PERTUNJUKAN KESENIAN TRADISIONAL DULMULUK: REVITALISASI DAN

APRESIASI MAHASISWA
1
Nurhayati, Subadiy!, a!d Didi Suh"!di
(Indonesian Language and Literature Education Study Program, Faculty of Teacher
Training and Education, Sriwijaya University,
!urhayatibi##y$yah%&' !P "#$%&'&'%#(#)

Ab(tra)
Penelitian ini *ertujuan untu+ mela,or+an u,aya untu+ mem*iasa+an mahasiswa
-eguruan dan Ilmu Pendidi+an Universitas Sriwijaya dengan teater tradisional, .ulmulu+
dan mening+at+an a,resiasi mere+a terhada, +inerja seni lo+al yang ,enting terse*ut/ !al
itu dila+u+an dengan mengga*ung+an metode +ualitatif dan +uantitatif/ Pengum,ulan data
dila+u+an dengan mengguna+an o*servasi dan +uesioner/ Tangga,an ,ada ,engalaman
menonton dan mela+u+an teater tradisional dila,or+an dalam ,enelitian ini/ Pening+atan
a,resiasi 01 mahasiswa terjadi ,ada tiga as,e+2 si+a,, ,engetahuan, dan ,si+omotor/
.ilihat dari as,e+ ,si+omotori+, mere+a mam,u mela+u+an ,ertunju+an .ulmulu+
se*elumnya dengan $/"0" ,enonton/ !al ini menunju++an ,ening+atan a,resiasi
mahasiswa dari teater tradisional yang ham,ir mati/
-ata3+ata +unci2 .ulmulu+, ravitalisasi, a,resiasi/
DULMULUK TRADITIONAL ART PER*ORMAN+E: REVITALI,ATION AND
STUDENTS- APPRE+IATION
1
Ab(tra&t
This study was aimed to re,ort the efforts to familiari4e student of Teacher Training and
Education Faculty of Sriwijaya University with traditional theater, .ulmulu+ and im,rove
their a,,reciation of such im,ortant local arts ,erformance/ It was done *y com*ining
5ualitative and 5uantitative methods/ The data collection was underta+en using o*servation
and 5uestionnaires/ 6es,onses on the e7,eriences of watching and ,erforming the
traditional theater are re,orted in this study/ Im,rovement of the 01 students8 a,,reciation
occurred in three as,ects2 attitude, +nowledge, and ,sychomotor/ 9iewed from the
,sychomotor as,ect, they were a*le to ,erform a .ulmulu+ show *efore with $"0"
viewers/ This indicates an im,rovement of the students : a,,reciation of a dying traditional
theater/
-eywords 2 .ulmulu+, revitali4e, a,,reciation
1
The article was presented in The International Journal of Arts and Sciences (IJAS)
Conference on 26-3 !a"# 21$ in %oston# !assachusetts# &SA'
1
INTRODU+TION
Palem*ang is the ca,ital of South Sumatra Province/ This city used to enjoy .ulmulu+, a
traditional theater ,erformed to entertain viewers of all ages in $(0"s to $(#"s/ !owever, this
traditional art ,erformance is increasingly forgotten/ Lelawati (1""() ,oints to lac+ of ,romotion,
governance, and regeneration/ There used to *e 1# .ulmulu+ grou,s in the ,ast twenty years and
now five of them survive/
.ulmulu+ carries a cultural function/ It is necessary to revive the e7istence of .ulmulu+ and
introducte such art ,erformance to young generation/ Efforts to retain and revitali4e it need to *e
done (;urhayati, Su*adiyono, Suhendi, 1"$%a2$)/ Such efforts cannot *e se,arated from the
younger generation/ .ulmulu+ today is virtually un+nown *y the younger generation/
It is shown from the data survey conducted in 1"$1 *y ;urhayati, Su*adiyono, and Suhendi
(;urhayati, 1"$<2&) that of the $$0 students were given a 5uestionnaire, 1% ,eo,le ($0=) of
them never watched .ulmulu+/ This means that most of the students under study, as they are
regarded as the younger generation do not +now .ulmulu+/
Igama (1""() suggests that the revitali4ation efforts to +ee, .ulmulu+ alive, among others,
is through the strategic conce,t/ The strategic conce,t is to revitali4e .ulmulu+ and ,ass it to
younger generation/ This is called a revitali4ation strategy/ This conce,t is in line with the results
of what the Focus >rou, .iscussion (F>.) has done (;urhayati, Su*adiyono, Suhendi, 1"$1) /
F>. is +nown to *e a way necessary for .ulmulu+ revitali4ation/ Fifty students of Teachers
?ollege, Sriwijaya University were introduced to .ulmulu+/ Later on they *ecome high school
teachers, they are e7,ected to introduce the traditional theater to junior and high school students/
In conjunction with the revitali4ation efforts, fifty two students of Teachers ?ollege,
Sriwijaya University were offered the .ulmulu+ course/ The ,ur,ose was to train them to *e
a*le to write a variety of stories to *e ada,ted *y .ulmulu+ grou,s/ They ,resented their stories
the general ,u*lic and staged the ,lays they had written/ Plays of @*dul Aulu+ written *y 6aja
!aji @li are referred/ Selection of the .ulmulu+ stories, usually written in the form of ,oems
were staged in front of the ,u*lic/
6usyana ($(#12') defines a,,reciation as introduction of higher values/ ;atawijaya
($(#12$) states that a,,reciation is the a,,reciation and understanding of the arts or cultural
2
wor+s/ Similar feelings were e7,ressed *y !arto+o ($(("210) who says that a,,reciation is an
act of giving value rewards/ Furthermore , the a,,reciation of not only the range of rewards , *ut
also a dee, understanding even an increase in a more ,ositive attitude to literary wor+s/
Bemarjati ($(($20') e7,lains that a,,reciation is related sensitive res,onses something
sensitive or understanding something/ ?om,lementing this o,inion, Effendi (1""1) states that
a,,reciation is a friendly activity to understand literature seriously/ In the ,rocess of recognition,
intimacy, understanding, a,,reciation, and enjoyment occur and after that their a,,lication/ @s
defined *y Aoody:s ($(#(20() a,,reciation can ($) hel, develo, language s+ills, (1) increase
cultural +nowledge, (%) develo, creativity and taste, and (<) su,,ort the formation of character/
Cased on the o,inions of the a*ove, it can *e concluded that the a,,reciation includes three
main ,arts, namely the im,rovement of attitudes, +nowledge, and ,sychomotor/ The fifty two
students ta+ing the .ulmulu+ course are teacher candidates they are a younger generation who
can *ecome a major ,illar in revitali4ing .ulmulu+/ .ulmulu+ as a local ,erforming arts that are
endangered should *e +nown *y the student teachers and a,,reciated in the three domains
namely attitudes, +nowledge, and ,sychomotor s+ills/ In the as,ect o f attitudes, these students
are e7,ected to have a ,ositive attitude towards the e7istence of .ulmulu+/ @ ,ositive attitude is
shown, for e7am,le *y way of enthusiastic ,lay writing and .ulmulu+ ,erformance/ In the
as,ect of +nowledge, students get to +now .ulmulu+ through introduction to the ,oems written
*y @*dul Aulu+ 6aja @li !aji/ The introduction to @*dul Aulu+ ,oetry as the foundation to
write a ,lay and ,erform the show is crucial/ In addition, the strengthening of the +nowledge
*ase of the students to .ulmulu+, can *e done through reading the writings of .ulmulu+ and
watching .ulmulu+ ,erformed *y the grou,s/ It was certainly done in earnest way/ Seriousness
in these activities is geared towards a gradual introduction to the level of understanding u, and to
the a,,lication level/ In the ,sychomotor as,ect, the students are e7,ected to have the a*ility to
,erform .ulmulu+ in ,u*lic/ @ .ulmulu+ ,erformance also ,ays to attention to the suggestions
,ut forward *y F>. in the revitali4ation of the ,lay/ F>. suggests to focus on the following
elements of ($) the length of time the show was shortened just one hour, (1) the e7istence of a
,lay ,rimarily for conservation ,ur,oses, (%) the ,resence of a director who can ,rovide
inter,retation and colors of the role and ,erformance, (<) the e7istence of cosmetology for
su,,orting roles, (0) the ,resence of the selection of ,layers *ased on roles, (&) the election
fashion in accordance with the roleDcharacter figures, (') the e7istence of setting the stage, (#)
3
the ,resence of lighting arrangements that su,,ort the story, (() there is a sound system use
including the music that su,,orts the story, and ($") the ,resence of an audience (;urhayati,
1"$<2$$)/ These elements are the ,arameters of revitali4ation/
METHOD
This study com*ined 5ualitative and 5uantitative research methods (?reswell, 1""()/ The
5ualitative as,ect was done *y using a case study through o*servations/ The o*servations were
carried out to see the reactions of the students when they were watching .ulmulu+ contained in
the ?om,act .isc (?.)/ @n o,en 5uestionnaire to o*tain data relating to revitali4ation was
administered in order to find out their reactions on .ulmulu+ retention/ Euantitative as,ects
were im,lemented using a 5uestionnaire, too/ It was conducted to determine the students8
o,inions related to the intrinsic elements of the staging of .ulmulu+ that they watched/ These
elements include ,lot, characters, setting, vocals, costumes, and ma+e3u,/ @nother 5uestionnaire
was administered to collect data related to whether the .ulmulu+ e7ercises contri*ute to im,rove
the students8 a*ility of a,,reciation es,ecially in the as,ect of +nowledge/ In addition, the o,en
5uestionnaire was given to the the res,ondents (.ulmulu+ audience) to +now a*out their
o,inions on the .ulmulu+ show staged *y the students/ The data in the form of an o,en
5uestionnaire results and the o*servations are descri*ed/ They are ,resented in the form of
,ercentages/
RESULTS AND DISCUSSION
!ere are the results of research related to the revitali4ation and a,,reciation which include
those on the attitudes, +nowledge, and ,sychomotor of the students ta+ing the course/
Dulmuluk Revitalization Efforts
.ulmulu+ revitali4ation conce,t regardsn that .ulmulu+ is something disa,,earing or still
FdeadF *ut it is tried to relive/ If you view the definition of the revitali4ation, it means an activity
to *e relived or reactivating something *ac+/ There is an understanding that .ulmulu+ should *e
intensified , *rought *ac+ from e7tinction (;urhayati, Su*adiyono, Suhendi, 1"$%*20$301)/ Thus,
this revitali4ation needs to *e done in order to ma+e .ulmulu+ stay alive amongst the Palem*ang
community, es,ecially among the younger generation/ The 5uestionnaire data show that all the
$
students thin+ of the im,ortance of revitali4ation there is a need for .ulmulu+ retention as an art
form/ The revitali4ation efforts are as follows/
E7hi*ition of routine .ulmulu+ ,erformances/ For e7am,le, every two months, .ulmulu+
theater is dis,layed in the media that can *e watched *y ,u*lic on television/ In addition, it can
also *e *roadcast on the radio/ In addition to the media, it can *e staged at various events, for
e7am,le on the inde,endence day of the 6e,u*lic of Indonesia and in various cultural arts
festivals/ Thus, this way, .ulmulu+ can still survive in society/
Teaching of how to stage .ulmulu+ at schoolDuniversity/ .ulmulu+ can *e taught to all
students, es,ecially students of a teachers college/ It is intended that the student teachers who
later *ecome a teacher can teach .ulmulu+ or at least introduce it to his or her students/ In
addition, scri,ts of .ulmulu+ can *e *ased on the materials of local content/ Furthermore, for
teachers who have served in the field can understand and teach .ulmulu+ in the ,erforming arts
class/ The teachers incor,orate .ulmulu+ ,erforming arts in school su*jects, such as su*jects
through Indonesian and local content/
.ocumentation of .ulmulu+ Performances/ .ocumentation is related to the staging of
.ulmulu+ custody and retention efforts/ The documents are the most valua*le historical
evidence/ In addition, there should *e research on .ulmulu+ with the aim of im,roving and
understanding of the audience reactions/ @ction research hel,s im,rove it/
Promotion of .ulmulu+ as an art/ .ulmulu+ art is more meaningful when ,romoted to
audiences living outside the Palem*ang ?ity, either outside the region or a*road/ The tradition
theater of this city carries cultural values that outsiders can learn from/This is clearly related to
regeneration/ The most essential factor is the young generation who can ,lay an im,ortant role in
the ,romotion of .ulmulu+/ .ulmulu+ can survive in a more conducive environment and its
,otential continuing e7istence guarantee cultural sustaina*ility/ Finally, culture is not an
a*stract entity without footing, *ut it rests on the su,,orting conditions/ Thus, this art
,erformance is increasingly recogni4ed and loved *y the community/
The ,ortion of the re,osition .ulmulu+ as Im,ortant to Society/ .ulmulu+, ,art of the local
culture, can *e +nown nationally and glo*ally/ To re,osition the cultural issues in the ward of a
disintegrating nation, the need for im,lementation of regional cultural develo,ment ,olicy that
really ,aid attention to e7isting cultural treasure/
(
See+ing the status of .ulmulu+ in >overnment PolicyD6elated @gencies/ .ulmulu+
revitali4ation needs to *e im,lemented with the strategic ,lans and ,olicies with clear and
realistic goals, and they can actually *e achieved/ In order to +ee, the ,reservation of local
culture, it can *e ,romoted nationwide, to *e su,,orted es,ecially *y agencies that handle
cultural issues in the area/ In addition, the culture as a tourism asset should *e develo,ed
creatively to maintain virtuous values of the regional area/
Appreciation in the Aspect of Attitue
The data was collected from the same 01 students who too+ .ulmulu+ course/ The
o*servation was carried out to find out the attitude of students for watching and the staging of
.ulmulu+ grou,/ The students watched the activities carried out in the airing of .ulmulu+ in
?./
Cased on o*servations, when watching the ?. show, the students loo+ed *ored/ It was
shown *y their *ody language as seen in their agitated feeling, unfocused attention, sour faces
when there were no funny scenes/ @dditionally, the students8 res,onses indicated negative
a,,reciation towards those im,ressions with disa,,ointed tones/ ;egative res,onses were heard,
for e7am,le2 huh, a chea, o,era/ Bnly a few students seemed enthusiastic and entertained/ @fter
watching .ulmulu+ from the ?., the students com,leted 5uestionnaires related to their attitudes
towards the content D su*stance .ulmulu+/ In general, #0 = of the students stated that the content
of the story is less interesting, less creative, and monotonous/ In the characteri4ations, the
characters showed no originality/ This is shown *y facial e7,ressions, voice, and enthusiasm/ In
the arrangement of the stage, the stage was *are, not showing the setting of a ,alace/ The vocals
of the ,erformers were almost entirely unclear/ The costumes did not fit each character/ The
dancer costumes, the core of a ,erformance, were too sim,le/ The ma+e3u, did not su,,ort the
characters/ Female characters were ,layed *y men/ Even though the ma+e3u, was done
,rofessionally, characteri4ations were not strong enough/ They still loo+ed the men/ From the
5uestionnaire related to the students8 attitudes towards .ulmulu+, the fifty students stated that
.ulmulu+ art should *e ,reserved / .ulmulu+ should *e taught from generation to generation so
it does not *ecome e7tinct with age/ In addition, they (the ,ros,ective teachers) are also ready to
go into the community, es,ecially in education, to develo, and ,reserve this traditional theater/
!owever, the retention should *e in line with the dynamics of the students/ 6etention should ,ay
6
attention to the ,rinci,les of a good management that includes as,ects of artistic ,erformances
and non3artistic as,ects such as organi4ational management/
The 5uestionnaire also indicated that of 01 students who were as+ed, %0 ,eo,le (&'=) of
them stated that they have a ,ositive attitude towards the ,rocess of staging .ulmulu+ ,lay if
they were to hold it/ They would ,ractice .ulmulu+ if they were given the chance to ,erform it/
Furthermore, all the students ($""= of 01 ,eo,le) showed a ,ositive attitude *y stating that when
they learned the staging of .ulmulu+/ This e7,erience indirectly fostered a love and concern for
the traditional arts/ The 5uestionnaire data showed a ,ositive attitude of the students in terms of
res,onsi*ility and coo,eration/ The students felt a sense of res,onsi*ility towards the assignment
to underta+e in order to achieve successful staging/ In staging ,ractice, they were res,onsi*le for
their role and res,ected other roles/ They divided the wor+ tas+ as well as ,ossi*le *ased on the
,otential of each/ They reali4ed that the staging of .ulmulu+ needed great sense of res,onsi*ility
and greater coo,eration/ To ,erform .ulmulu+, they needed to wor+ together and their wor+ had
to *e shared/ In other words, it re5uired a shared res,onsi*ility/ >ood inter,ersonal relationshi,s
among the ,layers were highly re5uired/ Btherwise they might fail their fellow ,erformers/ Each
had the same mission that staging needed to *e conducted successfully/ @ll had to wor+
o,timally to do their tas+ in hand/ They also reali4ed that the disci,line as,ect ,layed an
im,ortant role/ For e7am,le, the ,layers who o,ted for s,ecific leaders should adhere to regular
e7ercise schedules/ In addition, the disci,line in colla*oration with other fellows guaranteed a
+ey to their success/
Appreciation in Aspects of !no"le#e
@s,ects of +nowledge are related to the the students8 understanding of .ulmulu+/ the
5uestionnaires contained $" statements/ The data showed the following2 $1 ,eo,le (1%=) chose
the answer yes to the 5uestion relating to whether they understood the conce,t of dramaturgy,
es,ecially in .ulmulu+ staging , training methods, understanding of management, as well as the
artistic mastery of the tas+, and ,roduction/ Aeanwhile, a num*er of <" students (''=) chose not
to answer the same 5uestion/ This means that the students did not +now the conce,ts related to
dramaturgy/ The main reason was they do not have time to learn a*out the dramaturgy es,ecially
with regard to staging of .ulmulu+/ They had never ,erformed .ulmulu+/ Therefore, they did
not +now/ @lthough they wanted to revive .ulmulu+, they did not have +nowledge a*out it/ @t
)
the *eginning of the data related to the time suita*ility of the show, the students argued that the
show was not a,,ro,riate *ecause the story content de,icted characteristics of the em,ire with
clothing and groove/ ?onformity refers to the similarity of clothing, es,ecially in terms of
materials, the ty,eDfa*ric used *y the ,u*lic now/ Even so, some students critici4ed the clothes
and ma+eu,/
Preliminary data also indicated that the students that the cast .ulmulu+ wore clothing that
was too sim,le showing ,oor and marginali4ed condition of the ,layers/ 6elated to general
as,ects of the highlights of the students as a :s,ectator: it was mentioned a*out the content/ In
general, the students e7,ected the story content im,rovised and ada,ted to today:s current issues
or issues that are *eing hotly discussed *y the community/ Increased a,,reciation was shown *y
the students toward the end of the 5uestionnaires/ It was a*out the field tests in which the
students had to ,erform their roles in a .ulmulu+ show held on Bcto*er (, 1"$1/ The final field
tests raised as,ects of the attitudes and +nowledge of students in staging .ulmulu+/ @nother
5uestionnaire was administered after the students *egan the training ,rocess and and ended in the
staging of .ulmulu+/ Cased on the final results of the field test, the results o*tained with a
5uestionnaire a*out .ulmulu+ +nowledge sharing as,ects and as,ects of attitudes towards
staging .ulmulu+/ Two as,ects were outlined *elow/ The 5uestionnaires related to as,ects of
cognitive (+nowledge) o*tained the following data/ Bf the 01 students, <' of them (("=)
understood and +new the dramaturgy, the others ($"=) had not/ This is evidenced *y their
answers that stated they *egan to understand the theories of dramaturgy/ This insight is o*tained
*y studying the theories of staging drama and literature/ The 5uestionnaires on understanding
dramaturgy was directed to .ulmulu+ staging , training methods, understanding of management,
as well as mastery of artistic and ,roduction tas+s of .ulmulu+/ Increased a,,reciation is also
evidenced *y the a*ility of the students to create a .ulmulu+ ,lay/ The scri,t was derived from
.ulmulu+ ,oems grou,ed into $# rounds/ .e,arting from this collection of ,oetry, the students
develo,ed their +nowledge, es,ecially in relation to dramaturgy, writing of creative and
interesting te7ts/ Thus, it can *e said that the level of a,,reciation of the students on as,ects of
+nowledge increased/
*
Appreciation in the $s%chomotor Aspects
The initial ,art of the 5uestionnaires were to as+ a*out relevant 5uestions2 whether or not
they ever watched .ulmulu+ ,erformance/ Bf the 01 students, <0 (#'=) of them had witnessed
.ulmulu+ and ' ($%=) of students who had not/ Bf the <0 students who had witnessed many
.ulmulu+ ,erformances had +nown that they watched them on certain occasions such as on
Inde,endence .ay or wedding, or circumcision ,arties/ From these ,reliminary data, the
res,onses su*mitted *y the student gave a negative reaction/ They were the most res,onses given
*y the students/ They ,rovided a variety of reasons in each su*section/ The res,onses indicated
that many students were not a*le to a,,ly .ulmulu+/ In fact, some of them were not familiar
with .ulmulu+/ !aving carried out this research, it is +nown that an increase in student
a,,reciation is shown *y the 5uestionnaire administered after the students were involved in
training and staging of .ulmulu+ I/ The results of the model develo,ment was a,,lied to the
,erforming arts .ulmulu+ 1 *y two student grou,s of two universities namely Sriwijaya
University and Tridinanti University/ In other words, the 5uestionnaires were administered after
the student grou,s *egan the training ,rocess and staging of .ulmulu+/ Cased on the results of
the a,,lication of Euestionnaire 1, the results o*tained with ,sychomotor as,ects of the staging
of .ulmulu+/ They showed an increase in a,,reciation as descri*ed *elow/ In general, the
students are a*le to ,erform .ulmulu+, *oth from the stage to other as,ects such as a character,
artistic team , or managerial functions / In the training and staging, they agreed to adhere to some
,rinci,les during the staging ,rocess of .ulmulu+, such as division of la*or, authority,
res,onsi*ility, and disci,line, unity of command, as well as fairness, and honesty/ They were
dee,ly involved *y ,roviding ideas, ,lanning, and staging of .ulmulu+/ They ,racticed
intensively, for e7am,le, in vocal e7ercises/ The training techni5ues included acting u, and out,
giving the contents and ,ressure techni5ues, engineering develo,ment, fostering technical s+ills,
timing , tem,o, and rhythm games / they were also a*le to a,,ly ma+eu,, hairdressing costume,
lighting, sound, stage design .ulmulu+ during the staging ,rocess/ The results of the
,sychomotor as,ects were that the students could ,erform .ulmulu+/
@nother effort of revitali4ation was made on ( ;ovem*er 1"$% at the Sriwijaya University
!all/ The show was attended *y a,,ro7imately $,"0" s,ectators/ The audience mostly consisted
of students of from elementary, junior high, senior high schools and colleges in Palem*ang/ In
addition, the show was watched also *y academics, artists, teachers, and the general ,u*lic/ @fter
+
the show, &" s,ectators chosen as the res,ondents were as+ed to com,lete a 5uestionnaire/ They
were com,rised of $" academics, $" artists, $" students, $" students, $" officers structural, and
$" general ,u*lic who had watched .ulmulu+ on that day, a develo,ment of the a,,lication of
the model I/ !ere is the descri,tion of the results of the 5uestionnaire/
The data show that #%= of the res,ondents (0" ,eo,le) who watched the show thought that
for $ hour was a suita*le time/ This means that the show is not too long and not too fast/ Ghen
com,ared to traditional .ulmulu+ a,,earance that lasts all night long/ .ulmulu+ is designed to
last $ hour/ The one3hour ,erformances covered the entire @*dul Aulu+ ,oems and summari4ed
in $# sections/ In addition, #"= of the res,ondents (<" ,eo,le) stated that the scri,t was indeed
necessary in the management of .ulmulu+ ,erformances/ The scri,t was re5uired to maintain the
continuity and se5uencing of the stories from time to time/ If the scri,t is ,erformed in a
different time and a,,ear outside the te7t inter,retation that is ,art of the ,rocess of creativity/ @s
long as the changes are still in the corridor of a Fstandard F te7t, such im,rovisation is still
allowed/ For e7am,le, on the sidelines of the story set in the +ingdom tuc+ed issue of
Fcontem,oraryF *y entering the cell ,hone issues/ @ccording to the res,ondent, who staged
.ulmulu+, the theme was 5uite relevant to contem,orary conditions/ The ,erformances that had
*een im,lemented involved a director/ The director served as an inter,reter of the scri,t, directed
and arranged ,layers, music director, ma+e3u,, costume, stage, lighting, audio systems, and
music/ Seventy ,ercent of the the res,ondents e7,ressed the need for a com,etent director to
arrange the show/ Gith the director, the show is managed in a more ,rofessional/ In the as,ect of
cosmetology, '1= of the res,ondents (<% ,eo,le) said that the ma+e3u, used *y the ,layers was
is in conformity with figures ,ortraying res,ectively/ the ma+e3u, of the +ing de,icted his real
character, or in accordance with the character who was gallant and wise/ That of the em,ress
consort showed *eautiful, graceful, and wise character/ This ma+eu, could not *e removed from
the fashion as,ect/ Eighty three ,erecent of the res,ondents (0" ,eo,le) stated that fashion and
ma+eu, was very a,,ro,riate to the characters/ For e7am,le, clothing worn *y the +ing, 5ueen,
,rince, and his wives were very attractive and ,ortrayed the no*ility/ Seventy five ,ercent of the
res,ondents (<0 ,eo,le) stated that in general the characters were ,layed according to each
character/ The res,ondents felt close to the characters of .ulmulu+/ They could imagine, thin+,
and feel as felt *y .ulmulu+ figures/ They also stated that the ,layers a,,eared to *e a*le to
cover the stage/ ?ontrol over the audience was also very good/ The res,ondents noted that there
1
were interesting things, es,ecially during the action scenes ,layed *y Siti 6afeah/ In addition,
there was a funny scene dis,layed the ,rinces of !industan and ,alace servant3wage earner/
@s many as #%= of the res,ondents (0" ,eo,le) stated that the character in the show
.ulmulu+ ,layed *y the actors or actresses were much as the total a,,reciation/ For e7am,le, the
role of the ,rince, the ,rincess wife of Sultan @*dul Aulu+, as well as the roles of the +ings and
5ueens were very reflective of the real +ingD5ueen of the true +ingdom/ There were some figures
who showed the im,rovisation, for e7am,le, *y figure Siti 6afeah when she was riding a horse/
Bn the other hand, some of the characters ,layed their roles according to the scenario/ The
res,ondents stated that the motive or reason for the actions of the characters in most of the
scenes loo+ed o*vious/ Aotives were a,,ro,riate to the story lines and the characters they
,layed/ !owever, the the res,ondents indicated some characters were ,layed not logically, for
e7am,le, they created a jo+e scene that was so e7cessive that could damage the contents and
messages of the story contained in .ulmulu+/
In the as,ect of the setting, '"= of the res,ondents (<" ,eo,le) stated that the settings were
staged according to the story set in the +ingdom/ For e7am,le, the +ing:s throne was 5uite fancy
that descri*ed the lu7ury of a +ingdom/ Aoreover, the choice of gold3colored curtains reflected
the grandeur of a ,alace/ Si7ty five ,ercent of the res,ondents (%( ,eo,le) stated that the
,ro,erty and hand over the ,ro,erty that were already a visi*le stage this hel,ed the ,layers
well/ !owever, when viewed as a whole to the ma7imum utili4ation of the stage was only done
*y a servant leader/ @s many as '0= of the res,ondents (<0 ,eo,le) stated that the lighting was
,retty good/ Lighting had functioned 5uite well/ The stage loo+ed not so dar+, which could
reinforce the characters *y the light settings/ For e7am,le, grief was indicated *y somewhat dim
lights/ Cright lights indicated a sunny atmos,here/ The ,layers could *e recogni4ed *ecause the
lights functioned ,ro,erly/ They were in the right light ,oints/ Thus, the ,layers8 faces were
clearly visi*le, the figures clearly visi*le/ @s many as #%= of the res,ondents (0" ,eo,le) stated
that the ,ac+aging loo+s good ,erformances / Even so, several times of *loc+ing occurred, for
e7am,le, *loc+ing *y the wife of Shei+h, Siti 6afeah/ @nother e7am,le, at the scene of an
incident of the re,orting *odyguard to the +ing, *loc+ing also occurred/ The res,ondents noted
that the com,osition of the groove stages (introduction, the a,,earance of conflict, conflict,
clima7, and denouement) were se5uenced a,,ro,riately/ @,,earances of conflicts in different
sections were laid out very nicely they indicated ,ro,er continuity with the conflicts/ @ strong
11
clima7 was very easy to gras,/ The res,ondents noted that changes had *een good and well3
se5uenced they de,icted storyline and chronology clearly/ The res,ondents stated that the turn
round and scenes were consistently maintained/
Fifty ,ercent of the res,ondents (%" ,eo,le) stated that the music was less ,ac+ed as the
atmos,here should go with the story/ ;onetheless, clear voices were caught and they ade5uately
descri*ed the scenes/ In the as,ect of language, as much as &0= of the res,ondents (%( ,eo,le)
stated that the language and dialogues were deemed a,,ro,riate to the characters/ The figures
used the language well, though somewhat e7aggerated *y figures such as wage earnerDladies who
loo+ed too sassy/ Bverall, '#= of the res,ondents gave ,ositive res,onses to the .ulmulu+
show/ Aeanwhile, the negative res,onses were ,roduced *y 11= of the res,ondents, more
,articularly on the setting and the music/
CONCLUSIONS
This research ends with three conclusions/ First, the data related to the attitude 5uestionnaire
initially sounded negative res,onses of the students to the ,erforming arts .ulmulu+/ @ general
as,ect of the highlights ,roduced *y the students as s,ectators was that of content/ The students
e7,ected im,rovised story content and tailored to the growing issues today/ Aeanwhile, with
regard to the final 5uestionnaires a*out their attitudes toward the ,rocess of staging of .ulmulu+,
all the students ($""=) stated that the study of .ulmulu+ staging could foster a love and concern
for this traditional theater/ In addition, all the res,ondents stated that .ulmulu+ art ,erformance
should *e ,reserved, and taught continuously and widely regardless of different generations/
Second, *ased on a 5uestionnaires related to as,ects +nowledge, the data showed the
im,rovement of ,lay writing and understanding of dramaturgy/ Bnly a small ,ercentage of the
students have not *een a*le to write a ,lay well/ Li+ewise there are students who do not +now
the conce,t of dramaturgy which is directed in .ulmulu+ staging drama, training methods,
management, as well as artistic mastery and ,roduction tas+s of .ulmulu+/ Third, *ased on
as,ects of ,sychomotor, increased the students8 a,,reciation increased/ They are a*le to ,erform
.ulmulu+ *efore the ,u*lic/ In other words, the student s8 com,etence in .ulmulu+ and its
various as,ects im,roved/
12
&I&LIO'RA$()
?reswell, Hohn/ G/ 1""(/ Research Design: Qualitative, Quantitative, and Mixed Methods
Approaches/ (%rd Ed)/ Los @ngeles I US@2 S@>E Pu*lications, Inc/
Effendi, S/ 1""1/ Indonesian Language and Literature in Prose Literature Appreciation/ Ha+arta2
>ramedia/
!arto+o, .ic+/ $((". Introduction to Literature/ Ha+arta2 >ramedia/
Igama, 6/ 1""(/ Dulmuluk are r!ing to Relive / www/*eritamusi/com / @ccessed ;ovem*er 1&,
1""(/
Lelawati, ;ursiah/ 1""(/ Brgani4ational management and .ulmulu+ traditional art ,erformance
in Palem*ang/ hesis. Palem*ang2 Sriwijaya University >raduate Program/
Aoody, !arold/ Leonard /Circh/ $(#(/ he eaching o" Literature/ London2 6outledge -eagan
Paul/
;atawijaya, S/ Parman/ $(#1/ Appreciation o" Literature and #ulture. Ha+arta2 Intermasa/
;urhayati, Su*adiyono, and ./ Suhendi/ 1"$1/ 6evitali4ation .ulmulu+ ,erforming arts, uni5ue
art Palem*ang2 .evelo,ment of traditional literary colla*oration with the structural theory
and reader res,onse in creating locally3*ased creative industries/ Research Report.
Indralaya2 Sriwijaya University/
;urhayati, Su*adiyono, and ./ Suhendi/ 1"$%a/ .evelo,ing a model for revitali4ing the
traditional ,erformance of .ulmulu+ *y the a,,lication of structural and reader res,onse
theories/ Pa,ers on he $inth %ustaina&ilit! #on"erence !iroshima Ha,an in Hanuary 1"$%/
;urhayati, Su*adiyono, and ./ Suhendi/ 1"$%*/ Revitali'ation Dulmuluk Per"orming Arts/
Jogya+arta2 Leuti+a,rio/
;urhayati/ 1"$%/ .ulmulu+ retention in relation to the develo,ment of creative industries *ased
on local culture/ Pa,ers on Indonesian ( #ongress on 1#3%$ Bcto*er 1"$%/
;urhayati/ 1"$</ Revitali'ation Dulmuluk Per"orming Arts: Retention )""orts and Implications
in Learning Literature. Professor Inauguration S,eech at Language and Literature
Education Program in Faculty of Teacher Training and Education Sriwijaya University on
Fe*ruary 1", 1"$</ Palem*ang2 Sriwijaya University Press/
Bemarjati, Coen/ Sri/ $(($/ @,,reciation of Literature .evelo,ment in Teaching and Learning
Process/ %u&tleties o" Literature and Language: eaching *pdates/
Cam*ang -aswanti Purwo (Ed/)/ Jogya+arta2 ?anisius/
6usyana, Jus/ $(#1/ Methods o" eaching Literature. Jogya+arta2 ?anisius/
13
Acknowledgements
The author would li,e to address their deepest -ratitude to the .irectorate of
/esearch and Co00unit" Ser1ice# .irectorate 2eneral of 3i-her 4ducation of
Indonesia which has funded this research with the letter of a-ree0ent 5o'
+)6S7236786.itlita90as6:6213 in the i0ple0entation of the 5ational Strate-ic
/esearch 7ro-ra0 213-21$. The author also con1e"s their -reat appreciation to
the artists ; .ul0ulu, and the 0odern theater perfor0ers# .epart0ent of Touris0
and Culture of South Su0atera# %alit9an-no1da of South Su0atera# and those who
ha1e contri9uted to the success of this research'
1$