd o ne s i a nT o ur i s m a ndP o l i c yS t ud i e s
Program vokasi pariwisata universitas indonesia
ISSN 2541-5360
Journal of Indonesian Tourism and Policy Studies Journal Description
This journal covered studies on tourism, leisure studies and policies related to its development in Indonesia. The expected essays shall also cover studies on Indonesian tourism which linking with issues of social, cultural, economic, politics, management, health, environmental, technology, policies, etc. The goal of Journal of Indonesian Tourism and Policies Studies, is to become portal and instrument to develop science-of-tourism in indonesia from various aspects and perspectives. Hence, not only as paper-based-field-research, this journal shall be the portal for applied studies on tourism and the related literature reviews. Published by: Tourism Vocational Program (Program Studi Pariwisata Vokasi), Universitas Indonesia
Chief Editor
Dr. Jajang Gunawijaya, MA. (Vocational Program, Universitas Indonesia)
Managing Editor
Sofyan Ansori S.Sos., MM. (Vocational Program, Universitas Indonesia)
Secretary
Mohammad Toha Santoso, A.Md.
Editorial Board
Dr. Budiman Mahmud Mustofa (Vocational Program, Universitas Indonesia)
Diaz Pranita, MBA (Vocational Program, Universitas Indonesia)
Beth Lagarense, Ph. D (Sekolah Tinggi Pariwisata Manado)
Poeti Nazura Gulfira Akbar, S.T., M.Sc (Vocational Program, Univeritas Indonesia)
Joko Sudibyo, Ph.D (Trisakti University)
Prof. Dr. I Gede Pitana (Universitas Udayana)
Dr. Soemarsono, SH,MM (Perguruan Paramita)
Edlin Dahniar Al-fath, MA (Universitas Brawijaya)
Dr. Semiarto Aji Purwanto (Universitas Indonesia) Paramita Budi Utami, MA (Universitas Indonesia)
Technical Editor
Annisa Pratiwi, S.Hum., M.Par. (Tourism Vocational Program, Universitas Indonesia)
Irfan Nugraha, S.Sos., M.Si. (Han) (Tourism Vocational Program, Universitas Indonesia) Febrian, S.Sos., M.Si.
Advisory Board
Deni Danial Kesa, S.Sos., MBA, Ph.D (Research Manager of Vocational Program, Universitas Indonesia) Prof. Dr. Ir. Sigit Pranowo Hadiwardoyo, DEA (Dean of Vocational Program, Universitas Indonesia) Office:
Tourism Vocational Program, Universitas Indonesia
4th floor, VA Building, Universitas Indonesia Campus, Depok, 16424
Phone: (021) 29027481 Email:
[email protected] Website: http://jitps.ui.ac.id
ISSN 2541-5360
Journal of Indonesian Tourism and Policy Studies Table of Content
Vol 1. No. 1 Jan-Jun 2016 Local Communities in Tourism Development of Rural Area, A Case Study of Two Local Tourism Initiatives in Wanayasa, Purwakarta
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Jajang Gunawijaya, Annisa Pratiwi, Irfan Nugraha Upaya Peningkatan Wisata di Jakarta melalui Museum: Strategi Pengembangan Museum Nasional Indonesia
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Unira Daranca Strategic Management for Rural Tourism Development in Wanayasa, Puwakarta, West Java, Indonesia
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Jajang Gunawijaya, Poeti Nazura Gulfira Akbar, Sofyan Ansori Festivalization of Music Patrol Bandulan and the Quest of Arek Bandulan Cultural Identity
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Annise Sri Maftuchin
Problematika Pengembangan Pariwisata Daerah di Murung Raya, Kalimantan Tengah Merrisa Octora
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ISSN 2541-5360
Local Communities in Tourism Development of Rural Area, A Case Study of Two Local Tourism Initiatives in Wanayasa, Purwakarta Jajang Gunawijaya1, Annisa Pratiwi2, Irfan Nugraha3 1,2,3 Vokasi Pariwisata, Program Vokasi Universitas Indonesia Abstract This paper describes the challenges in the rural tourism development based on local participation. The rural tourism based on local participation has been identified as ideal model that will uplifting local economy without had significant impacted to their “nature” way of life. However, based on the research on two local groups who are managing the tourism in Wanayasa, we found out that there are challenges in developing the tourism based on local participation. Despite of each groups have differences characteristic in tourism management practice, there are some similarity challenges. Each of groups has facing the external and internal challenges. It shows us that the rural tourism development is the complex process. Furthermore, the integrative model which is including various stakeholders would be an alternative model to optimize the rural tourism development, especially in sustainable tourism. Keywords: sustainable tourism, rural tourism, local participation
Abstrak Makalah ini menjelaskan tantangan dalam pengembangan desa wisata berbasis partisipasi masyarakat lokal. Pariwisata pedesaan berbasis pada partisipasi masyarakat lokal telah diidentifikasi sebagai model ideal yang akan mengangkat perekonomian lokal yang signifikan telah berdampak pada sumber daya alam. Namun, berdasarkan penelitian pada dua kelompok masyarakat lokal yang mengelola pariwisata di Wanayasa, kami menemukan bahwa ada tantangan dalam mengembangkan pariwisata berbasis partisipasi masyarakat lokal. Meskipun masing-masing kelompok memiliki perbedaan karakteristik dalam praktek manajemen pariwisata, ada beberapa tantangan kesamaan. Masingmasing kelompok telah menghadapi tantangan eksternal dan internal. Ini menunjukkan bahwa pengembangan pariwisata pedesaan adalah proses yang kompleks. Selanjutnya, model integratif yang termasuk adalahn berbagai pemangku kepentingan yang menjadi model alternatif untuk mengoptimalkan pengembangan pariwisata pedesaan, terutama di bidang pariwisata berkelanjutan. Kata Kunci: Pariwisata Berkelanjutan, Pariwisata Pedesaan, Partisipasi Masyarakat Lokal
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INTRODUCTION The community approach to tourism development is an attempt to integrate the interests of all community stakeholders, including residents as a critically-important group, in analyses and proposals for development (Murphy & Murphy, 2004). Public involvement and community empowerment based upon local social capital constitute rational responses to challenges brought by the processes of tourism activity and their potential tourism product. Issues surrounding tourism development inflame local participation to contribute their skill and knowledge about tourism for the enhancement of their tourism product. Public involvement in planning and development is fundamental because of the nature of tourism in presenting communities, environment, and cultures. Murphy stressed the importance of local involvement in tourism development, especially in rural tourism development. He indicated that the success of tourism relies on the goodwill and cooperation of local people because they are part of the tourism product. He argues that if tourism development and planning does not match with the local aspirations and capabilities, this can destroy the industries’ potential. Thus, while there is a few discussion as to whether or not locals should be involved in tourism development, there is discussion about how they should be involved (Mowfort & Munt, 1998). Because local participation is generally regarded as a contributing factor in the success of development projects, it is now incorporated in policies of many NGOs and governments (Pretty, 1995). Rural tourism benefits local communities in terms of stimulating economic growth, valuing social cultural heritage, triggering the growth of service industries, and raising the standard of living; these benefits in turn encouraging positive attitudes and behaviors among these communities toward regard to tourism development (Jaafar et al., 2013; Nunkoo & Gursoy, 2012). Chaudhry and Gupta (2010) report that 75% of the world’s poor live in rural areas and that rural tourism is a tool for rural revitalization. Wanayasa village is a tourism product in Purwakarta District which has massive potential of natural and cultural resources. It is a district constitute three villages; they are Kiarapedes Village, Wanayasa Village, and Bojong Village. The main developed area is Wanayasa Village and followed by Kiarapedes Village and Bojong Village.
Wanayasa
Figure 1. Purwakarta District Map
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On the matter of the rural tourism development in Wanayasa, it can be said that tourism product is appreciated and responded to sustainbly-developed by the local participation. In Wanayasa village, there are various local group formed by the local community and government tourism office of Purwakarta District. There are two main local group such as The Tourism Driving Force Group (Kelompok Penggerak Pariwisata/KOMPEPAR) and The Tourist Village Organizer (Penyelenggara Kampung Wisata). Those groups are the main discuss of this study. We will see the difference of the two groups and their challenges in developing their tourism development area in coherence with local participation. To elaborate this paper, we undertake an extensive review of the literature concerning rural tourism and local participation involvement in the tourism sector. In the result section, we describe the difference of two local group community in Wanayasa Village and their challenges in participating the tourism activities in Wanayasa Village.
RESEARCH METHODOLOGY
A qualitative approach was used to gain an in-depth understanding of local community in participate the rural tourism development. The research included 20 semi-structured interviews conducted with members of two Local Action Groups in Wanayasa, Purwakarta. The interview provides rich source of knowledge about local action groups and their challenges in participating the rural tourism development. The result analyzed the local development strategies and challenges from the interviews. Particularly, diversity of demonstrated views manifests the character of local group communities.
LITERATURE REVIEW
In this chapter we will discuss the main concepts of this study. The literature review consists of two sections. In the first section, we will take a closer look at the rural tourism development. In Section 2.2 we will examine on the ways in which local communities and stakeholders can participate in tourism development. In Section 2.3 we will see the interactional community and the empowerment of local society influence the tourism development.
Rural Tourism Development
Tourism is a means to stimulating local economic development (Gurung & DeCoursey, 2000). In Europe and elsewhere, rural tourism provides economic and social benefits to rural destination communities (Iorio & Corsale, 2010). Sharpley (2000) observes that rural tourism can act as a catalyst for socio-economic development and regeneration. Furthermore, rural tourism can supplement the incomes of impoverished agricultural cooperative settlements (Fleischer & Pizam, 1997), and provide new sources of income for families living in remote rural areas (Gale, 2006; Su, 2011). Tourism contributes toward rural development because it provides another avenue for employment and income generation, expands the market for local products, and revitalizes traditional economies (Azman et al., 2011; Ghaderi & Handerson, 2012).
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Local Participation In Tourism Development Several authors have discussed the different ways in which local communities can be involved in tourism activities. Timothy (1999), for instance, has made a distinction between participation in the decision making process and the involvement in the benefits of tourism. Pretty (1995) has created a more refined typology of participation in development projects, mainly focusing on the agricultural sector. This has been useful in many (rural) development projects (Mikkelsen, 2005). Pretty’s typology has later been adapted by France (1998) to fit the context of tourism development. Table 1 provides an overview of their typologies.
Starting from passive participation in which the community has no contribution in the planning and is not involved in any of the benefits either. The phase of consultation and the next phase of the participation such as material incentives and functional which the community provide some resources such as labour and land to the tourism activities. The highest level of community participation is self-mobilization. In this phase, the local communities have full control over the decision making process as well as over the execution and benefits. In this case, tourism development is seen as sustainable and the local community is independent. Table 1. Overview typologies of participation
Prettys’ typology of participation* 1. Passive participation People participate by being told what is going to happen or has already happened, with no ability to change it. The information being shared belongs only to external professionals. 2. Participation in information giving People participate by answering questions posed by extractive researchers and developers. People do not have the opportunity to influence proceedings, as the findings of the research are neither shared nor checked for accuracy.
3. Participation by consultation People participate by being consulted, and external people listen to views. External professionals define both problems and solutions, and may modify these in the light peoples responses. The consultative process does not concede any share in decision making, and professionals are under no obligation to take on board people’s views. 4. Participation for material incentives People participate by providing resources such as labour and land, in return for food, cash or other material incentives. People have no stake in prolonging activities when incentives end.
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Frances’ adapted typology of participation** 1. Plantation Exploitative, rather than developmental. Possibly paternalist. Payment in kind. No attempt to participate on the part of workers, who are commonly racially and culturally different from ‘management’ and owners. Purely for material gain of owners. 2. Manipulative and passive participation Pretence of participation. Local workers is told what is decided. Some highly centralized multinational corporations based in developing countries. Neocolonial attitudes prevail through the use of expatriate labour, capital and technology. Employees in tourism in non-menial jobs are likely to be expatriates or nonindigenous residents. 3. Consultation Residents consulted but external definition of problem and control. Operations of some MNC’s is devolved from metropolitan centres to local elites.
4. Material incentives Locals contribute resources, but have no stake holding. Local employment in tourism services where local expertise is used and locals are hiring in some managerial positions.
5. Functional participation People participate by forming groups or committees which are externally initiated. Groups/committees are seen as means to achieve predetermined goals. The groups tend to be dependent on external initiations and facilitators, but may eventually become selfdependent. 6. Interactive participation People participate by being involved in analysis and development of action plans, for example. Participation is seen as a right and not just as a mechanical function. Groups may be formed and together with partner (donor agencies) make use of systematic and structured learning processes. Groups take control over local decisions, and so people have a stake in maintaining structures or practices. 7. Self-mobilization People participate by taking initiatives to change systems independent of external institutions, although the latter can help with an enabling framework. They retain control over how resources are used. Such selfinitiated mobilization and collective action may or may not challenge existing inequitable distribution of wealth and power. *Pretty (1995), **France (1998)
5. Functional participation Participation seen by outsiders as a way of achieving goals. Major decisions are external. Increasing use of local technology, capital and expertise. Some small, locally owned hotels. Minority élites often the most likely to participate. In larger hotels, some decisions made locally, but according to external forces. 6. Interactive participation Residents contribute to planning. Groups take control of local decisions. Hotels owned by local people or groups of local people. Locally owned taxis, tour agencies, and restaurants. Maintenance of cultural events for the benefit of residents and tourists.
7. Self-mobilization Independent initiatives. Local people who have accumulated capital from tourism strengthen and extend their activities.
Based on both these typologies, Tosun (2006) developed another typology for community participation in tourism, including three levels. He distinguishes between coercive, induced and spontaneous participation. Spontaneous participation is here regarded as a bottom-up type of participation, meaning that the ideas and decisions were made at the local level. Coercive and induced participation are both top-down, and can be distinguished mainly by having no control at all (coercive) or having limited choices (induced). Tosuns’ research focussed on the expected nature of local participation by asking people about the ways in which they would like to participate. He found that different groups have different expectations, which often conflict with each other. In his earlier research Tosun (2000) also explains that participation is ideal when power shifts to people who are originally excluded. Komarudin (2013) said that the type of stakeholders involved in tourism development , i.e.: Selfmobilization, groups of people who have direct contact with tourist and develop independent tourism service.
Empowerment, it is the highest of local participation. The local communities have control over all development without the forces or external influences. The advantage from the tourism activities is fully distributed to the internal community.
Partnership, coalition between developers and local communities will be carried out in the process of participatory.
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Interaction, local community have the involvement in a great scale. The rights of local communities can be accepted in the local level. Tourism is governed by community organization, and they received limited support from the government or agency.
Consultation, i.e. there are several ways in consulting tourism development, the consultation happened in a community such as meeting or hearing that open for public.
Interactional Community and Empowerment
The quality of tourism development in rural areas is influenced by their natural and man-made environment and also the resident there. Individuals and communities can have a range of roles in the development process, including as key actors in the tourism policy and planning process, etc. Community action emerges in result of interactions among participants of social fields such as education, tourism and recreation, environment, local governance, which are linked to specific rural area (Theodori, 2005). ‘Social field’ is a process of interaction in time focused on joint interests of its participants. Whereas participants of social field get together because of common interests, community action that addresses common concerns of participants from different social fields enhances relationship among them (Theodori, 2005). Empowerment of local society requires two types of investments: 1) investments in integration of stakeholders; 2) investments in activities facilitating collective efforts (Helling, Serrano & Warren, 2005). Given the fundamental meaning that empowerment has for practice of local participation in Wanayasa Village, then following discussion concentrates on the local action groups namely KOMPEPAR and The tourist village organizer on tourism development.
DISCUSSION AND FINDING
Local Action Group in Purwakarta’s Region The practice of the local participation in Wanayasa reflected in the presence of two groups of managing tourist destination, i.e. The Tourism Driving Force (KOMPEPAR) and The Tourist Village Organizer (Penyelenggara Kampung Wisata). The differences can be seen in historical of these group communities. Kompepar is self-supporting group community that the members of kompepar are conscious of tourism assets and they are colaborating with tourism department in Purwakarta district. The members are from the number of people around Setu Winayasa. (the residents). Meanwhile, The Tourist Village Organizer have become the most distinguished organization at the local level that engage partners from the public servants of government. The background of local group is reflected in the tourism management. Kompepar improve the area of tourist destination by maintaining the facilities. Meanwhile, the tourist village organizer manage the tourist destination depends on the capability of the public servants. They tried to synergize the village development with their tourism planning. In short, Kompepar is an independent group which legitimized by the department of tourism Purwakarta, while the tourist village organizer come from the institution of village government engaged with local government. Kompepar is focusing on the management of
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Setu Wanayasa. It is the main attraction located in Wanayasa Village. This can be seen in the description of the developed organization led by the leader of Kompepar.
In the beginning, Kompepar had no attention to make Setu Wanayasa as source of beneficial economy. At the start of this organizations development, Kompepar protect the lake cleaned for ecology system can be preserved, especially for the fisherman can caught the fish easier. The members itself always did internal discussion to arrange the management planning of Setu Wanayasa.
From time to time, Komempar had increased the tourism activities significantly. So the members of Komempar developed the service independently. It was seen from their direct interaction with the visitors which result the facilities, such as the necessity of parking lot, sanitation facility and security. Then Kompepar made an effort for the management in Setu Wanayasa, such as making retribution and engaging with the local government. The retribution itself is to support the members for their income, so that the practice of the management of Setu can run optimally. Meanwhile, networking with the institutions of government aims to make it easier for improving the quality of tourism potential in Setu Wanayasa. For example, at this time Kompepar is hiring land from a public figure in Wanayasa as a parking lot and commercial place like restaurant. In addition, after Kompepar Setu Wanayasa got letter of assignment from in the local tourism department, Kompepar asked an attraction for visitors called “bebek-bebekan” or a small boat with duck-shaped. And it is fulfilled by the local tourism department. It is coherence with Wilkonsin, 1991 which says that community development is also more than creating jobs or local income, there is also a need to improve local services and facilities. Beyond development that seeks to create jobs and income, community development which improves local services and facilities are often necessary. Nevertheless, the development process management doesn’t happen naturally. There are also some competitions with other groups often coercively. The leader of the Kompepar said, if he had used to taking the threat or action that could risk his life. The leader of the Kompepar didn’t deny, if Kompepar is the first independent developed community in Wanayasa Purwakarta. The legitimation for the management of Setu Wanayasa is based on their community involvement in rural tourism development in Wanayasa.
Within the field of community development, there are three broadly defined approaches: a self-help approach, a technical assistance approach, and a conflict approach. The selfhelp approach stresses the need for the people to work together to solve their problems (Littrell & Hobbs, 1989). The process of community residents working together is more important than the actual project, since successful collaboration is believed to create the conditions for future efforts to work together. The self-help approach is generally focuses on development of the community. The technical assistance approach relies heavily on planning and technical know-how (Fear, et al, 1989). Technical experts, often from the outsides, are the important change agents employed by a local sponsoring agency to provide assistance for a specific problem. The third community development perspective, a conflict approach, critically examines the power structure and distribution of benefits among groups within the community (Robinson, 1998)
Furthermore, the local governments of Purwakarta plan to develop their tourism, the tourist village organizer has to take advantage of the bureaucracy of the village, to increase their potential tourism. This can be seen from the maintenance of access to the tourist
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destinations as well as visits ad training from the local government. However, the tourist village organizer admitted that the support from the local government was not optimal. The background of the local government has given the experience for the tourist village organizer over the process bureaucracy. They realized that the cooperation with local government can’t be fulfilled immediately due to the network priority development program. The significant problem arises when the tourist village organizer was dealing with the other party such as Perhutani who manages one of the forests around the Wanayasa village. Even though it has been agreed upon the framework of cooperation, the tourist village organizer had difficulties in determining the cooperation. This leads to the asymmetrical relationship between the tourist village organizer and Perhutani, which is the tourist village or.
Local Concern of Tourism Development in Wanayasa
Based on comparison above it can be seen the challenge appear on two local groups that participated in rural tourism development. Their capability between Kompepar and the tourist village organizer emerge the challenges in local participation. Based on the field, the challenge have internal and external aspect, that are the dynamic that happen inside the group and the interaction between the group and stakeholders outside the groups. The tourism development process around Setu Wanayasa seems to be an important factor of community development of Kompepar. The first pattern refers to Kompepar’s case. Shortly, the history of organization’s development showed that local participation process has a success in managing and developing the tourist destination of Setu Wanayasa. Moreover, the legitimacy from the local government attempt Komenpar as a strategic partner, In formally, Komempar have legitimacy in developing Setu Wanayasa.
However, on a practical level, the success of Komempar cause local participation reach the type of manipulation. It led to an exclusive group. It is because the income they make from the retribution of tourism activities is only benefit for their community. The competition between other local group has been emerged. The income has been distributed and the utilization is limited to the scope of the community. This is why the case of Kompepar shows that local participation perceived the internalitation pattern.
On the other hand, the tourist village organizer shows a different trend with Kompepar. Even the tourist village organizer is a representatives of government institutions, interestingly, they were able to develop local participation wider. This local group developed tourist activity in larger scope. It makes no benefit for the member itself. They work as a local government so they negotiate with other parties easier. Besides that, the dissemination of knowledge on rural tourism discourse can be circulated widely through the network of local government.
However, the tourist village organizer’s case has showed local participation can handle the limitation of externalizing the existence. At first, the tourist village organizer is experiencing problems when facing the birocracy mechanism, so every ideas submitted is not applicable in short time. Second, limitation of politic capability caused the gap between tourist village organizer and other stakeholders. Both aspect above showing that the external limitation happen because the local participation has been developed and supported by local goverment
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structrural. It makes that the process of local participation in Wanayasa is constructed in birocracy scheme.
Scholars identify several limitations to participation in tourism decision-making in less developed countries. A summary of barriers to participation appears the most relevant in the context of developing tourism is that proposed by Tosun (2000). He distinguished between limitations at the operational level, structural and cultural limitations. Among operational limitations to community participation he focused on centralization of public administration of tourism development, lack of coordination between involved parties and lack of information available to local people of the tourist destination.
CONCLUSION
In this study, we investigated the participation of local community surrounding Wanayasa Village in rural tourism development and the challenges of the local group for the tourism development. It is clear from this case that local participation is a natural outcome of completed tourism project and that tourism is an effective respons to many problems. Furthermore, the benefits of tourism encourage local communities to participate in tourism development program. In Wanayasa village, without a support from the local government, the local participation is still hard to run optimally.
The fact that involving local community is an important component in developing rural tourism,as how Tosun said, without any economy and politic, according to Roberts and Morag’s opinion, local participation in rural tourism is hard to work ideally. It can be seen from the two different local group that show the challenges in a different pattern. First, the independent group (Kompepar) that start from independent contribution became tourism government partner. The local participation has been build is now being exclusive. On the other hand, local group that initiated by Purwakarta’s tourism goverment engage with local participation in wider scale but they trapped in birocracy scheme. It caused the limitation with other stakeholders. In other words, local participation process that undergo the limitation in represent tourism development system in Purwakarta region has not yet build comprehensively.
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ISSN 2541-5360
Upaya Peningkatan Wisata di Jakarta melalui Museum: Strategi Pengembangan Museum Nasional Indonesia1 Unira Daranca Departemen Antropologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia Abstrak
Museum sebagai pusat informasi budaya, dapat dijadikan tempat yang menarik untuk didatangi. Pada kenyataannya, museum kerap menjadi momok yang menakutkan bahkan membosankan bagi masyarakat. Tata letak barang pameran dan atraksi yang minim dirasa menjadi salah satu alasan museum jarang dikunjungi. Untuk menjadikan museum menjadi tempat yang menyenangkan dan ramai dikunjungi oleh wisatawan, tentu membutuhkan berbagai strategi. Hal tersebut tentu dapat dijadikan sebagai daya tarik wisatawan agar datang mengunjungi museum. Berbagai strategi-strategi yang dilakukan oleh museum, seringkali diwujudkan dengan diselenggarakannya berbagai program kegiatan yang menarik. program-program tersebut dapat berupa pertunjukkan seni, pameran berkala, maupun dalam bentuk lomba-lomba berhadiah. Adalah Museum Nasional yang menjadi objek penelitian dalam karya ilmiah ini. Lewat slogan Goes to Museum, Museum Nasional menerapkan strategi dengan mengeluarkan berbagai programprogram kegiatan. Hasil dari penelitian ini adalah melihat bagaimana implementasi dari slogan Goes to Museum yang diturunkan kedalam program kegiatan. Museum Nasional Indonesia dirasa berhasil meningkatkan wisata kunjungan ke museum di Jakarta. Hal itu tercermin dari banyaknya program kegiatan di Museum Nasional Indonesia yang mendatangkan banyak wisatawan-wisatawan, baik wisatawan domestik maupun wisatawan mancanegara. Tujuan utama dari program-program yang dibawa oleh Museum Nasional Indonesia, adalah bagaimana mengemas konten edukasi sejarah dan budaya dengan cara yang lebih menyenangkan dan tidak membosankan. Museum Nasional Indonesia menyadari betul bahwa lewat cara yang menarik, informasi yang diberikan akan lebih cepat dipahami dan dicerna oleh wisatawan, terutama bagi para pelajar yang berasal dari berbagai jenjang pendidikan. Museum Nasional Indonesia lewat slogan Goes to Museum, dengan konsisten membawa program-program kegiatan yang menarik untuk meningkatkan wisatawan khususnya wisatawan yang berwisata di Jakarta.
Keyword: Museum Nasional Indonesia, museum, strategi, pariwisata, wisatawan, kebudayaan
Abstract
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Museum as a center of cultural information could be an interesting place to visit. In fact, the museum is often looked as frightening space or even dull for society. The layouting of museum itself and less attraction perceived to be one of the reasons why people seldom visited museums. To make the museum into a pleasant place and visited by many tourists, it would require some strategies. The strategy itself certainly can be used as a tourist attraction to come to visit the museum. Various strategies undertaken by the museum, often manifested by convening various interesting activities program. These programs could be displayed as an art attraction, exhibitions, or held competitions with prizes. The National Museum is the main object in this paper. Under the slogan Goes to Museum, National Museum implemented the strategy by issuing various activity programs. The result of this
Jurnal ini dibuat berdasarkan karya skripsi yang berjudul Goes to Museum: Strategi Pengembangan Museum Nasional Indonesia sebagai Upaya Peningkatan Wisata di Jakarta. Penyusunan jurnal ini tak lepas dari bimbingan dan arahan dari Dr. Jajang Gunawijaya, M.A selaku Dosen Pembimbing.
study is to see how the implementation of the slogan Goes to Museum inherited into program activities. National Museum Indonesia is considered successful in increasing tourist visits museums in Jakarta. This was reflected in the number of program activities at the National Museum of Indonesia, which brings a lot of tourists, both domestic and foreign tourists. The main reason of the programs which carried by the National Museum of Indonesia, is how to package the educational content of history and culture in a fun way and not boring at all. National Museum of Indonesia aware that, through an interesting way, the information that have been provided will be more quickly understood by tourists, especially for students who come from various levels of education. National Museum of Indonesia through the slogan Goes to the museum, consistently brings programs interesting activities to increase tourists, especially tourists who traveled in Jakarta. Keyword: Museum Nasional Indonesia, museum, strategy, tourism, tourist
PENDAHULUAN
Museum historically have been such important instruments for articulating national identity. (Karp, 1989:14)
Kutipan diatas merupakan wujud gambaran bahwa museum merupakan salah satu instrumen penting untuk menunjukkan identitas nasional. Hal tersebut dapat dilihat dari adanya bentuk informasi, khususnya yang bersinggungan dengan sejarah dan budaya, yang dapat diperoleh di museum. Informasi-informasi yang diterima tentu akan menambah wawasan baru bagi pengunjung dan mengenal akar sejarah budayanya. Tidak hanya untuk memperoleh informasi saja, museum pun dapat dijadikan sebagai tempat rekreasi yang menyenangkan bagi wisatawan. Pada mulanya, museum merupakan tempat atau kuil penyembahan bagi dewa-dewa, sesuai dengan namanya yang diambil dari bahasa Yunani kuno, yakni mouseion. Keberadaan museum sendiri tentu memiliki dampak dan manfaat bagi siapapun yang ingin mengunjunginya. Bila mengacu kepada hasil musyawarah umum kesebelas International Council of Museum (ICOM) pada tanggal 14 Juni 1974 di Denmark, dapat dikemukakan bahwa museum memiliki 9 fungsi. Adapun fungsi-fungsi museum tersebut adalah: (1) Pengumpulan dan pengamanan warisan alam dan budaya, (2) Dokumentasi dan penelitian ilmiah, (3) Konservasi dan preservasi, (4) Penyebaran dan pemerataan ilmu untuk umum, (5) Pengenalan dan penghayatan kesenian, (6) Pengenalan kebudayaan antardaerah dan antarbangsa, (7) Visualisasi warisan alam dan budaya, (8) Cermin pertumbuhan peradaban umat manusia, dan (9) Pembangkit rasa takwa dan bersyukur kepada Tuhan Yang Maha Esa.
Fungsi-fungsi yang dimiliki oleh museum dapat dirasakan oleh pengunjung apabila didukung oleh fasilitas dan program yang baik. Perbedaan pengelolaan yang terjadi di museum, dapat dilihat melalui kondisi museum yang terjadi di negara-negara maju. Kondisi museum di negara maju dapat dikatakan dikelola dengan baik oleh pemerintah setempat dan tentu adanya organisasi dibalik museum tersebut. Kondisi museum di Indonesia sendiri, dapat dikatakan memiliki berbagai macam koleksi dengan informasi yang sangat menarik untuk disampaikan kepada masyarakat. Mengingat, bangsa ini memiliki kekayaan budaya dan sarat dengan sejarah yang sayang jika diabaikan begitu saja. Namun, dalam pelaksanaan atau eksekusinya saya rasa pengerjaan daya tarik di museum di Indonesia belum dapat disandingkan dengan kemegahan daya tarik
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yang ditawarkan oleh museum-museum mancanegara. Museum di Indonesia, seringkali diidentikan dengan tempat yang menyeramkan dan membosankan. Hal tersebut dapat terlihat dari maraknya acara-acara di televisi yang melakukan tantangan “uji nyali‟ di museum-museum.
Posisi museum di Indonesia sendiri jika dijadikan objek wisata, dapat dikatakan belum menjadi objek wisata yang paling dicari atau diminati oleh masyarakat. Hal tersebut tak lepas dari keadaan museum, yang tidak terlalu menarik perhatian wisatawan yang ingin berkunjung. Koleksi-koleksi yang ada di museum, dibiarkan mati dengan tata pamer yang menjemukan. Lalu, suguhan acara-acara yang ditawarkan oleh museum misalnya, seringkali bersifat eventual atau acara hanya diadakan pada kesempatan hari-hari besar saja, itupun bersifat formal dan kaku. Oleh karena itu, masyarakat sering kali enggan datang ke museum untuk melakukan wisata. Adapun yang datang berwisata ke museum, biasanya adalah orang yang memiliki motif wisata tersendiri atau darmawisata pendidikan dari instansi pendidikan, seperti kunjungan wisata oleh anak-anak di taman kanak-kanak, SD, SMP, SMA, hingga di bangku perguruan tinggi.
Melihat berbagai permasalahan yang telah dipaparkan diatas, Museum Nasional Indonesia kemudian hadir untuk menampik kesan membosankan dari museum pada umumnya. Museum yang berlokasi di Jalan. Merdeka Barat, Jakarta Pusat ini mencoba untuk menarik wisatawan dengan mengadakan program-program yang bersifat berkala. Program-program tersebut dirasa cukup menumbuhkan rasa peduli terhadap museum seperti pementasan oleh teater koma, video mapping (penayangan video dengan bangunan museum sebagai layar), pameran berkala, dan program-program lainnya yang juga banyak diusung oleh komunitaskomunitas dengan tajuk Goes to Museum. Dalam Antropologi Pariwisata, terdapat motivasi perjalanan wisata yang mendorong orang melakukan suatu perjalanan wisata. Salah satu motivasinya adalah motivasi nostalgia dan sejarah yang tujuannya ingin mengenang kehidupan masa lalu. Berkunjung ke museum dapat dikategorikan kedalam kategori motivasi perjalanan wisata dengan mengambil motivasi nostalgia dan sejarah. Orang-orang yang berkunjung ke museum, umumnya ingin melihat koleksi-koleksi peninggalan dari apa yang sudah terjadi di masa lalu. Oleh karena, minimnya fasilitas dan program-program yang diberikan oleh kebanyakan museum-museum yang ada di Indonesia, maka motivasi wisata orang datang ke museum pun belum mencapai ke tahap motivasi untuk mencari hiburan dan rekreasi. Hal tersebutlah yang kadang menjadi permasalahan besar di museum-museum, dalam meningkatkan kunjungan wisatawan tiap tahunnya.
TINJAUAN TEORITIS
Kebudayaan menurut Murdock (1965) merupakan keseluruhan sistem ide yang mencakup nilai-nilai, kepercayaan, pengetahuan, simbol-simbol, dan teknologi yang dimiliki bersama oleh sebagian besar anggota suatu masyarakat sosial dan dijadikan pedoman dalam berperilaku. Kepemilikan terhadap kebudayaan tersebut melalui proses belajar atau melalui warisan sosial dan bukan melalui warisan biologis. Koentjaraningrat (1985), menjelaskan bahwa kebudayaan adalah keseluruhan sistem gagasan, tindakan dan hasil karya manusia dalam rangka kehidupan masyarakat yang dijadikan milik dari manusia dengan belajar.
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Pemahaman terhadap kebudayaan sangat penting, mengingat koleksi-koleksi yang ada
dalam museum merupakan hasil kebudayaan manusia dari masa ke masa. Pemahaman kebudayaan dalam ruang lingkup museum, juga dapat diartikan sebagai bentuk pelayanan pendidikan yang diberikan museum kepada pengunjung. Dari kutipan diatas, Koentjaraningrat menegaskan bahwa kebudayaan dapat diperoleh dengan belajar. Mempelajari kebudayaan tentu memerlukan sebuah sarana agar suatu kebudayaan dapat dipelajari dengan baik. Salah satu sarana yang dapat dijadikan tempat untuk mempelajari kebudayaan, salah satunya adalah museum.
Berdasarkan konferensi museum internasional atau ICOM (International Conference of Museum) di Vienna, Austria pada tahun 2007, definisi museum adalah institusi permanen yang melayani masyarakat dan pembangunannya terbuka untuk publik, yang menyediakan, meneliti, mengkomunikasikan dan memamerkan peninggalan kebudayaan manusia yang berwujud maupun yang tidak berwujud, dengan tujuan untuk pendidikan, sarana belajar dan hiburan. Definisi tersebut seperti yang dikutip pada konferensi ICOM ke-21 di Vienna, Austria sebagai berikut: “A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment,” –ICOM 2007
Definisi museum melalui ICOM tersebut merupakan definisi yang telah disepakati secara internasional dan digunakan dalam rujukan karya tulis di bidang permuseuman. Seperti yang disebutkan dalam definisi diatas, tujuan museum adalah untuk sarana belajar dan hiburan.
Museum pun memiliki fungsi-fungsi yang telah disepakati dalam konferensi museum internasional, sebagai berikut: (1) Pengumpulan dan pengamanan warisan alam dan budaya, (2) Dokumentasi dan penelitian ilmiah, (3) Konservasi dan preservasi, (4) Penyebaran dan pemerataan ilmu untuk umum, (5) Pengenalan dan penghayatan kesenian, (6) Pengenalan kebudayaan antardaerah dan antarbangsa, (7) Visualisasi warisan alam dan budaya, (8) Cermin pertumbuhan peradaban umat manusia, dan (9) Pembangkit rasa takwa dan bersyukur kepada Tuhan Yang Maha Esa. (Sutaarga 1997: 19-20). Fungsi-fungsi tersebut harus dilaksanakan oleh museum sebagai tempat pusat informasi budaya. Fungsi tersebut dapat diturunkan kedalam visi dan misi yang dimiliki museum maupun ke dalam programprogram kegiatan yang dikeluarkan. Sembilan fungsi museum ini dapat dikatakan sebagai turunan dari definsi museum yang dirujuk dalam ICOM, yang dapat diikuti oleh museummuseum di seluruh dunia.
Dari penjabaran-penjabaran mengenai definisi museum dan fungsinya diatas, menurut saya dapat dikatakan atau disimpulkan bahwa museum adalah tempat penyimpanan koleksi hasil alam maupun kebudayaan manusia, yang dikemas secara menarik dan memiliki informasi untuk kepentingan pengetahuan bangsa dan negara. Penyampaian informasi yang menarik, akan koleksi museum adalah salah satu hal yang harus digarisbawahi. Hal tersebut akan berpengaruh terhadap tingkat kunjungan wisatawan yang datang ke museum. Jika tidak dikemas secara menarik, tentu tingkat kunjungan akan menurun. Maka dari itu dibutuhkanlah strategi untuk mengembangkan museum itu sendiri merujuk pernyataan Karp (1989). Menurut Wheelen (2004) strategi adalah cara untuk mencapai tujuan jangka panjang. Strategi bisa berupa perluasan geografis, diversifikasi, akusisi, pengembangan produk ,
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penetrasi pasar, rasionalisasi karyawan, divestasi, likuidasi dan joint venture (Wheelen, 2004:5). Strategi juga didefinisikan sebagai rencana yang disatukan, luas dan berintegrasi yang menghubungkan keunggulan strategis perusahaan dengan tantangan lingkungan, yang dirancang untuk memastikan bahwa tujuan utama dari perusahaan dapat dicapai melalui pelaksanaan yang tepat oleh organisasi (Glueck dan Jauch, 1989:4). Kotler (2000) mengatakan bahwa strategi adalah suatu rencana untuk mencapai sasaran yang diinginkan dari suatu unit bisnis. Sedangkan, pengertian manajemen strategis Wheelen (2004) adalah serangkaian keputusan dan tindakan manajerial yang menentukan kinerja perusahaan dalam jangka panjang. Hal itu berarti bahwa ada keputusan atau langkah perencanaan yang matang, dalam memutuskan rencana kinerja suatu perusahaan kedepan. Dari sudut pandang Wheelen tersebut dapat dilihat bahwa strategi merupakan rencana jangka panjang untuk mewujudkan sesusatu hal. Ada tujuan yang ingin dicapai. Tujuantujuan tersebut tentu dapat dicapai dengan menggunakan strategi-strategi tertentu. Adanya rencana untuk menuju hal tersebut. Strategi dalam museumpun disadari betul lewat penuturan Reussner dalam Sandell dan Janes (2007) bahwa strategi dibutuhkan untuk mendukung museum membawa misi-misinya dan membuktikan bahwa museum dapat memberikan suatu perbedaan.
Manajemen dalam strategi ialah kemampuan mengatur keputusan-keputusan untuk diwujudkan kedalam aksi nyata, seperti misalnya rangkaian acara atau program kerja yang dijalankan. Strategi pengembangan museum dapat melihat ke dalam konsep kesalingterkaitan global yang dipaparkan oleh Appadurai (1990). Arjun Appadurai (1990), mengidentifikasikan ada lima tipe kesalingterkaitan global, yaitu ethnoscapes, financescapes, ideoscapes, mediascapes, dan technoscapes. Kelima tipe tersebut dapat membagi bentuk strategi yang dicanangkan oleh museum. Bentuk strategi pengembangan museum tersebut setidaknya terdapat dua kondisi yang harus diperhatikan. Kondisi tersebut terbagi atas kondisi fisik dan non fisik. Kondisi fisik yang dimaksud ialah hal-hal berwujud yang terdapat di museum. Kondisi fisik tersebut antara lain berupa arca, prasasti, keramik, dan koleksi lainnya yang dipamerkan, sedangkan kondisi non fisik berupa promosi dan publikasi yang digencarkan oleh museum. Kedua kondisi tersebut adalah hal-hal yang diperhatikan oleh Museum Nasional dalam mengatur strategi, guna menarik wisatawan datang berkunjung. Adanya bentuk strategi yang digencarkan oleh museum, salah satunya adalah untuh memajukan, mengenalkan, serta melestarikan kebudayaan. Adapun terdapat salah satu konsep yang diusung oleh Museum Nasional Indonesia dalam rangka mengatur strategi pengembangan museum terkait dengan kebudayaan.
Clifford menggunakan istilah “Zona Kontak” untuk mendorong pengkajian kembali bagaimana wisatawan memahami museum. Ia berpendapat bahwa museum seharusnya mengadopsi strategi baru dalam penyajian yang lebih memungkinkan untuk terjadinya pengakuan dan penghargaan pada makna dari objek-objek suci, seperti yang dipahami dalam perspektif suku bangsa asli dan masih dilakukan hingga saat ini (Clifford dalam Gultom, 2014). Pentingnya pengembangan museumpun dikuatkan oleh Bennet (1991), yang mengatakan bahwa tanpa adanya hal-hal yang mendukung penataan pameran dalam museum dan menariknya informasi yang disajikan, maka museum tidak akan dapat dimengerti dengan baik. Hal tersebut dikutip sebagai berikut:
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“However, the museum‟s formation cannot be adequately understood unless viewed in the light of a more general set of developments through which culture, in coming to be thought of as useful for governing, was fashioned as a vehicle for the exercise of new forms of power” (Bennet, 1991:19)
Pariwisata sendiri berasal dari bahasa Sansekerta yang terdiri dari pari yang berarti lengkap, banyak, berputar-putar, dan wisata yang berarti perjalanan atau bepergian (Yoeti, 1982: 103). Dengan demikian, pariwisata dapat diartikan sebagai suatu perjalanan yang lengkap. Pariwisata adalah kegiatan melakukan perjalanan dengan tujuan mendapatkan kenikmatan, mencari kepuasan, mengetahui sesuatu, memperbaiki kesehatan, menikmati olahraga atau istirahat, menunaikan tugas, dan lain-lain (Spillane, 1987: 20), sedangkan, orang yang melakukan perjalanan tersebut disebut sebagai wisatawan. Menurut Yoeti (1982:71) wisatawan adalah seseorang yang meninggalkan tempat kediamannya untuk sementara waktu dengan alasan apapun juga tanpa memangku jabatan atau pekerjaan di negara yang dikunjunginya. Dapat dikatakan, tujuan orang yang berwisata adalah untuk mendapatkan kesenangan dan kenikmatan dari hal-hal baru selama berwisata (Cohen dalam Ross, 1998:5). Wisata budaya ditandai dengan adanya rangkaian motivasi, seperti keinginan untuk belajar di pusat-pusat pengajaran dan riset untuk memelajari adat istiadat, cara hidup, dll (Spillane, 1994: 29). Sementara pariwisata budaya menurut Geriya (1995: 103) adalah salah satu jenis pariwisata yang mengandalkan potensi kebudayaan sebagai daya tarik yang paling dominan sekaligus memberikan identitas bagi pengembangan pariwisata tersebut. Merujuk pada pengertian wisata budaya menurut Spillane dan Geriya, wisata budaya dapat berupa museum, wisata kuliner, mengunjungi desa wisata, dan seni pertunjukan.
Menurut Pitana (2009) dalam pariwisata diperlukan beberapa syarat teknis dalam menentukan suatu tujuan wisata atau objek wisata yang dapat dikembangkan. Syarat-syarat teknis yang dimaksud adalah adanya objek wisata dan daya tarik wisata yang beraneka ragam (site and event attractions), aksesibilitas, amenitas, dan organisasi.
Melalui penjabaran diatas mengenai pariwisata, dapat dikatakan bahwa museum sudah memenuhi syarat sebagai objek wisata. Apakah museum sudah sepenuhnya memberikan kesenangan dan kenyamanan bagi wisatawan, hal itulah yang diteliti dalam tulisan ini. Wisatawan yang datang ke museum, dapat dikatakan memiliki motivasi tersendiri. Motivasi bagi wisatawan yang berkunjung ke museum, selain memiliki motivasi akan budaya tentu motivasi akan melihat nilai sejarah yang terkandung dan rasa ingin nostalgia terhadap bendabenda masa lampau. Berdasarkan konsep- konsep yang telah saya paparkan diatas, skema kerangka konsep ini bergerak kepada tiga konsep utama, yakni kebudayaan, museum, dan pariwisata. Hal yang ingin saya soroti, adalah bagaimana suatu kebudayaan yang dipamerkan di dalam museum sebagai koleksi, tidak menjadi sekedar benda mati yang tidak menarik. Museum seharusnya dapat menjadi objek wisata yang menyenangkan dan ramai dikunjungi seperti halnya objek-objek wisata lain yang ada di ibukota.
METODE PENELITIAN
Dalam tulisan ini memakai pendekatan kualitatif yang lebih mengedepankan makna dari suatu fenomena sosial. Hal tersebut diutarakan oleh Neuman (1991), pendekatan kualitatif
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menggunakan bahasa-bahasa yang terdapat di tiap kasus dan konteks, dalam memproses permasalahan sosial dan turut melihat interpretasi makna yang terjadi. Pendekatan ini juga melihat kehidupan sosial dari berbagai sudut pandang dan menjelaskan bagaimana fenomena sosial terjadi. Tipe penelitian yang saya pilih adalah tipe penelitian deskriptif yang bertujuan untuk menggambarkan secara rinci dan spesifik suatu fenomena mulai dari tiap unsur yang ada. Topik penelitian yang saya angkat adalah mengenai strategi pengembangan yang dilakukan oleh Museum Nasional Indonesia sebagai upaya peningkatan wisata di ibukota khususnya.
Teknik pengumpulan data yang saya lakukan adalah dengan metode pengamatan terlibat (participant observation), wawancara, dan juga pengumpulan data sekunder dengan studi literatur. Studi literatur yang dilakukan berkaitan dengan arsip-arsip sejarah yang memuat riwayat Museum Nasional Indonesia. Pengamatan terlibat ini saya lakukan dengan melakukan observasi langsung di Museum Nasional Indonesia sebagai wisatawan dan melakukan kerja lapangan di bagian kemitraan dan promosi. Wawancara mendalam dilakukan terhadap pelaku-pelaku kegiatan atau aktor-aktor yang menunjang aktivitas museum, seperti pegawai museum, pemandu wisata, komunitas dan wisatawan.
Goes to Museum
Kementerian Kebudayaan dan Pariwisata pada tahun 2009, mencanangkan suatu program yang mulanya dinamakan dengan Gerakan Nasional Cinta Museum. Hal tersebut ditujukan, untuk mendorong masyarakat datang dan mengunjungi museum. Oleh karena sifatnya yang mencakup skala nasional, maka Gerakan Nasional Cinta Museum ini, disinyalir menjadi acuan promosi bagi museum-museum yang ada di Indonesia. Pada tahun yang sama, diluncurkan pula ikon “Museum Dihatiku” dan “Jingle Museum Dihatiku”. Hal tersebut diupayakan untuk, mendekatkan diri kepada masyarakat akan keberadaan museum.
Jingle Museum di Hatiku ini merupakan bagian dari Gerakan Nasional Cinta Museum yang ditetapkan oleh pemerintah yakni Menteri Kebudayaan dan Pariwisata pada tahun 2009. Jingle ini diciptakan oleh seniman Djaduk Ferianto, dan telah dijadikan sebagai jingle museum nasional. Mendukung kebijakan pemerintah tersebut, Museum Nasional tak ketinggalan ikut andil dalam mengenalkan lagu Museum di Hatiku ini. Oleh karena itu, AACiM sebagai maskot museum, berperan penuh dalam mengenalkan jingle museum di hatiku. Lagu ini pun dijadikan sebagai salah satu lagu wajib yang dilombakan oleh museum nasional pada saat Festival Museum Nasional Indonesia. Program tersebut dijadikan upaya untuk, meningkatkan kualitas museum dalam melayani masyarakat sesuai dengan fungsinya, sehingga museum dapat menjadi tempat yang dirasakan sebagai “kebutuhan untuk dikunjungi”. Dengan adanya diluncurkannya program tersebut, secara serentak museum-museum di Indonesia mulai menggencarkan promosi datang ke museum dengan berbagai kegiatan. Hal tersebut diperlihatkan dengan, setiap event yang diselenggarakan di tiap museum, terdapat logo-logo yang mengisyaratkan Gerakan Nasional Cinta Museum di berbagai media promosi museum. Museum Nasional pun tak ketinggalan menyambut kebijakan pemerintah tersebut, dengan mengusung nama yang sama pada tahun 2009, kemudian berganti menjadi Tahun Kunjung Museum 2010, dan sekarang lebih akrab disapa dengan program Goes to Museum atau jika diterjemahkan kedalam bahasa Indonesia berarti pergi ke museum.
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Goes to Museum tampaknya menjadi angin segar bagi museum, dalam mempromosikan program-program kegiatan yang ada di museum, sehingga hal tersebut membuat wisatawan tertarik untuk datang dan berkunjung ke museum. Slogan Goes to Museum ini, dapat dilihat di berbagai media promosi kegiatan museum. Selain itu, slogan ini juga kerapkali dipakai oleh beragam komunitas-komunitas pecinta sejarah dan museum, dalam mengadakan kegiatan yang bertemakan jalan-jalan ke museum.
Implementasi Strategi Museum
Lewat alur strategi yang dicanangkan oleh bidang Kemitraan dan Promosi, maka terdapatlah berbagai macam program-program. Hal tersebut diperuntukkan untuk mewujudkan visi museum, yang salah satunya tentu dengan mencanangkan berbagai strategi untuk menarik wisatawan yang datang berkunjung. Sejak dibukanya museum tahun 1868, museum memiliki motto “Untuk Kepentingan Publik”. Museum Nasional sadar betul bahwa motto ini berarti mengemban tanggung jawab kepada masyarakat umum melalui program publik. Program-program tersebut dilakukan, untuk mempromosikan keberadaan museum itu sendiri. Bidang kemitraan dan promosi yang terdapat di Museum Nasional, adalah bidang yang berkonsentrasi penih terhadap program dan bentuk promosi yang akan dikeluarkan oleh museum. Program-program yang ditawarkan pun antara lain, seperti Festival Hari Museum Internasional, Rilisan Fisik Museum Nasional, Promosi Digital Museum, Ceramah Ilmiah, Kids Corner, Museum Keliling, dan program yang paling ramai dikunjungi wisatawan adalah program Akhir Pekan di Museum Nasional
Salah satu kegiatan yang diadakan saat akhir pekan di museum adalah pementasan teater. Beberapa kali Museum Nasional mementaskan pertunjukkan teater yang mengambil cerita dari koleksi-koleksi yang ada di museum. Koleksi yang dimaksud adalah seperti koleksi arca Bhairawa dan Prajnaparamita yang dipentaskan sehingga pengunjung dapat memperoleh informasi sejarah dengan cara yang menyenangkan. Hal tersebut adalah sebagai salah satu bentuk strategi museum dalam mendatangkan wisatawan. Kedepan Museum Nasional harus bisa menjadi tempat yang mempunyai daya tarik bagi masyarakat, disamping sebagai sarana pendidikan dan konservasi, Museum Nasional meluaskan perannya sebagai tempat alternatif bagi masyarakat dalam berlibur. Akhir Pekan di Museum Nasional merupakan acara yang digagas untuk mengajak masyarakat bergembira mengisi hari libur di Museum dengan berbagai kegiatan yang di laksanakan.
Untuk lebih memeriahkan program-program yang dibawa oleh museum, museum lalu membuat maskot Museum Nasional yang diberi nama AACiM, yakni singkatan dari Aku Anak Cinta Museum. AACiM ini dapat ditemukan disetiap poster yang dikeluarkan oleh museum atau di selebaran-selebaran promosi. AACiM digambarkan sebagai anak laki-laki yang memakai baju safar cokelat, lengkap dengan topi dan kacamata. Maknanya adalah AACiM digambarkan sebagai seorang anak yang suka berpetualang dan senang datang ke museum. Dengan adanya AACiM ini diharapkan dapat menambah tingkat kunjungan ke museum, terutama kepada anak-anak. Selain menemani kegiatan anak-anak di Kids Corner dan dipajang disetiap rilisan publikasi ke museum, AACiM juga bertugas mengajarkan lagu atau jingle museum kepada pengunjung disetiap acara yang tengah diselenggarakan.
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Strategi Kemitraan Museum Nasional Berbicara mengenai program-program yang digencarkan oleh museum, tak lepas kaitannya dengan kemitraan. Kemitraan memegang peranan yang cukup penting bagi pengembangan museum, dimana dalam pengerjaannya terkait dengan promosi-promosi yang menari wisatawan datang berkunjung. Hal tersebut dapat berupa layanan pendidikan, layanan khusus, layanan media, pemberian bantuan teknis, kerjasama teknis, dan lain-lain. Kemitraan adalah kerjasama antara kedua pihak dengan prinsip saling memerlukan, saling memperkuat dan saling memberi manfaat, sedangkan promosi ialah aktifitas pemasaran yang berusaha menyebarkan informasi, mempengaruhi atau membujuk, dan atau mengingatkan pasar sasaran atas perusahaan dan produknya agar bersedia menerima, membeli dan loyal pada produk yang ditawarkan perusahaan ybs. (Tjiptono 2001). Museum pun melayani berbagai macam bentuk kegiatan dan kemitraan yang datang untuk bekerjasama dengan museum. Hal itu dinilai dapat membawa keuntungan tersendiri bagi kedua belah pihak. Lewat kemitraan dan promosi yang dibawa oleh museum, hal tersebut adalah upaya dan cara museum untuk berusaha mempresentasikan dan menginterpretasikan berbagai macam koleksi kebudayaan yang ada kepada wisatawan yang datang berkunjung. Bentuk-bentuk promosi tersebut tak lain adalah cara museum berkomunikasi langsung dengan masyarakat, sehingga kemudian diharapkan masyarakat atau wisatawan akan datang dan berpartisipasi ke dalam program-program yang diadakan oleh museu. Bentuk kemitraan dan promosi seperti itulah yang dilakukan oleh museum dalam mengembangkan strateginya agar tetap eksis dan diketahui oleh masyarakat. Kemitraan yang terjalin di museum, antara lain adalah adanya program kerja lapangan yang diikuti oleh berbagai pelajar di tingkat SMK maupun Universitas, kemitraan dengan komunitas-komunitas, hingga kemitraan dengan kedutaan-kedutaan asing. Pelajar-pelajar yang mengikuti program kerja lapangan, diharapkan dapat menginterpretasikan dan memahami koleksi museum dengan baik, sehingga tidak hanya dapat mempromosikan museum namun ada suatu pemahaman yang diterima oleh para pelaku kerja lapangan di museum tersebut.
MUSEUM DAN KOMUNITAS
Museum yang menjalin kerjasama dengan komunitas akan lebih mudah dalam menyampaikan visi dan misi museum kepada masyarakat. Citra museum yang masih terkesan suram dan menyeramkan diharapkan dapat dijawab oleh komunitas melalui kegiatan dan kunjungan yang dilaksanakan di area museum. Melalui peran dan komunitas citra museum yang baik dan terbuka untuk masyarakat umum dapat tersampaikan. Program publik yang diselenggarakan oleh museum dapat diinformasikan kepada masyarakat, sehingga semakin banyak masyarakat yang mengetahui program edukatif yang dilaksanakan museum. Komunitas juga dapat berperan sebagai “humas‟ bagi museum, apalagi semakin menjamurnya media sosial, banyak pertanyaan masyarakat yang sering dilontarkan melalui media sosial ini. Komunitas dapat membantu memberikan jawaban cepat terhadap pertanyaan-pertanyaan sederhana yang sering muncul ditengah masyarakat, misalnya jam operasional museum, akses menuju museum dan lain-lain. Komunitas juga berperan sebagai duta museum yang memberi informasi dan kegiatan museum. Anggota komunitas
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dapat dilibatkan dalam berbagai kegiatan museum misalnya membantu konservasi koleksi, pemanduan, publikasi dan program publik lainnya. “...kalau komunitas sih banyak ya yang kerjasama ke museum. Yang paling sering sih kom jelajah tahun lalu dia bikin night at the museum gitu....kalau indonesian heritage itu lebih ke komunitas pemandu wisata gitu sih ya. Kalau ada turis asing nanti sama guide dari indonesian heritagenya bisa pilih mau bahasa korea, inggris gitu,” –Ibu Nusi, Wawancara 2015
Pihak museum sendiri, merasa tidak keberatan dengan hadirnya komunitas-komunitas yang mengajak untuk bekerja sama. Museum terbuka dengan komunitas apapun yang ingin memanfaatkan museum menjadi sarana pendidikan dan wisata bagi pengunjung. “...kita sih disini terbuka ya sama komunitas apapun. Ya kalau mau ngadain acara bisa langsung kerjasama. Nggak harus dipatokin satu komunitas siapa yang selalu diundang ke museum. Ya siapapun bisa. Terbuka aja sih ke tiap-tiap komunitas,” –Pak Oting, Wawancara 2015
Tidak hanya pada kegiatan akhir pekan di museum saja, Museum Nasional juga menjalin kerjasama dengan komunitas-komunitas yang yang bergerak di bidang sejarah dan pariwisata. Sebagaimana diketahui bahwa komunitas-komunitas yang mengandung konsep “kawula muda pecinta museum dan warisan budaya” saat ini sudah menjamur di mana-mana, khususnya di Jakarta. Beberapa komunitas yang aktif dalam menggandeng generasi muda dalam berbagai aktivitas terkait dengan wisata museum dan warisan budaya antara lain Komunitas Jelajah, Komunitas Historia Indonesia, Komunitas Kota Tua, Komunitas Jelajah, Komunitas Jelajah Budaya, Komunitas Museum Ceria, Komunitas “Kinara Kinari”, Komunitas Blusukan, Jelajah Budaya Jawa, Komunitas Artmate Studio, dan lain-lain. Menurut sumber, beberapa komunitas di atas telah melakukan kerjasama dengan Museum Nasional dalam dua tahun terakhir.
KESIMPULAN
Kebudayaan dan museum adalah suatu hal yang sangat berkaitan satu sama lain. Kebudayaan sebagai hasil kreasi manusia yang diwarisi secara turun temurun, tentu harus dilestarikan agar tidak hilang di telan zaman. Oleh karena sifat museum yang benar- benar fokus kedalam pelestarian budaya, maka dapat dikatakan bahwa kebudayaan dan museum memiliki fungsi yang saling melengkapi, yaitu untuk pelestarian kebudayaan dan pusat informasi budaya. Museum sebagai tempat pelestari kebudayaan, tentu memiliki potensi untuk dijadikan tembat objek wisata. Dilihat dari koleksi-koleksi dan program-program yang ada, secara tidak langsung museum memiliki keunikan- keunikan yang berpotensi mendatangkan pengunjung untuk berwisata ke museum. Maka dari itu, Museum Nasional meluncurkan berbagai strategi pengembangan, untuk meningkatkan potensi wisatawan yang datang dan mengunjungi museum. Strategi tersebut dilandasi semangat slogan yang dibawa oleh Museum Nasional itu sendiri yakni slogan Goes to Museum.
Goes to Museum hadir sebagai suatu propaganda atau jargon ajakan agar masyarakat tertarik untuk datang ke museum. Implementasi strategi yang dicanangkan oleh Museum Nasional dapat dilihat dari program- program kegiatan yang diadakan di museum. Dengan
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diterapkannya strategi- strategi tersebut, museum berusaha mendekati masyarakat dengan menghadirkan konsep baru yang membuat nyaman pengunjung, sehingga museum jauh dari kesan menyeramkan dan membosankan. Program- porgram kegiatan yang dihadirkan oleh Museum Nasional, dapat dikatakan sudah tepat dan banyak mendatangkan wisatawan. Hal tersebut dapat dilihat dari banyaknya wisatawan yang berkunjung ke museum dengan menghadiri kegiatan yang tengah diadakan. Dengan adanya program- program kegiatan tersebut, pengunjung menjadi lebih ikut berpartisipasi dan memiliki rasa memiliki terhadap museum. Pengunjung menjadi tidak bosan, dan terus menantikan program- program apa saja yang akan dihadirkan oleh museum. Hal inilah yang dapat dikatakan bahwa strategi museum cukup berhasil dalam menarik wisatawan. Oleh karena itu, strategi dalam bidang pariwisata merupakan salah satu pokok penting untuk dilakukan. Hal itu berdampak kepada peningkatan wisata, dimana pengunjung akan tertarik dengan promosi yang dilakukan oleh objek wisata tersebut dan kemudian datang untuk berwisata. Dampak lainnya adalah kebudayaan bangsa ini akan semakin mudah dikenal oleh wisatawan mancanegara yang datang berkunjung. Hal tersebut, mencerminkan konsep zona kontak budaya yang dipakai oleh museum, dimana terjadi pertemuan antar budaya di museum, sehingga masing-masing budaya akan belajar dan mengenali kebudayaan lainnya.
REFERENSI
Appadurai, Arjun. (1996). Modernity at Large. Minnesotta: University of Minnesotta Press. Bennet, Tony. (1995). The Birth of the Museum. London: Routledge. Bouquet, Mary. (2012). Museums: A Visual Anthropology. NY: Berg.
Brown, Claudine. (2008). Museum, Communities, and Artists. Illinois: University of Illinois Press.
Canclini, Garcia. (2001). Consumers and Citizens: Globalization and Multicultural Conflicts. Minneapolis: University of Minnesota Press. Clifford, James. (1997). Routes: Travel and Translation in the Late Twentieth Century. Cambridge: Harvard University Press.
Creswell, John W. (2003). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. New York: Sage.. Geriya, Wayan. (1995) Pariwisata dan Dinamika Kebudayaan Lokal, Nasional, Global: Bunga Rampai Antropologi Pariwisata. Bali: Upada Sastra.
Glueck, William (1989) Strategic Management and Bussiness Policy. New York: McGraw-Hill Book. Karp, Ivan. (1991). Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington DC: Smithsonian. Kotler, Neil. (1999). Museum Strategy and Marketing. Montreal: HEC.
Neuman, Lawrence. (2006). Social Research Methods: Qualitative and Quantitative. Cambridge: Cambridge University Press. Pitana, I Gede. (2005). Sosiologi Pariwisata. Yogyakarta: Andi.
Pratt, Mary. (1991). Arts of The Contact Zone. New York: MLA.
Ross, Glenn. (1998). Psikologi Pariwisata. Jakarta: Yayasan Obor Indonesia.
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Sahlins, Mashall. (1994). Goodbye to Tistes Tropique: Ethnography in The Context of Modern World History dalam Robert Borofsky. Assesing Cultural Anthropology. New York: Mc. Graw-Hill, Inc.
Sandell, Richard dan Janes, Robert. (2007) Museum Management and Marketing. Canada: Routledge. Spillane, James. (1994). Pariwisata Indonesia: Siasat Ekonomi Dan Rekayasa Kebudayaan. Yogyakarta: Kanisius.
Sukadijo, R.G. (1996). Anatomi Pariwisata. Memahami Pariwisata sebagai “System Linkage”. Jakarta: Gramedia. Sutaarga, Amir. (1997). Museum di Indonesia. Jakarta: Depdikbud.
Tjiptono, Fandy. (2001). Strategi Pemasaran. Yogyakarta: Penerbit Andi.
Wheelen, Thomas. (2004). Concepts in Strategic Management. Canada: Pearson Education Canada. Yoeti, O. A. (1982). Pengantar Ilmu Pariwisata. Bandung: Angkasa. Jurnal
Gultom, Anisa. (2014). Museum Nasional Menuju Zona Kontak Budaya. Warta Museum, Vol. IX, p.01
Jamieson, Walter. (1998) Cultural Heritage Tourism Planning and Development: Defining the Field and Its Challenges. APT Bulletin. Vol. 29, No. 3/4. p. 65-67 Schorch, Phillip. (2013) Contact Zones, Third Spaces, and the Act of Interpretation. Museum and society, 11(1). p.68-81 Situs
Museum Nasional Indonesia. (2015). Museum Nasional. Diambil dari http://www. museumnasional.or.id
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ISSN 2541-5360
Strategic Management for Rural Tourism Development in Wanayasa, Puwakarta, West Java, Indonesia Jajang Gunawijaya1, Poeti Nazura Gulfira Akbar2, Sofyan Ansori3 1,2,3 Vokasi Pariwisata, Program Vokasi Universitas Indonesia Abstract This paper reveals a strategic management case of rural tourism development based on tourism plan in Wanayasa, Purwakarta, Jawa Barat.
Research was conducted in August 2015 with qualitative approaches i.e. interview and focus group discussion. In addition, some of data also produced from secondary sources such as government regulation and official website. Findings show that the only strength Wanayasa possessed is their ability in capturing projections of external factors, including identification of potential investors for their tourism. Apart from that quality, it is obvious that their rural tourism development is lack of clear vision & mission, indefinite internal analysis, and chaotic strategy formulation as a result of disorganized planning processes.
With those conditions, it will be tough for them to formulate the true competitive advantage as a basic foundation of their tourism development. Besides, the community and local elites are now tend to expect more in investor funds instead of systematic strategic management by their own. Key words: Strategic Management, Tourism, Rural Tourism Development, Wanayasa
Abstrak
Makalah ini mengungkapkan kasus manajemen strategis pengembangan pariwisata pedesaan berdasarkan rencana pariwisata di Wanayasa, Purwakarta, Jawa Barat. Penelitian dilakukan pada bulan Agustus tahun 2015 dengan pendekatan kualitatif yaitu wawancara dan diskusi kelompok terfokus. Selain itu, beberapa data juga dihasilkan dari sumber sekunder seperti peraturan pemerintah dan situs resmi.
Temuan menunjukkan bahwa satu-satunya kekuatan Wanayasa dimiliki adalah kemampuan mereka dalam menangkap proyeksi faktor eksternal, termasuk identifikasi calon investor untuk pariwisata mereka. Terlepas dari kualitas itu, jelas bahwa pengembangan pariwisata pedesaan mereka adalah kurangnya visi yang jelas dan misi, analisis internal yang tak terbatas, dan perumusan strategi kacau sebagai akibat dari proses perencanaan tidak teratur.
Dengan kondisi tersebut, akan sulit bagi mereka untuk merumuskan keunggulan kompetitif yang benar sebagai landasan dasar pengembangan pariwisata mereka. Selain itu, masyarakat dan elit lokal sekarang cenderung mengharapkan lebih dana investor bukannya manajemen strategis sistematis oleh mereka sendiri. Kata Kunci: Manajemen Strategis, Pengembangan Pariwisata Pedesaan, Wanayasa
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INTRODUCTION According to Chaudry and Gupta (2010), approximately 75% of the low-income population live in the rural areas. In the tourism context, rural is more than a geographical concept. Indeed, it means a set of values for its different way of living (Oliver and Jenkins, 2005). As a result, rural tourism has often recognized as a tool for rural revitalization. The purpose of encouraging tourism is to increase both welfare and participation of rural community in managing the tourism product. Adding to this, the concept of rural tourism was developed a few decades ago and contributed a new impulsion to the adjustment of tourism as a strategy in regional planning and development. It is believed that while rural tourism will bring economic to the society by generating employment and multiplier effect, it will also bring social benefits by developing educational, social and cultural values (Aref and Gill, 2009). If more tourism can be developed in rural areas, especially in ways that engage high local participation in decisions and businesses, then poverty are likely to be eliminated. However, developing rural tourism has its challenges. Some researches have found that tourism was developed with little attention to the viability of tourism product, the spill over effects in such rural destinations, or the loss of sustainability in terms of economic, environmental and social value of the site (Adamson and Bromiley, 2008; Murphy, 1985). Many tourist destinations are still neglected the social and environmental costs of rapid tourism development and indeed, have been enforced to implement actions for failing to control tourism development (Inskeep, 1991). In most circumstances, particularly in developing countries, these conditions may be more difficult by political and institutional barriers, such as the administrative complexity, the lack of policy coordination, and low priority provided to rural areas by central municipalities (Okech et al., 2012). Thus, ways to deal with these challenges are needed.
Regarding to this matter, Hall (1998 in Ruhanen 2004) mentions that tourism cannot be allowed without an overall guiding agenda and prearranged strategies toward development goals. While Simpson (2001) states two key requirements to a sustainable approach in the tourism planning: the necessity of multiple stakeholder participation, and a strategic and long-term orientation towards tourism planning. Due to this, the analysis of the strategic management in rural tourism development is important.
Wanayasa is tourism development area (TDA) in the Purwakarta Regency which is a living rural landscape area with enormous potential of natural and cultural resources. It is a district comprising three Desa or villages, which are Desa Kiarapedes, Desa Wanayasa and Desa Bojong. The main priority for tourism development is Desa Wanayasa and followed by Desa Bojong and Desa Kiarapedes. According to Tourism Master Plan of West Java, the key elements for tourism development in Winayasa are nature tourism, ecotourism and health tourism. Wanayasa also has high potential to be developed as a cultural tourism which are considered based on its historical places and strong local identity. Regarding to the conditions, the local authorities has made master plans for tourism development in Wanayasa. However, the question has arised that to what extent the tourism strategy and plans in Wanayasa is effective to stimulate rural tourism of the local area and to achieve the sustainable development? Did the local municipalities identify and encourage the strategic management in the process of developing the rural tourism? Therefore, the aim of this paper is to examine the procedures, benefits and also barriers upon the process and adoption of
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strategic management at rural tourism destination.
Figure 1. Map of Wanayasa Source: purwakartakab.go.id
LITERATURE REVIEW Rural Tourism Development Rural tourism is simply defined as a type of tourism which takes place in the countryside or outside of urban areas. It is characterized by enjoyment of a tamed nature or highly modified landscape (Aref and Gill, 2009). According to ROUTES (2008), rural tourism can be defined as:
“Rural tourism is defined in the overall economy of tourism as the economic use of the countryside, natural resources, cultural heritage, rural habitat, local tradition and local produce through certified products and services illustrating regional identity. It responds to the needs of consumers for accommodation, catering, leisure activities, entertainment and other services. It supports local sustainable development and meets the leisure demands of modern society through a new social solidarity of town and country.” There are a variety of terms used to describe tourism in rural areas, including farm tourism, agro-tourism, soft tourism and even ecotourism (Simkova, 2007). Irshad (2010) also mentioned the diversity of attractions included within rural tourism is ranging from heritage tourism or cultural heritage tourism, nature based tourism, agritourism, as well as partnership-based approaches, such as scenic byways and heritage areas. In the rural tourism context, the “progress” of regional development is the transformation of the stagnating circumstances of people in the countryside to a lively and exciting one (Ajala, 2014).
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Rural tourism becomes very popular both in the developing and developed countries as it has many potential benefits for rural areas. Studies conducted by researchers have found that many rural communities have adapted their local economy to tourism for poverty reduction (Choi and Sirakaya, 2006; Prabhakaran et al., 2014). It is its economically and socially positive impact which allows local community to benefit additional financial sources and create new job positions (Simkova, 2007). Rural tourism also implies economic restructuring in order to accomplish the primary needs of the community and to boost their level of participation in the development process (Ajala, 2014). Hence, the development of rural tourism is necessary to advance living standards of the majority of the world’s poor living in the rural areas, create a self-sustaining development and keep productive population (Lele, 1979).
Strategic Management in Tourism Destinations
Nowadays the global economy, changing market demographics, and technology development are driving destination managers to implement proactive strategies to endure the competitive tourism environment (Formica dan Kothari, 2008). Not only that, Ritchie (2004) and Jonker et al. (2004) also stated that due to the growth of competitor destinations and the quality improvement of established destinations, the tourism market is getting more aggressive. Under this circumstance, major and joined destinations strive with smaller and emerging ones, which means it increases entry barriers to new competitors. Therefore, a constant approach to innovation and to the management of the destination is required (Ana et al., 2010). One of the ways to increase competitiveness of tourism destinations is through strategic management (Tarasionak, 2014). According to David (2013, p.6), strategic management is “the art and science of formulating, implementing, and evaluating cross-functional decisions that enable an organization to achieve its objectives”. While Pechnaler et al. (2006) defines strategic management of tourist destination as the process of modeling the effective performance of its tourist complex for a certain time. The fundamental idea of the strategic management concept comprises long term planning for the development and constant optimal fit between the organization’s resources and its opportunities in the changing environment, in order to gain some longterm competitive advantages (Chon and Olsen, 1990; David, 2013). As Pechnaler et al. (2006) states that there are some basic competences needed to manage a tourist destination, which are, the factors, parameters and stages of strategic management with account of the specific character of the tourism industry. David (2013) describes three stages of the strategic management process: strategy formulation, strategy implementation, and strategy evaluation (Table 1).
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Table 1. Stages of Strategic Management Planning / Formulation
Implementation
Evaluation
•
Vision and Mission
•
Operational Management
•
Reviewing Implementation
•
External Opportunities and Threats
•
Marketing and Budgeting
•
Measuring Performance
•
Internal Strengths and Weaknesses
•
Taking Corrective Actions
•
Long-term Objectives
•
Alternative Strategies
Source: David (2015)
A considerable amount of benefits may follow from implementing such strategic management for tourism development. It acknowledges for the selection and specification of goals to work towards, a general approach, and a system to monitor and respond to change (Bramwell, 1997). Strategic management may also offer a sense of ownership among stakeholders in the particular objectives and approach, and the chosen framework may encourage stakeholders to control their role and work cooperatively (Simpson, 2001). According to Iagaru et al., (2011), the strategic management model may also assist the stakeholders to identify the external environment and the factors affecting tourism activities in a destination by answering “strategic” questions as “where are we?, which way shall we go?, what changes and ryhthms exist in the environment?, what course of action contributes to the objectives and goals set?”. Therefore, developing and implementing strategic management that produce results in a tourism industry, are an essential requirement if destinations want to succeed in the future (Evans et al.,1995).
Integrated Tourism for Rural Areas
In order to understand tourism’s potential for contributing to rural development, the concept of ‘integrated tourism’ must be included (Oliver and Jenkins, 2005). Traditionally, the tourism literature has tended to define it in terms of the extent to which tourism is integrated into broader economic and social development contexts, goals, and decisions. However, in more recent literature, the importance of local participation and control is emerging, with integration defined according to the percentage of local people employed, the type and degree of participation, decision making power and ownership of resources in the local tourism sector (Mitchell and Eagles 2001 in Oliver and Jenkins, 2005). Integrated tourism can be defined as tourism that is explicitly linked to the economic, social, cultural, natural and human structures of the localities in which it takes place. In practical terms, it is tourism which has clear connections with local resources, activities, products, other production and a participatory local community. In their research about integrated tourism in Europe’s Rural Destinations, Oliver and Jenkins (2001) found seven indicators which have been identified as being significant in integrated rural tourism development. These include:
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Networks : the ability of people, companies and agencies in the settlement to work together on the development and management of tourism
Scale : the level of tourism in one area as regards the distribution over time and geographically, bearing in mind all the thresholds related to the carrying capacity of the area
Endogeneity : the extent to which tourism is recognized as it is based on realistic resources of a region Embeddedness : the role of tourism in politics, culture and life of the whole area and the population as a local priority. Sustainability : the extent to which tourism does not harm and possibly improves the environment and environmental resources in the area
Complementariness : the extent to which tourism provides funds to those who live in the local area, although they are not directly included in tourism Empowerment : a measure of political control over the tourism industry through ownership, law or planning, especially the control implemented at the local level
METHODOLOGY Data Collection
The research was conducted in August 2015 which covers 3 villages that are purposed for rural tourism development: Kiarapedes, Wanayasa and Bojong. The primary data collection were conducted in qualitative approach, which involved interview and focus group discussion (FGD) methods with related stakeholders and some groups of community. This study requires stakeholders whose interests, importance, and influence are the key to build the model. Interview and FGD were conducted to 120 respondents which comprises representation from 6 (six) different groups, including: -village headman of Kiarapedes, Wanayasa and Bojong; -local authorities in Purwakarta region; -representative of local entrepreneurs; -representative of tourism institution;
-representative of educational institutions; -representative of local community.
Whereas, the involvement and participation of local people was known by their opinion, perception and aspiration towards tourism development in Wanayasa with participation on project identification, planning process, implementation, monitoring and evaluation. Finally, all the information from local community were gathered, confirmed and compared with the information from the other stakeholders in focus group discussion. The focus group discussion were conducted in order to get more comprehensive information about strategic management of tourism development in Wanayasa.
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Data Analysis A qualitative content analysis was chosen to analyse many words of texts, which are transcribed from interview and focus group discussions. Content analysis is a technique for compressing large amounts of data from the interviews, field notes, and various types of sources into systematic and fewer categories of text which is based on specific rules of coding (Steve, 2001). Many previous studies have shown that content analysis can be a useful method for allowing researcher to discover and describe the focus of individual, group, institutional, or social attention (Weber, 1990). In this study, the crucial process in content analysis is categorising some key words from the given texts into certain themes.
FINDINGS & DISCUSSION
In recent years, Wanayasa has become a focus of rural tourism development and an alternative to mass tourism in the region, especially since the local governments have successfully developed Purwakarta regency as tourism destination that attracts many more tourists in West Java. In addition to the attractiveness of its landscape, Wanayasa Lake is a popular attraction for some people and also one of the culinary centres in Purwakarta. However, if it is considered as a tourist destination and compared to the tourism potential of other surrounding rural territories, Wanayasa has some barriers that make it difficult to grow and compete. First, the famous lake, which is the leading tourist destination in the area, is not phenomenal and iconic. In addition, it is often visited only on the weekends and with repeated visitors. Second, although equipped with a variety of natural features, yet nothing special from any of it, whether the tea plantations, hot springs or the bicycle tracks. Indeed, some of the most visited attractions in the region belong to other territories. Third, it is difficult to be fascinated by their cultural resources as it is hardy distinctive with other culture. Fourth, the difference between expectation at the top level with the reality at the grassroots level indicates that there is a wide gap in terms of tourism management. Following the logic of business as usual framework of the analysis Wanayasa tourism can be compared with the essential components of strategic management, which often equates with strategic planning (see David 2013: 35). But it is precisely where there lies the main problem. Strategic planning only represent aspects of the formulation, while it takes not only a plan on paper, but also displays the details of the implementation and the guide to make an effective evaluation process for continuous improvement. As Wanayasa has not yet reached the stage of implementation, the analysis is only conducted to the first aspect of strategic management, namely planning. Based on this analysis, Wanayasa as rural tourism area still has a gap in the planning. Although an understanding of the external conditions have been established, but a failure to recognize the major power becomes a source of discrepancies in strategy formulation. Another problem is the difference in the vision of the provincial, district, village elite and community.
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Table 2. Strategic Management Analysis of Wanayasa Strategic Management Indicators
Ideal Condition
Vision and Mission Have a clear vision and mission that corresponds with the current conditions and expectations in the next 5-10 years
Wanayasa Condition There is no clarity in directing the development of tourism for the region Wanayas. Indeed, there are differences in vision and mission of the provincial, district and community. While the provincial government wants Wanayasa as natural attractions, the local municipalities of Purwakarta directs it to cultural tourism, and people in the lower level just follow the direction that feels most profitable.
External Analysis (PESTEL)
A clear understanding of the assessment of the opportunities and challenges from external factors which encompasses the Political, Economic, Social, Technological, Environmental, & Law aspects.
The most prominent external analysis is reflected only on economic factors, which is the plan of investors for tourism development. The other thing to note is the awareness of local community about the strategic geographical location of Wanayasa as an alternative pathway to Bandung and Jakarta. From a legal perspective it looks like they can map that most of their territory controlled by Perhutani (forestry department), either Purwakarta or Bandung. In conclusion, the assessment of the external environment has been mapped though not thorough and systematic.
Internal Analysis
Be able to conclude about the strengths and weaknesses in order to compete by emphasizing on the competitive advantage
Long-term Objectives
The availability of longterm strategic alternatives to maximize opportunities and strengths, while overcome the challenges and weaknesses
Alternative Strategies
Develop the main strategy The communication between multiple stakeholders which is made by a series of during is not well established, either between one village considerations to the other; village and region; as well as village with investors. There is no strategy that can be selected due to the formulation of the strategy that is unclear. In the end, both the community and the local government has handed over the tourism development of Wanayasa tourism to the investors.
The main weaknesses in the strategic management of Wanayasa is on this section. Stakeholders seem disagree about their strengths and weaknesses. Moreover, the competitive advantages does not lead to the same direction between local government, the elite and local community.
With the vision and mission that does not correspond at all levels and the formulation of competitive advantage that is not clear, the desired strategy become ineffective. The local region authorities has launched some programs to accelerate the rural development for heritage and cultural tourism. While the public and the elite community has led the development to nature-based tourism. This lack of coordination makes the strategies for Wanayasa has become not convergent and would clearly detrimental to long-term goals.
CONCLUSION Although potential, Wanayasa needs a special breakthrough and a lot of improvement in order to be competitive and highlight all of its advantages as a rural tourist destination. Does not mean that the three village development plans in Wanayasa are completely failed (proven there are some elements that are already qualified). Tourism planning must not only
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focus on how community involvement or projections of the local government, but how it is holding on the formulation of a more qualified to center the internal and external analysis. In addition, the proposed vision and mission should also be the same, either from the provincial government, district, village and also at the elite level of society. In fact these flaws can also be easily examined from integrated models for rural tourism. That is, it should be evaluated on rural tourism development plan in Wanayasa which has been running. Only with such measures appropriate strategies can be formulated for the development of rural tourism as Wanayasa.
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Enright, Michael J., and James Newton. (2004) Tourism Destination Competitiveness: A Quantitative Approach. Tourism Management 25. ELSEVIER. Klimoski, Schmitt (1991). Research Methods in Human Resources Management. Ohio: South-Western Publishing Co.
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Papatheodorou, Andreas (2006). “Corporate Rivalry and Market Power: Competition Issues in the Tourism: An Introduction” in Andreas Papatheodorou (Peny.), Corporate Rivalry and Market Power: Competition Issues in the Tourism Industry. London, New York: I.B. Tauris & Co. Ltd. Peattie, K and Moutinho, L (2000). “The Marketing Environment for Travel and Tourism” in L. Moutinho (peny.) Strategic Management in Tourism. Wallingford: CABI.
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Perda Kabupaten Purwakarta (2012). Perda No. 11/2012 tentang Rencana Tata Ruang Wilayah Kabupaten Purwakarta Tahun 2011-2031
Wanhil, Stephen (2006). “Competition in Visitor Atraction” in Andreas Papatheodorou (Peny.), Corporate Rivalry and Market Power: Competition Issues in the Tourism Industry. London, New York: I.B. Tauris & Co. Ltd. Williams, Fiona dan Marsaili MacLeod (2005). “The Peripherality, Tourism and Competitiveness Mix: Contradictory or Confirmed?” in Jones, Eleri dan Claire Haven-Tang (Peny.) Tourism SMEs, Service Quality and Destination Competitiveness. Oxfordshire, Cambridge: CABI Publishing.
Wilson, Suzanne, Daniel R. Fesenmaier, Julie Fesenmaier dan John C. Van Es (2001). Factors for Success in Rural Tourism Development. Journal of Travel Research 2001 40: 132 DOI: 10.1177/004728750104000203
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ISSN 2541-5360
Festivalization of Music Patrol Bandulan and the Quest of Arek Bandulan Cultural Identity Annise Sri Maftuchin1 1 Antropologi - Fakultas Ilmu Budaya, Universitas Brawijaya Abstract
Futurologist Naisbitt (1988) Said about paradox of globalization process for local tradition culture, where tradition is exposed by the strength of global capitalism and modern life style. It does not always make the tradition to be crushed, but it becomes one kind, and even disappear. However, the tradition will try to find their place and the identity back. In this article, the discussion will be focused on how Arek Bandulan answer the global challenges through festivalization (Bennett, et al., 2014 ) the art of the musical tradition of their patrol. Festivalising art patrol is hold by Karangtaruna Wira Bhakti Bandulan who has spawned a lot of innovations in the appearance of various components local art in a festival. It shows that Arek Bandulan create their original cultural identity of art music tradition which is not too modern enough and not longer traditional too. The disclosure of identity expression to the global by festivalising traditions patrol sahur weaking up music art when Ramadan is packaged as well as events in the world and is supported by funder, the media and modern technologies. This ethnographic study tries to reveal how the process of identity formation in the object of patrol sahur festival happened. Keywords: Arek Bandulan, Festivalising, Identity, Patrol Music
Abstrak Futurologist Naisbitt (1998) mengatakan tentang proses paradox global dalam tradisi budaya lokal, dimana tradisi yang dipaparkan adalah bagian dari pengaruh kapitalisme dan gaya hidup modern. Fenomena tersebut tidak selamanya memberi peluang negatif bagi tradisi lokal, tetapi justru memunculkan sesuatu yang baru dan memiliki daya saing tinggi. Meski sekalipun, tradisi tersebut mencoba menempatkan diri pada tempat dan identitasnya, dia akan tetap menguat dalam atmosfir global. Dalam artikel ini, pembahasan diarahkan pada bagaimana Arek Bandulan mengemas seni tradisi meraka yakni patrol untuk menghadapi tatangan global. Festivalisasi patrol di Bandulan awalnya digagas oleh Karangtaruna Wira Bhakti Bandulan. Penyelenggaraan festival tersebut ditujukan untuk mewadahi praktek budaya traditional yang sebenarnya tidak begitu modern dan tidak juga begitu tradisional. Praktek dari pencitaan identitas dalam arena global menggunakan wadah festival bertajuk patrol sahur yang di selenggarakan setiap bulan ramadhan. Festival ini kemudian diselenggarakan secara rutin dan disponsori oleh Funder, media cetak dan elektronik. Dengan menggunakan metode etnografi artikel ini mencoba menjawab mengenai bagaimana formasi pembentukan identitas dalam festival patrol sahur terjadi. Keywords: Arek Bandulan, Festivalisasi, Identitas, Musik Patrol
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LOCATING CULTURAL IDENTITY OF BANDULAN PATROL ART TRADITION Art music Patrol is kind of art tradition which is believed since for a long time. It represent on the main patrol instrument that is Kentongan. Kentongan is a kind of tube which made from bamboo and have a middle vertical hole as a produced tone. In last time, kentongan is the only one simple communication tools and use to show about time or warning signal (Mey,2013)1. Patrol tradision actually can be found throughout in Indonesia, including Java. Limitated lighting infrastructure or electricity in rural areas gave birth to kentongan patrol eventually become a new tradition of art on publics. In most of the place in East Java, patrol has been combined with other musical instruments both local and modern. Madura is one of them, they apply the creations of kentongan patrol with gamelan and produce new on of tradition what called tong-tong2. In the colaboration process, they modified and made new kentongan as creative intruments by the name dig-dug3. Actually dig-dug shape is like kentongan, but it has a bigger size and louder sound than kentongan4. As the global times, Madura tong-tong art tradition is popularized by young Maduranise with ornamental stage runs creation, now it is known as ul-daul.
In the other place like Malang, patrol tradition is still practiced by local type. It means that patrol kentongan practice as ritual for weaking up sahur in ramadhan. Some people bite their kentongan while walking around the village or from house to house. This patrol local model has changed since after 2000. Kentongan instrument has been changed to a musical instrument orchestra patrol. This modernization began at that time to change the form of simple tradition be modern. In this case we can see from patrol tradition in Bandulan village areas. Shifting the tradition of modernity and globalization in Bandulan result is appearanced by ‘invented tradition’5action. In action ‘invented tradition’, a tradition is popularized again in a more modern form like a festival which is initiated by Karangtaruna Wira Bhakti. In development process, the posisition of patrol kentongan festival, slowly making cultural identity for Bandulan. In a way , the festival gives the effect of publicity and the introduction of the art community about simple tradition patrol kentongan to the global area. In addition, the festival also gives pleasure for the community in creating a community life style, so that distinguish one community to another.
Fetivalization patrol in Bandulan process is supported by fund sponsor. The presence of lead festival sponsors have access to wider publication. wider access due to the publication, create a meeting between ul-daul and patrol sahur on the Bandulan patrol festival in 2006. Meeting between patrol sahur Bandulan with ul - daul Madura create their own acculturation process. From this case, the new Bandulan patrol model to be a new identity as local modern tradition. The overview of innovations made in patrol formation Bandulan art have similarity such as ul-daul Madura, but it is different with the music atmosfer and music management.
Study about art music tradition perfomace in East Java, like art music patrol, it has been
1 http://jatim.kemenag.go.id/file/file/mimbar323/lshi1376504850.pdf 2 Bouvier has been explain about this instrument on her book. Loot at Bouvier, H. (2002). “Musik TongTong” dalam Lebur Seni mUsik Dan Pertunnjukan dalam Masyarakat Madura . Jakarata: Yayasan Obor Indonesia,p.42 3 Look at http://kebudayaan.kemdikbud.go.id/wp-content/uploads/sites/37/2014/06/Masyarakat_Pandhalungan.pdf 4 Usually, you can find the similer dig-dug in siskampling office or security office for village. 5 This concept was popularized by Eric Hobsbawm. Look at the book Hobsbwan, E. (1983). The Invention of Traditon. Melbourne: Cambrige University Press, p.1- 4
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over. A number of researches have been focused on explain about process of making cultural identity in some place. The research about Madura traditional music have been done by Bouvier (2002) with the title “Musik, Instrument dan Orkes Tong-tong” in the Lebur book. Bouvier explain about art traditional identification in Madura, including tong-tong music art. Since 1992, Bouvier’s reseach show that tong-tong is a part of traditional music from Madura. In the other hand, this case is discussed by Nur (2006 ),which describing the existence of the cultural identity of the music ul- daul. Nur said that it is one of the simbol which is represented by cultural identity a public comunnity. Nur reseach (2006) by the title “Lagu Tondhu’ Majang yang Dimainkan Oleh Musik Etnis Ul-daul Semut Ireng di Desa Parteker Kecamatan Pamekasan Kabupaten Madura” explain that folk songs are more to be used as a represented of cultural identity. Besides that, someone can see from hard bite tehnic produce sound for tondhu Majang Song. This song can be represented by Madura fishing subculture which famaous hard worker (Jonge, 1987). In Nur research case is same as with this topic, but this topic is focus in develoment process of tong-tong to ul-daul and acculturation on patrol art Bandulan Malang.
Other studies with same focus case from rahmad (2012),describes musik tong-tong in art comodification process that form indentity between patrol art communities. Rahmad’s research by tittle “ Komodifikasi Seni tradisional tong-tong” which explain about the shift of art previously used for entertainment folk art is a commodity economy. Since the entry of tong-tong as part list of Madura tourism department, this art became an icon of Madura and reinforced with the publication of NIK (Arts Master Number).
Generaly, in indonesia, the meeting between modernity and traditionality always more leads on modernity. This has led to an urgent local culture , causing concerns of the local death culture. Abdullah (2007 ) explore that he has negatif respon with the type of modern culture are considered more interested in the cultural main of consumption (stereotypically and in negative perception known as ‘Western’) thus undermining all of about traditional caracter. Often the traditional culture of urgency and even less with the new culture that comes through modern facilities such as TV , radio , Internet, etc. ( Abdullah , 2007) . However, the weakness of the tradition became the factors background of movement process on Bandulan patrol sahur. Festival mode is used as a platform to grow and strengthen the existing traditional pontensi (Bennet,et. al.,2014). It means that festival as means of tradisional identity exist which kentongan instrumen as main object of ‘invented tradition’ on festival. Global progress actually have some process like aculturation or Lieps (2008) said it ‘culture contact’. It process meating between patrol sahur with ul-daul or tong-tong and produce a colaboration art with the name patrol art musik. from this discuss, author want to know how does the process of identity new art Patrol in Bandulan on patrol sahur festival formation? It becomes important to know and research as it concerns in their cultural imitation that may occur in Bandulan.
METHODOLOGY
In this research, author use ethnography reseach metode, where observations and interviews (open interviews and in-depth interview ) as the activities of listening and responding to concern with information native ‘s point of views of informants becomes the main thing ( Fettersman , 2010). Reinforced with secondary data obtained through the study of literature and documentation ( VCD and Youtube ) of the artists Bandulan Patrol in Malang
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. The study also uses the analysis of cultural identity Hall (1990 ) on the formation of the cultural identity of a community is determined by the cultural elements that are owned of community group itself. Hall said: Cultural identity, in this second sense, is matter of ‘becoming’ as well as of ‘being’. It belongs to the future asa much as to the past. It is not something which already exist, transceding place,time, history and culture. But, like everything which is historical they undergo costanst transformation. Far from being enternally fixed in some essentialised past, they are subject to the continous in ‘play’of history, culture and power (Hall, 1990, hal. 225).
In this reseach, author find the side of fenomena which art patrol is a real tradisional identity. It meant that patrol was existing and inherited from the ancestors of the people of Java, including Bandulan. actually this case not only show about real identity of patrol but also as point of Art festival. On this, art festival patrol kentogan as ‘identity as being’, which as object of point globalization process on festival. In this process patrol sahur will be colaborated with out of variant art what come from outside of Bandulan, for exemple ul-daul. Results of art colaboration is new patrol music art as ‘identity as becoming’. This condition as process of Madura urban area in Malang6.
The function of cultural contact pattern to make creatity side in the formation of cultural identity to borrow a term culture contect’ Liep (2001) which explain about “This leaves creativity as a phenomenon of ‘culture contact’ or acculturation. The current conception of culture, however, which regardsa cultural field as an open and complex system, involves much more inconsistency in the field”. Almost of community on this discussion, making new inovation from the young community of (Arek) Bandulan. This can be seen by the form of some art music patrol group with their identical inovation. The identical inovation includes temporary and carateristic of tone production, decoration of the stage run patrol like dragon, and the song caracteristic use on perfomace which the most of them is local Java and Dangdut song. Patrol kentongan tradition is one of the main instruments which actually practice in front of the center of stage runs or people, it call it sesis.
Sahur Patrol Festival and Karangtaruna Wira Bhakti
At the first time, sahur patrol festival was held in 2004 and was initiated first by Karangtaruna Wira Bhakti as the organization of development organization Bandulan young potential. This idea come from Choirul Anwar as the chairman of Karangtaruna Wira Bhakti Bandulan. Anwar (38) shows this idea because of his childhood experience about patrol kentongan. He thinks that this tradition is unique and interest object with the local atmosfer in the last. But now, it is changed by village orchestra music on patrol sahur. In the other side, his idea about festival come from his experiences when he visited from Saung Angkung Mang Ujo performance place in west java. In sort interview, Anwar said: “Since there is no holiday for child during ramadhan, no patrol bamboo again. It is changed by street modern musik with some electric instrumen like guitar , guitar cable and ketimpung “ ( Mr Andi interview on November 22nd , 2015).
6 Djakfar’s research (2011) what explain about “Etos Bisnis Etnis Madura Perantauan di Kota Malang: Memahami Di-
alektika Agama Dengan Kearifan Lokal” said that malang which have many industry place is one of Maduranise urban area. Look at Djakfar, M. (2011). Etos Bisnis Madura Perantauan di Kota Malang : Memahami Dialektika Agama Dengan Kearifatn Lokal. IQTISHODUNA IQTISHODUNA (VOL 7, NO 2 page. 2011), 1-22.
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“At the time I joined in comitte of young Karangtaruna, and then there is a new idea to make a competition to appreciate patrol. It is like a surprise for us, it grows up and makes an icon of Bandulan. We can see an example Saung Angklung Mang Ujo was in a marger of mannagement of perfomance a lot of people who see it, then there is the idea that the patrol made this nicer too for patrol. Music patrol was kentongan model which grow up with some creative idea and we try to make big uforia from society. I think this is the first and the last what be held by us, because we need big fund. The first, second, third, attracting sponsors “ ( Mr. Khoirul interview on May 31st , 2015 ).
Since 2005, the first festival, this event held simple concept type. In fact, it can be said to be within the limitations. The limit case problem in fist festival because of the limit fund whose festival commite have. In second event the situation like fist event. Actually case of limitation not only about fund but also about participan on this festival. Nothing fund for pubblication is one of factor for the limit participant. In third event is better than before, there is sponsor funding from Utama Mama Company who covered this event. Jarot (30) as chief of field said that: “ Patrol is the first time that the child squeezed mosque alley eight who coordinatroy by Mr. Mulyadi, first our first the qualification of kentongan, we look for qualification of the participants, I canceled this event until three times because there is not the follow [ ... ] First event almost participant is kentongan type, mbak. we look for kentongan style and then grow up to the sesis model. As I know, sesis style follow in this event in third patrol festival. The transisition mode of car sesis “ ( Jarot interviews on October 25th , 2015 )
The real process of festival patrol sahur Bandulan was repected by their community, some people give argument that this event just enliven Ramadhan month.almost the participan in first and second even are student of Al-Qur’an education center. But in third, publication process because of funding, can attract many participants to take part in the festival, include ul-daul.This process said too by Anwar (38): “The fist time, there is no one wanna be sponsor. I understand they may hesitate this quality event second we do not know what the quality of first event because no one helpers the fund. In second event there is sponsor who helped our fund until 300,000 rupiah, as for the rest except state celebration, that is a specially patrol evet. We get the funding in third event because there is existing value of political but it is not fluctuation residents and surrounding and not on patrol because of problems between the factory with my constituents so communicator finally there is no coflict make from this problem. [ ... ] this is stort story of sponsor join us, mbak” (Mr. Khoirul , interviews on April 5th, 2015 ) .
Sponsor funding festival as like Utama Mama company give for first fund in third festival as much as Rp. 11.000.000,-. For the next event, they give more than fist festival. In the committe experience, PT Utama Mama gave us fund about Rp 45.000.000 in seventh festival. The profits presence patrol sponsor of the festival show acculturation proses which did not realize that just walk outside of committe progress. Almost aculturation, more leads on uldaul type, but the unique one is can be identificated by kentongan procession that often appear next to the perfomance of some Bandulan patrol group. This situation make some differentiator from new patrol and ul-daul. The developing and globalization this festival can see from many participant whose cam from other place, like Probolinggo, Lumajang, Batu, and other place outside of Bandulan.
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Figure 1. Publication poster from 7th and 10th Bandulan Patrol Festival
Festival movement and its development is so fast creating a distinct advantage for the community in their brand of torism. Especially tourism potential in the development of the whole festival was created by the communities themselves and there are not supported by central government. Overall budget supported by PT Main Mama or GL. Aimed at strengthening identity through annual performances patrol enabled in order to become a tourism icon recall capable protrudes which is simply tradition patrol from Bandulan. “ Ten years ago, we saw the potential in our sahur. There is a potential patrol awaken people to sleep, isn’t there? because music patrol simple no wear sesis, do not use decorating yet we have not stripped there, because of me theater members, the theater once I trus we are also interesting once we thinking Malang if made in mountain tourist spot northwest hasn’t got what it ...? One of them is the music,” (Mr. Khoirul , interviews on April 5th , 2015 ).
Innovation and Formation of Cultural Identity Bandulan On Patrol Modern Art The result of culture contact is new art patrol music which make eleven group what have identic type of themselves. Characteristics of new cultural identity from Bandulan can see from the new inovation of patrol what the patrol colaborated local culture in Bandulan like jaranan, campursari and karawitan. The karawitan, jaranan and campursari is the other part of ‘identity as being’ Bandulan local culture.
Eleven patrol music group are Black Camp, Lintang Songo, Plateking, Beduk Prink, Kertajaya, Pepiling, Tas Ntoes, Putra Manunggal, Cakar Elank, AHC dan JBR. The groups formed in the range of 2007 until 2008, but by the end of 2015 a group formed from part of the music group patrol Bandulan. Almost group produced their music by self-taught treatment. There is some group which produce their type of musik with teaching by ul-daul grup or other local art tradition such as jaranan or karawitan lokal grup. This process belve that some group have many experience about type of percussion so it make some grup more uniqe than the other. In some interviews from Plateking, Beduk Prink, Black Camp and Kertajaya, for the
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self-taught treatment patrol group, have different type of music cause the produce by their character. “ Historically from street child music experience its first come, Mbak. They ngamen Goes around in one place to another place. His name is Aris is one of street child who creation of music street, Mbak. He was willing interspersed with musical collaborations like tong7, mixed howl so that [ ... ] The majority are involved it ‘s got soul music to, Mbak ...so it not abstrak musik, Mbak . If Black Camp is the origin of Amen - amen8 so know , that know a lot9 “ ( Mr. Sutris interviews on December 17th, 2015) . “If it patrol there is no form of music if Arek - Arek was first tune , Mbak. If it’s gone bad. Initially it was used to carry kentongan continue Arek - Arek ‘s view o ... This tool - it Arek - Arek who had joined the kentongan was finally on his own learning “ ( Mr. Suliat interviews on December 28th, 2015 ) . “The first time children learn without a coach , made up their own , listen to music , dangdut example later intro made like this and nurtured this junior level , so elementary, junior high, elementary, middle10 “ ( Mr Yit interviews on January 23rd, 2016 )
“I applaud also the same these children also learn musical note, they ever. Only be matched if it was the music to be use eventually become so wrote [ ... ] more here if East Java so like ngendange like this so the make like this, the music of gendang like tayuban “ ( Mr. Sodik interviews on December 16th , 2015 )
In the other grup who is taught by local traditional group like jaranan is has the identic music like the ‘identity as being’ of Bandulan culture. For exemple JBR patrol group, in this group they do to make some inovasition with jaranan type music on patrol. Arif (30) as a chief JBR said that: “ Our children were there used to be participating jaranan hence the type of music so can jaranan [ ... ] some one is part of jaranan drums but we always call him Mas Nyambek. For our it is not come from our community but in other community so if there is event we go to together wit 24 people. [ ... ] Mas Nyambek he come from Sukun, Mas Sugik come from Supit Urang, [ ... ] which jaranan only three person there are Aji , Mas Nyambek and Mas Sugik. There are is my friend, once I told cultivated in a sense let music patrol JBR the other from the other Mas Nyambek have conection with Pak Pri also friends of art also continue accumulates so other music than anything else. “ ( Mr Arif interviews on January 23rd, 2016 )
In this accumulation cuture contact on festival patrol can make some new, but stay on the caracteristic of Bandulan cultural identity from Patrol. at the end of this process shows the festival ‘s role in the formation of cultural identity in Bandulan with the object patrol . The role of the festival, in the end, became as like container for the strengthening of culture and the creation of new creativity in the field of culture .
7 Tong is A keg is a used bucket that has a qualification of thickness 8 Amen - amen a term designation for street singers. 9 Natural version of interviews with Java Language “Sejarahe iku melok amen, Mbak. Keliling-keliling neng dae-
rah-daerah yo amen ngunu iku, Mbak. Jenenge Aris iku sering amen nek gadang terus lomba lomba amen ngunu iku lo,Mbak. La iku mau di selingi karo musik kolaborasi koyok tong , campur peking ngunu iku […]Mayoritas yang ikut itu kan punya jiwa musik to, Mbak… ndak asal-asal nabuh to, Mbak. Kalau Black Camp ini kan asalnya dari amen-amen jadi tahu, maksudnya tahu banyak
10 Natural version of interviews with Java Language “Pertama niku lare-lare belajar niku terus boten wonten sing anu boten wonten pelateh kaet siyen boten wonten pelatih damel-damel piambek krungu musik musik dangdut ngonten mangke intro ngenten musik niki ngenten-ngenten […] wong niki, Mbak sing dibina niki paling ageng SMP dadi SD,SMP,SD,SMP”
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Figure 2. Bandulan Patrol Festival on 6th and 10th
CONCLUSION : ACTUALIZATION IDENTITY ON FESTIVAL Festival on development is not only to be object of development tradional but also it produce of the cultural identity. In festival, mode in some community, Its like life style11 position who make different with another communities. The associated of the formation of cultural identity patrol in Bandulan fully is corroborated by the large number of patrol group in testicles which is as a result of the formation of identity12 in the festival. Patrol art festival show that in urban communities have power of survive to show their identity on global area. However, it depend on local society culture who have patrol tradition, but they can product Java style of patrol which different style than others. Growing the festival the do not use all of local knowlage, but they combine global knowlage such as ligthing and
11 Chaney, in particular, has posited an elaborate theory of lifestyle sites and strategies as a means of mapping the way in which forms of consumption underpin the aestheticization of everyday life.Thus, according to Chaney, lifestyle sites and strategies refer to the ways in which individuals creatively rework the cultural resources at hand into their everyday lives as physical and symbolic markers of identity and taste. Look at Bennett, et. al., (2014). The Festivalization of Culture : Festival Space, Identity, Experience and Belonging. Burlington: Ashgate Publishing Company p.14. 12 Thus being culturally open is neither a universal concept, nor necessarily more or less ubiquitous. It is more of a strategic practice, resource or frame for managing meaning in settings infused by different types of individuals and groups, and different modes of social communication and gathering. Openness is not the same thing for every person, nor is it the same for each person across particular settings. It may rest on similar conceptual dimensions – such as curiosity, for example – though its objects can be diverse. Look at Bennett, et. al., (2014). The Festivalization of Culture : Festival Space, Identity, Experience and Belonging. Burlington: Ashgate Publishing Company p.17.
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costume. On festival, the can show more and more they ability about creative culture product. It is mean that they are part of global society Malang. This argument is strongly with the fact that patrol have be popular culture because of festival and aslo make icon of culture tourism Malang. All of the act is tell where tradition is exposed by the strength of global capitalism and modern life style, it does not always make the tradition to be crushed, becomes one kind, and even disappear (Naisbitt, 1988).
REFERENCE
Abdullah, I. (2007). Konstruksi dan Reproduksi Kebudayaan. yogyakarta: Pustaka Belajar..
Bennett, et. al., (2014). The Festivalization of Culture : Festival Space, Identity, Experience and Belonging. Burlington: Ashgate Publishing Company. Bouvier, H. (2002). “Musik Tong-Tong” dalam Lebur Seni musik Dan Pertunnjukan dalam Masyarakat Madura . Jakarata: Yayasan Obor Indonesia .
Djaka Kamuradja. (2012).Tondu’ Majang & Gelleng Sokoh. Retrieved from: https:// www.youtube.com/watch?v=_Zl4uGaBlt4\
Fettersman, D. M. (2010). Etnograpy Step- by-Step. Washington DC: Sage pubictions. Hall, S. (1990). Cultural Identity and Diaspora. London: Sage Publications, Ltd.
Hobsbwan, E. (1983). The Invention of Traditon. Melbourne: Cambrige University Press, p.1- 4
Djakfar, M. (2011). Etos Bisnis Madura Perantauan di Kota Malang : Memahami Dialektika Agama Dengan Kearifatn Lokal. IQTISHODUNA IQTISHODUNA (VOL 7, NO 2 page. 2011), 1-22. Liep, J. (2001). Locating Culture Creativity : Modernity, The World System and Creativity. London: Pluto Press.
Mey, s. (2013). Patrol. Retrieved from:http://jatim.kemenag.go.id/file/file / mimbar323/ lshi1376504850.pdf
Miftahol Arifin Nur. (2014). Lagu “Tondhu’ Majang” Yang Dimainkan Oleh Musik Etnis Ul-daul “Semut Ireng” Di Desa Parteker Kecamatan Pamekasan from http://id.scribd.com/doc/232164539/ Rahmat, A. (2012). Komodifikasi Seni Musik Traditional Tong-Tong. Malang: Universitas Brawijaya.
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ISSN 2541-5360
Problematika Pengembangan Pariwisata Daerah di Murung Raya, Kalimantan Tengah Merrisa Octora Jurusan Sosiologi, FISIP, Palangka Raya University Abstract
Indonesia is well known for its diversity which scattered from east to west. The diversity itself can be considered as the intangible aspects which relates directly with the aspect of tourism. Tourism provides profitable sectors in many countries because tourism has three major functions. First, to support economic aspect by developed local society. Second, to maintain culture and heritage. Third, to preserve the environment, those three aspects will support the strength of the nation. The purpose of this study is to analyze the reason why the tourism aspect cannot be established by following Indonesian tourism strategic planning. This research is using qualitative method to describe the situation from the problem arise within the society and applying descriptive method in analyzing the data particularly for the tourism development. In my writing, I would like to provide argument why the tourism in several areas cannot be fully developed by following the program of sustainable tourism. There are several major factors which can be described as the findings of this research which takes part in Murung Raya, Central Kalimantan such as lack of local empowerment. This is because the local government do not pay attention to the characteristic of particular culture in nearby area as a great cultural heritage, there is no involvement of local society, the allocation of budgeting do not focus on the tourism development, less priority of cultural and tourism aspects from the program of regional strategic development, the tourism development pay less attention to the social regulations and it creates less awareness of the local community about how important tourism to support livelihood as source of alternative income. Key words : tourism, culture, development, society, government
ABSTRAK Indonesia dikenal dengan keberagamannya yang menyebar dari wilayah timur sampai dengan barat. Keberagaman itu sendiri dianggap sebagai aspek penting yang meliputi hak untuk mengeksplorasi yang sangat memiliki keterkaitan erat dengan pariwisata. Pariwisata merupakan sektor yang sangat menjanjikan di banyak negara karena sektor pariwisata memiliki tiga fungsi utama. Pertama, untuk mendukung aspek ekonomi dengan pengembangan masyarakat lokal. Kedua, untuk menjaga kelestarian warisan budaya dan yang ketiga adalah untuk menjaga kelestarian alam. Ketiga tujuan ini akan mendukung ketahanan nasional bangsa. Tujuan dari kajian ini adalah untuk menganalisa alasan kenapa sektor pariwisata tidak dapat terlaksanakan sesuai dengan rancangan startegis pengembangan pariwisata. Metode yang digunakan dalam kajian ini menggunakan kualitatif untuk menggambarkan keadaan dari permasalahan yang muncul di masyarakat dan menerapkan teknik deskriptif analisis dalam mengkaji data terutama untuk pengembangan pariwisata. Dalam tulisan ini penulis ingin memberikan argumen kenapa dibeberapa wilayah pengembangan pariwisata tidak berjalan maksimal sesuai dengan program pengembangan pariwisata berkelanjutan. Ada beberapa faktor utama yang dapat dijelaskan sebagai temuan dalam kajian yang dilakukan
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di kabupaten Murung Raya, Kalimantan Tengah. Seperti kurangnya pemberdayaan masyarakat lokal dikarenakan pemerintah setempat tidak memfokuskan kepada pengembangan budaya setempat yang merupakan warisan budaya yang besar, tidak ada keterlibatan masyarakat lokal, alokasi dana dari pemerintah daerah tidak difokuskan untuk pengembangan pariwisata, aspek wisata dan budaya kurang mendapatkan perhatian dalam pengembangan rencana startegis pengembangan daerah, pengembangan pariwisata kurang memperhatikan aturan dalam masyarakat dan hal tersebut akan menciptakan kurangnya kesadaran dari masyarakat lokal tentang pentingnya aspek pariwisata untuk mendukung kehidupan masyarakat lokal. Kata Kunci : Pariwisata, Budaya, Pengembangan, Masyarakat, Pemerintah
PENDAHULUAN Dengan keberagaman budaya yang ada di Indonesia menjadikan pariwisata sebagai salah satu penghasil devisa terbesar negara (fakta) beberapa wilayah yang terkenal hampir diseluruh dunia seperti Bali atau yang lebih dikenal dengan istilah the island of god, Lombok dengan Gili Trawangan, Raja Ampat dengan menjual eksostime panorama alamnya ataupun Bunakaen yang berada di Manado dengan panorama bawah lautnya yang indah, pulau Jawa dengan peradaban-peradaban yang bisa dilihat melalui relief-relief candi Borobudur, Prambanan, maupun Candi Boko menjadi wilayah yang secara terus menerus dibanjiri wisatawan baik domestik maupun mancanegara. Dengan banyaknya para wisatawan baik dalam maupun luar negeri mengakibatkan meningkatnya devisa bagi negara, pariwisata memiliki multiplier effect bagi sarana-sarana yang berkaitan dengan pariwisata seperti biro jasa perjalanan, hotel, pusat kuliner dan sebagainya karena sistem yang padat karya yang menyerap tenaga-tenaga lokal setempat sehingga pertumbuhan ekonomi di wilayah tersebut menjadi meningkat.
Ekonomi kreatif pun menjadi salah satu dampak positif dari berkembangnya potensi wisata suatu daerah. Seperti yang diungkapkan Ooi dan Yoeti yang dijelaskan oleh Suparwoko (2010) “Ekonomi kreatif dan sektor wisata merupakan dua hal yang saling berpengaruh dan dapat saling bersinergi jika dikelola dengan baik (Ooi, 2006). Konsep kegiatan wisata dapat didefinisikan dengan tiga faktor, yaitu harus ada 5 something to see, something to do, dan something to buy (Yoeti, 1985). Something to see terkait dengan atraksi di daerah tujuan wisata, something to do terkait dengan aktivitas wisatawan di daerah wisata, sementara something to buy terkait dengan souvenir khas yang dibeli di daerah wisata sebagai memorabilia pribadi\ wisatawan. Dalam tiga komponen tersebut, ekonomi kreatif mewakili something to buy dengan menciptakan produk-produk inovatif khas daerah yang pada era tradisional, souvenir hanya berupa memorabili.
Keterkaitan yang sangat erat antara perkembangan potensi wisata dan pertumbuhan ekonomi kreatif di masyarakat banyak memunculkan lapangan pekerjaan dari pengembangan destinasi wisata yang menyerap masyarakat lokal untuk membuka peluang usaha kreatif yang bisa dinikmati oleh para wisatawan yang datang. Seperti yang diulas dalam Analisis Sektor Pariwisata Dan Dampaknya Terhadap Kemandirian Fiskal Daerah bahwa pemerintah memfokuskan terhadap perkembangan pariwisata dan menjadikan prioritas seperti yang tertuang didalam peraturan pemerintah No 50 Tahun 2011 tentang Rencana Induk Pembangunan Kepariwisataan Nasional (RIPPARNAS) yang didalamnya memuat visi misi,
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tujuan sasaran dan arah pembangunan kepariwisataan tahun 2010-2025 1
Peraturan Menteri Pariwisata Republik Indonesia Nomor 10 Tahun 2016 Tentang Pedoman Penyusunan Rencana Induk Pembangunan Kepariwisataan Provinsi dan Kabupaten/Kota Penyelenggaraan kepariwisataan ditujukan untuk meningkatkan pendapatan nasional, memperluas dan memeratakan kesempatan berusaha dan lapangan kerja, mendorong pembangunan daerah, memperkenalkan dan mendayagunakan daya tarik wisata dan destinasi di Indonesia, serta memupuk rasa cinta tanah air dan mempererat persahabatan antarbangsa. Pembangunan kepariwisataan dikembangkan dengan pendekatan pertumbuhan dan pemerataan ekonomi untuk kesejahteraan rakyat dan pembangunan yang berorientasi pada pengembangan wilayah, bertumpu kepada masyarakat, dan bersifat memberdayakan masyarakat yang mencakupi berbagai aspek, seperti sumber daya manusia, pemasaran, destinasi, ilmu pengetahuan dan teknologi, keterkaitan lintas sektor, kerja sama antarnegara, pemberdayaan usaha kecil, serta tanggung jawab dalam pemanfaatan sumber kekayaan alam dan budaya.
Lebih lanjut, pariwisata merupakan salah satu penghasil devisa terbesar bagi negara dimana didalamnya ada banyak indikator penggerak yang saling mendukung satu dengan yang lain. Seperti yang dijelaskan oleh Pitana, Sirtha, Anom, et al, (2005) dalam “ Hospitality and Tourism Education (The Case of Indonesia) menyatakan bahwa” Tourism has been one of the biggest industries in the world, seen from various indicators such as labor absorption, people movement, and income earned. For a number of countries and territories tourism has been the biggest contributor in the formation of their gross domestic products”. Terkait dengan itu, tidak hanya di daerah-daerah populer, Kalimantan Tengah juga memiliki potensi pariwisata yang cukup menjanjikan dengan keberagaman budaya dan potensi sumber daya alam yang tersebar di 13 kabupaten dan 1 kota. Kalimantan Tengah masuk ke dalam MP3EI (Master Plan Percepatan Pembangunan Ekonomi Indonesia) koridor III pada tahun 2013 oleh karena itu perlu digali lebih dalam potensi pariwisata untuk mempercepat pertumbuhan ekonomi termasuk didalamnya adalah wilayah kabupaten Murung Raya yang merupakan kabupaten pemekaran yang didasari pada Undang-Undang No 5 Tahun 2002. Kabupaten Murung Raya dengan motto Tira Tangka Balang berada di wilayah pedalaman Kalimantan dengan di aliri keseluruhan DAS Barito dan berbatasan secara langsung dengan Kalimantan Barat dan Kalimantan Timur dengan memiliki topografi wilayah dataran tinggi menjadikan wilayah Murung Raya dengan ibu kota Puruk Cahu ini terasa lebih sejuk dibandingkan wilayah lain yang berada di Kalimantan Tengah. Oleh karena itu penulis tertarik untuk menggali lebih dalam mengenai potensi wisata budaya beserta permasalahan yang menjadi penghambat perkembangan wisata budaya di wilayah Murung Raya
METODOLOGI PENELITIAN
Dalam penelitian ini, peneliti menggunakan pendekatan penelitian kualitatif. Menurut Bogdan dan Taylor (2002) pendekatan kualitatif2 adalah melihat dan mendeskripsikan
1 http://www.kemenkeu.go.id 2 Metode penelitian kualitatif adalah metode penelitian yang berlandaskan pada filsafat postpositivisme, digunakan untuk meneliti pada kondisi obyek alamiah, (sebagai lawanya adalah eksperimen) dimana peneliti adalah sebagai instrumen kunci, tekhnik pengumpulan data secara triangulasi (gabungan), analisis data bersifat induktif/kualitatif, dan hasil penelitian kualitatif lebih menekankan makna dari pada generalisasi (Jailan, 2015)
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fenomena sosial yang ada di tengah-tengah masyarakat dan melihat kegiatan yang dilakukan masyarakat, merupakan persedur penelitian yang menghasilkan data deskriptif berupa kata-kata tertulis maupun lisan dari orang-orang dan perilaku yang diamati. Artinya Peneliti berangkat ke lapangan dengan mengamati fenomena yang terjadi dilapangan secara alamiah dengan melakukan melakukan observasi awal di beberapa titik wilayah yang ada di Murung Raya. Murung Raya merupakan salah satu kabupaten pemekaran yang ada di Kalimantan Tengah dan berada di dataran tinggi dengan potensi sumber daya alam yang mendukung untuk usaha perkebunan dan pertambangan. Sepanjang jalan ke arah Murung Raya dipenuhi dengan wilayah hutan dan beberapa wilayah perkebunan. Dengan wilayah yang berbatasan langsung dengan Kalimantan Barat dan Kalimantan Timur Murung Raya dengan ibu kota Puruk Cahu memiliki potensi wisata yang cukup menjanjikan baik cagar budaya maupun cagar alam.
Penelitian dilakukan di Kabupaten Murung Raya dari tanggal 1 Mei-31 Agustus 2016 dengan melakukan tinjauan ke lapangan langsung terutama untuk beberapa situs yang dianggap bersejarah. Penelitian dilakukan dengan melakukan wawancara dengan tokoh budaya, masyarakat lokal dan pengambilan data dari dinas terkait yang menyediakan informasi mengenai potensi wisata di wilayah Murung Raya.
Gambar 1. Peta Administrasi Kabupaten Murung Raya dan Kota Puruk Cahu, Kalimantan Tengah
POTRET WISATA MURUNG RAYA Sarana Pariwisata Kabupaten Murung Raya merupakan kabupaten yang relatif baru karena merupakan kabupaten pemekaran pada tahun 2005 dengan sebaran wilayah kecamatan yang cukup banyak dan dengan jarak tempuh dan medan yang bervariasi tergantung dari situasi dan
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kondisi alam. Sarana pariwisata berfokus di Ibu Kota Murung Raya yaitu Puruk Cahu, ada beberapa tempat penginapan yang dikategorikan hotel kelas melati berjumlah 2 maupun losmen, rumah makan dan mini cafe yang masih sedikit variasinya yang letaknya berada di dekat pasar blauran (istilah lokal untuk menyebut pasar malam). Penambahan sarana pariwisata ini perlu dipertimbangkan lebih lanjut agar bisa mengakomodasi kebutuhan para wisatawan dan penduduk lokal. Betang Konut merupakan betang yang bisa ditempuh dengan jarak 20 menit dari ibu Kota Puruk Cahu yang berada di Desa Konut Kecamatan Tanah Siang dengan menggunakan jalur darat baik mobil maupun sepeda motor, akses masih mudah ditempuh dengan menggunakan taransportasi lokal. Betang Tumbang Apat berjarak tempuh 30 km dari Ibu Kota Puruk Cahu dan wilayah Betang ini berada di Kecamatan Permata Intan dan bisa ditempuh melalui jalur darat maun sungai menggunakan perahu mesin (kelotok). Betang Bantian berada di Desa Sungai Babuat Desa Tumbang Bantian dengan jarak 30 km dari Puruk Cahu bisa ditempuh menggunakan jalur darat dan sungai.
Jasa Pariwisata
Di kabupaten Murung Raya terdapat beberapa jasa atau biro perjalanan yang biasa digunakan oleh masyarakat lokal untuk berpergian ke wilayah lain seperti Bintang Baru Travel, IRC Tour & Travel, Central Borneo dan CV Jaya Abadi Travel dan didukung juga dengan bandara udara Dirung yang berada di wilayah Dirung Lingkin untuk pesawat dengan pesawat perintis yang memuat 12 penumpang seperti jenis Susi Air yang terbang langsung 3 x dalam seminggu langsung dari bandara Tjilik Riwut Palangka Raya yang mempermudah perjalanan wisata para wisatawan. Wisata budaya (cultural tourism) secara umum adalah perjalanan untuk melakukan kesenangan yang didasarkan pada keinginan mengunjungi suatu wilayah yang memiliki potensi budaya tertentu. Berikut adalah pengertian dari wisata budaya (cultural tourism) menurut Das dan Acharjee (2013): “Cultural Tourism is the subset of tourism concerned with the country or region‟s especially its arts. It generally focuses on traditional communities who have diverse customs, unique form of art and distinct social practices, which basically distinguishes it with other types and forms of culture. Cultural Tourism includes tourism in urban areas, particularly historic or large cities and their cultural facilities such as museums and theatres. It can also include tourism in rural areas showcasing the tradition of indigenous cultural communities (i.e. festivals, rituals) and their values and lifestyles.
Seperti di wilayah Murung Raya ada beberapa potensi wisata budaya yang cukup menjanjikan diantaranya yaitu sebaran etnis yang berada di wilayah Murung Raya, ritual upacara kematian (gawi matei), ritual upacara perkawinan (gawi belum) , seni tari, permainan tradisional, cerita rakyat (foklore) dan cagar-cagar budaya seperti Betang.
Betang merupakan rumah tradisional masyarakat suku Dayak di Kalimantan secara umum dengan sebutan yang berbeda-beda ada yang dikenal sebagai Lopo, Rumah Panjang ataupun Betang itu sendiri. Istilah Betang dikenal secara umum hampir di seluruh wilayah di Kalimantan dan Betang memiliki potensi untuk dijadikan sebagai wisata budaya dimana para wisatawan bisa merasakan kehidupan masyarakat lokal dengan adat dan tradisi yang masih dilakukan sampai sekarang.
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Informasi yang didapat mengenai ini betang masih sangat sedikit dan sebagian diantaranya didapatkan berdasarkan hasil wawancara dengan Herman, salah satu penghuni Betang Konut Karau, Betang ini berada di desa Konut, kecamatan Tanah Siang dan merupakan betang yang paling terdekat dari ibu kota Murung Raya, Puruk Cahu dengan jarak tempuh kurang lebih 20 menit yang bisa dijangkau melalui jalur darat dengan transportasi lokal yang ada. Betang ini masih dihuni oleh masyarakat asli sebanyak 10 KK yang terdiri dari 10 kamar jadi masing-masing KK menempati satu bilik kamar, penghuni betang ini adalah keluarga besar yang mayoritas pekerjaan utamanya adalah menambang emas dan menyadap karet. Sementara pekerjaan malan (berladang) yang sejak dulu dilakukan sedikit demi sedikit mulai ditinggalkan dikarenakan adanya larangan pemerintah atas aktivitas membakar hutan dan ladang yang secara turun temurun menjadi salah satu metode yang diandalkan untuk membuka lahan. Panjang betang ini sekitar 80 M dan lebar 8 M dan telah mengalami 3 kali revonasi. Letak betang ini sedikit agak berbeda dengan betang pada umumnya yang berada dipinggir sungai. Betang Konut Karau ini berada diwilayah perbukitan dikarenakan pada saat betang ini didirikan sedang marak musim kayau. Para pengayau pada waktu itu menggunakan jalur sungai sebagai media transportasi oleh karena itu diputuskan untuk mendirikan Betang Konut Karau di area perbukitan yang dianggap relatif lebih aman. Betang Konut Karau ini masih digunakan untuk upacara ritual adat seperti prosesi perkawinan adat, Nyoki Batoli (Selamatan Wanita Hamil), Palas Bidan, Pokahan (Upacara kematian akibat kecelakaan). Betang Konut Karau memiliki potensi wisata budaya yang cukup menjanjikan dimana para wisatawan bisa berkunjung dan menikmati keseharian dari penghuni betang dan dalam waktu-waktu tertentu dapat menyaksikan ritual upacara adat yang masih dilakukan secara turun temurun. Seperti yang dijelaskan oleh Janos Scapo (2012) dalam The Role and Importance of Cultural Tourism in Modern Tourism Industry “ “Cultural tourism can be defined as that activity which enables people to experience the different ways of life of other people, thereby gaining at first hand an understanding of their customs, traditions, the physical environment, the intellectual ideas and those places of architectural, historic,” (ICOMOS Charter for Cultural Tourism, Draft April 1997)”.
Wisata budaya bisa dianggap sebagai salah satu komoditas daerah untuk meningkatkan PAD terlebih di era sekarang ini wisata budaya menjadi salah satu potensi yang menjanjikan bagi pasar pariwisata dunia dimana masing-masing negara mulai membenahi potensi wisatanya baik dari wisata alam sampai wisata altternatif seperti wisata budaya dengan menambahkan atraksi-atraksi budaya seperti yang dijelaskan dalam The Impact of Culture On Tourism oleh Organisation For Economic Co-Operation and Development (COED, 2009): “Culture in all its forms is likely to figure strongly in the tourism product and promotion of most regions, even those which have traditionally relied on their natural assets, such as sun and beach or mountains, for their attractiveness. Destinations are also trying to increase their comparative advantage by adding to their stock of cultural attractions. They are also trying to develop their intangible culture and creativity”.
Berdasarkan kutipan diatas dijelaskan bahwa wisata budaya adalah kegiatan yang memungkinkan orang-orang untuk mengalami pengalaman yang berbeda mengenai cara hidup orang lain dengan memahami mengenai adat, tradisi, lingkungan sekitar, ide intelektual dan bentuk arsitektur, arkeologi dan bentuk budaya lainnya yang mengingatkan ke masamasa sebelumnya. Wisata budaya memiliki definisi yang berbeda dengan wisata rekreasi
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yang lebih mencari ataupun menikmati kealamian alam dari tempat yang dikunjungi. Potensi Betang sebagai wisata budaya dianggap cukup menjanjikan dimana para wisatawan bisa merasakan keseharian dari masyarakat lokal dan bisa menikmati beberapa ritual adat yang masih diadakan dalam periode waktu tertentu dengan jarak tempuh yang sekitar 20 menit dari ibu kota Murung Raya, Puruk Cahu. Pariwisata dan budaya adalah dua hal yang saling bersinergi yang bisa mendatangkan profit bagi daerah seperti yang ada di wilayah Murung Raya dengan potensi wisata budaya betang. Seperti yang dijelaskan dalam kajian yang sama The Impact of Culture On Tourism (COED, 2012):
“Partnership is essential. The complexity of both the tourism and cultural sectors implies that platforms must be created to support collaboration, and mechanisms must be found to ensure that these two sectors can communicate effectively. Local communities are beginning to come together to develop cultural products for tourism rather than competing directly with one another. New policies are likely to feature new structures and projects involving public-private partnership and bringing together a wider range of stakeholders to use culture not only to make destinations attractive for visitors, but also to promote regions as destinations to live, work and invest in”.
Ada beberapa rencana pengembangan yang akan dilakukan oleh pemkab Murung Raya untuk memajukan potensi wisata wilayah Murung Raya untuk menarik kunjungan para wisatawan baik domestik maupun mancanegara yang diantaranya adalah sebagai berikut: 1. Penambahan akomodasi seperti hotel, rumah makan perlu diperhatikan kembali.
2. Pendataan ulang potensi objek wisata alam maupun budaya yang ada di wilayah Murung Raya karena hal ini merupakan aset daerah yang perlu dijaga dan dilestarikan. 3. Perlu pengemasan yang menarik untuk pementasan budaya diwilayah Murung Raya.
4. Melakukan pelatihan manajemen untuk sanggar-sanggar yang ada di Murung Raya agar bisa secara profesional melakukan pentas rutin 5. Menjadikan betang sebagai pusat kajian budaya.
6. Melaksanakan festival tahunan Tira Tangka Balang setiap tahunnya yang disesuaikan dengan kalender nasional maupun internasional. 7. Merancang program-program budaya bekerja sama dengan provinsi ataupun kabupaten lain dalam satu event besar
Pengembangan Sektor Wisata dan Kendalanya
Dalam kasus ini ada banyak wilayah yang memiliki potensi budaya yang cukup representatif untuk dijadikan komoditas utama pariwisata daerah namun pada kenyataannya tidak berjalan sesuai dengan wacana pembangunan yang ada. Ada banyak masalah yang menyebabkan hal ini terjadi diantara nya adalah fokus pembangunan daerah yang tidak menempatkan potensi pariwisata sebagai prioritas dalam renstra pembangunan daerah, alokasi dana untuk pengembangan potensi wisata, dan lain sebagainya. Hal ini juga menjadi pokok permasalahan utama keterkaitannya dengan wisata budaya (cultural tourism) seperti yang dijelaskan oleh Chen (2009) mengenai festival Bun Dalam Cultural Sustainability and Heritage Tourism : Problems In Developing Bun Festival Tourism in Hongkong (Journal of Sustainable Development)
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“I will illustrate that although the most often mobilized critiques against heritage tourism development— including cultural inauthenticity, commercialization, lack of local economic development, and local disempowerment— are applicable to the case of Bun Festival tourism, particular social circumstances weaken their force in the Hong Kong case”.
Pengembangan pariwisata seharusnya mengacu kepada pariwisata berkelanjutan (sustainable tourism) yang mengedepankan tiga komponen utama yaitu ekonomi, lingkungan dan sosial budaya yang jikalau dikembangkan akan menjadi salah pemasukan bagi daerah. Pengembangan potensi wisata akan sangat bermanfaat bagi masyarakat lokal dimana masyarakat bisa membuka peluang usaha dengan menjual jasa, souvenir yang akan meningkatkan pertumbuhan ekonomi kreatif dimasyarakat, membuka lapangan usaha baru, dan lain sebagainya. Seperti yang dijelaskan oleh Sutawa dalam Issues on Bali Tourism Development and Community Empowerment to Support Sustainable Tourism Development “Sustainable tourism has dimension of economy, environment and socio-cultural. Nature is the most important resources in tourism. Nature destruction is a threats for sustainable tourism in a destination, therefore tourism development must include environment as part of tourism resources that need to be developed in term of quality and its variety. From economy’s aspects tourism has become source of income for the nation, however the most important is tourism must contribute to good impact to livelihoods of local people in a destination, including in helping poverty elimination. Meanwhile form socio-cultural aspect, tourism is unable to prevent transformation of culture to the negative side, giving contribution for heritage conservation and developing local people capacity/ability”.
Hal ini juga terjadi di wilayah Murung Raya ada banyak potensi wisata baik alam maupun budaya yang jikalau diolah dan dikembangkan sedemikian rupa akan menjadi komoditas yang menjanjikan untuk meningkatan PAD dan untuk meningkatkan kesejahteraan masyarakat lokal termasuk untuk mengatasi permasalahan kemiskinan. Kendala yang ditemukan dilapangan berkaitan Jarak tempuh yang cukup jauh dari ibu kota provinsi. Jarak yang harus ditempuh kurang lebih 10 jam perjalanan darat, fasilitas akomodasi hotel yang masih terbatas, fasilitas rumah makan masih sangat kurang, transportasi dengan pilihan rute-rute yang terbatas yang dipengaruhi oleh medan dilapangan terutama berkaitan dengan cuaca karena ada beberapa kawasan yang rawan tanah longsor, pemandu wisata yang masih terbatas, penataan destinasi wisata yang masih belum terarsipkan dengan baik menjadi gaung wisata budaya di daerah Murung Raya belum terdengar di luaran hanya berpusat di masyarakat lokal.
Berkaitan dengan hal tersebut diatas potensi pariwisata Murung Raya baik cagar alam maupun budaya idealnya dilestarikan dengan tujuan untuk mencegah perubahan negatif kebudayaan dengan melakukan pelestarian dan pengembangan kemampuan masyarakat lokal. Namun yang terjadi adalah pengembangan wisata baik alam maupun budaya tidak selalu sesuai dengan wacana yang ada yang disebabkan oleh banyak hal termasuk didalamnya adalah peran pemerintah daerah dalam pengembangan potensi wisata, pengalokasian dana yang sesuai dan juga program kerja dari dinas terkait. Kenyataan yang ada dilapangan adalah fokus pengembangan wisata hanya difokuskan untuk kegiatan diluar wilayah contohnya adalah pengiriman kontingen budaya untuk acara tahunan festival budaya Isen Mulang di provinsi, pengiriman kontingen budaya khusus team tari untuk melakukan pagelaran di luar negeri.
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Murung Raya memiliki potensi luar biasa dalam pengembangan kebudayaan terutama tarian daerah yang dibuktikan dengan penghargaan yang peroleh tiap tahunnya dalam festival Isen Mulang untuk memperingati ulang tahun provinsi Kalimantan Tengah. Namun diakui oleh pemilik sanggar tari Sangiang Bahombit, Idon, yang menyatakan bahwa Sanggar tari ini murni swadaya sendiri, bantuan yang diberikan oleh pemerintah daerah bersifat terbatas ketika ada pelaksanaan event-event tertentu seperti festival seni mulai dari tingkat kabupaten hingga skala nasional seperti event-event yang dilaksanakan oleh Dinas Pariwisata Seni Budaya serta Dinas Pemuda dan Olahraga. Seperti festival tahunan Tira Tangka Balang yang dilakukan di wilayah Murung Raya. Dengan demikian, fokus pengembangan wisata budaya yang ada cenderung untuk program keluar atau hanya ketika ada event-event tertentu saja. Hal ini dikarenakan kajian pengembangan budaya untuk destinasi wisata masih kurang yang bisa jadi berkaitan dengan rencana startegi pembangunan daerah yang kurang memprioritaskan budaya dan pariwisata dan tidak berorientasi ke skala lokal. Masih diungkapkan oleh Sutawa yang didasarkan pada United Nation Environmental Program bahwa ada beberapa permasalahan mengenai pariwisata seperti perkembangan pariwisata yang tidak berorientasi kepada pertumbuhan ekonomi lokal, perkembangan pariwisata tidak memperhatikan norma-norma sosial sehingga perkembangan pariwisata kurang bisa membangun kesadaran dan kemampuan komunitas atau masyarakat lokal untuk menjaga serta meningkatkan kualitas lingkungan di wilayah mereka, pengembangan pariwisata bergantung kepada kesatuan ekosistem namun tidak terintegrasi dengan usaha untuk melestarikan dan mengangkat kapasistas prinsip usaha, dan pengembangan usaha tidak melibatkan pengembangan masyarakat lokal dan menguatkan organisasi dan manajemen tujuan wisata.
KESIMPULAN
Indonesia memiliki potensi pariwisata yang cukup menjanjikan yang tersebar dihampir seluruh wilayah yang ada terutama daerah-daerah yang belum tergali dengan baik. Wilayah Murung Raya yang merupakan salah satu kabupaten pemekaran yang ada di Kalimantan Tengah juga memiliki potensi yang tidak kalah menarik namun ada banyak faktor yang mempengaruhi kenapa perkembangan wisata yang ada tidak terlaksana secara maksimal diantaranya adalah pengembangan kajian wisata budaya yang belum maksimal diantaranya adalah peran pemerintah yang masih kurang berfokus pada kebudayaan daerah yang merupakan komponen penting pariwisata, memfokuskan program kerja untuk kegiatan budaya diluar dibandingkan ke dalam atau yang sifatnya tertentu saja ketika ada event khusus, tidak berbasis kepada budaya dan pengembangan masyarakat lokal, tidak memberdayakan masyarakat lokal untuk pelatihan atau manajemen organisasi budaya yang mengakibatkan perkembangan wisata budaya masih belum terorganisir dengan baik dan belum memfokuskan kepada program pariwisata berkelanjutan.
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DAFTAR REFERENSI Analisis Sektor Pariwisata dan Dampaknya Terhadap Kemandirian Fiskal Daerah. (2015) Diakses dari www.kemenkeu.go.id/en/node/46346
Peraturan Menteri Pariwisata Republik Indonesia Nomor 10 Tahun 2016 Tentang Pedoman Penyusunan Rencana Induk Pembangunan Kepariwisataan Provinsi dan Kabupaten/Kota Diakses dari http://www.kemenpar.go.id/userfiles/ PERMEN%20PAR%20No_10%20Thn%202016%20ttg%20PEDOMAN%20 PENYUSUNAN%20RIPPARDA.pdf Chew. M Matthew. (2009) Cultural Sustainability and Heritage Tourism : Problems in Developing and Festival Tourism in Hong Kong. Diakses dari http://www. ccsenet.org/journal/index.php/jsd/article/viewfile/1893/3683 Das, Beejeta and Shukla Acharjee. (2013) Problems and Prospects of Cultural Tourism : A Case Study of Assam India. Diakses dari http://www.researchgate.net/ publication/259568619_problems_and_prospects_of_cultural_tourism Jailan, M. Syahran. (2013) Ragam Penelitian Qualitative (Etnografi, Fenomenologi, Grounded Theory and Studi Kasus) Diakses dari e-journal.iainjambi.ac.id/index. php/edubio/article/view/377 Ooi, Can Seng. (2006) Tourism and the Creative Economy in Singapore. Diakses dari http://openarchive.cbs.dk/bitstream/handle/10398/6605/working%20 paper%20int_can-seng%20ooi.pdf?sequence=1
Pitana, I Gede, Sirtha I Nyoman, Anom I Putu, Wita I Wayan, Wirawan I Gede Putu, 2005. Hospitality Industry and Tourism Education (The Case Of Indonesia). Diakses dari Fpar.unud.ac.id/ind/wp-content/uploads/2014/03/jurnal-pariwisatavol.13-No.1-2013.pdf Scapo, Janos. (2012) The Role and Importance of Cultural Tourism in Modern Tourism Industry. Diakses dari http://cdn.intechopen.com/pdfs/35715.pdf
Suparwoko, Joko. (2010) Pengembangan Ekonomi Kreatif Sebagai Penggerak Industri Pariwisata Kabupaten Purworejo, Jawa Tengah http://www.researchgate. net/publication/273122669_Pengembangan_Ekonomi_Kreatif_Sebagai_ Penggerak_Industri_Pariwisata_Kabupaten_Purworejo_JawaTengah Sutawa, Kade Gusti. (2012) Issues on Bali Tourism Development and Community Empowerment to Support Sustainable Tourism Development. Diakses dari https://www.researchgate.net/publication/271883894_Issues_on_Bali_Tourism_ Development_and_Community_Empowerment_to_Support_Sustainable_Tourism_ Development The Impact of Cultural Tourism. Organisation For Economic Co-operation and Development. (2009) Diakses dari http://www.mlit.go.jp/kankocho/ naratourismstatisticsweek/statistical/pdf/2009_The_Impact.pdf
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J o ur na l o f I ndo ne s i a nT o ur i s ma ndPo l i c yS t udy( J I T PS ) T hi sj o ur na lc o v e r e ds t ud i e so nt o ur i s m,l e i s s ur es t ud i e sa ndp o l i c i e sr e l a t e dt oi t sd e v e l o p me nti n I nd o ne s i a .T hee x p e c t e de s s a y ss ha l la l s oc o v e rs t ud i e so nI nd o ne s i a nt o ur i s m whi c hl i nk i ngwi t h i s s ue so fs o c i a l ,c ul t ur a l ,e c o no mi c ,p o l i t i c s ,ma na g e me nt ,he a l t h,e nv i r o nme nt a l ,t e c hno l o g y , p o l i c i e s , e t c . T hei nt e nt i o ni st oa c hi e v et heg o a l o f J o ur na l o f I nd o ne s i a nT o ur i s ma ndP o l i c i e sS t ud i e s , i . e . a st hep o r t a l a ndi ns t r ume nt t od e v e l o ps c i e nc e o f t o ur i s mi ni nd o ne s i af r o mv a r i o usa s p e c t sa nd p e r s p e c t i v e s .He nc e ,no to nl ya sp a p e r b a s e d f i e l d r e s e a r c h,t hi sj o ur na ls ha l lb et hep o r t a lf o r i mp l e me nt a t i v es t ud i e so nt o ur i s ma ndt her e l a t e dl i t e r a t ur er e v i e ws .
T o ur i s mVo c a t i o na l Pr o gr a mUni v e r s i t a sI ndo ne s i a T o ur i s mVo c a t i o na l P r o g r a mUni v e r s i t a sI nd o ne s i ai sd e s i g na t e dt op r o d uc ehi g hq ua l i f i e dhuma n r e s o ur c e sf o rt o ur i msi nd us t r y .T hi sd i p l o mad e g r e ep r o g r a mi sd e v e l o p e di ns uc hwa yt oe ns ur et he s t ud e nt o b t a i ns p e c i f i cs k i l l a ndk no wl e d g et hr o ug hr e l e v a nt c o ur s e sa ndp r a c t i c e s .
Of f i c e : T o ur i s mVo c a t i o na l P r o g r a m, Uni v e r s i t a sI nd o ne s i a 4t hf l o o r , VABui l d i ng , Uni v e r s i t a sI nd o ne s i aC a mp us , De p o k , 16424 P ho ne : ( 021) 29027481E ma i l : j o ur na l . i t p s @ui . a c . i d We b s i t e : ht t p : / / j i t p s . ui . a c . i d
