Generating local wisdom through the prototype of docudrama “Becak Stasiun” as an educational program on RCTV

Yanti Heriyawati; Afri Wita; Yadi Mulyadi

doi:10.33153/dewaruci.v20i1.6596

Authors

Yanti Heriyawati Art Education, Postgraduate School, Indonesia University of Education, Bandung
Afri Wita Institut Seni Budaya Indonesia Bandung, Bandung https://orcid.org/0000-0001-5599-5584
Yadi Mulyadi Institut Seni Budaya Indonesia Bandung, Bandung https://orcid.org/0000-0002-7951-5394

DOI:

https://doi.org/10.33153/dewaruci.v20i1.6596

Keywords:

Audience, Becak Stasiun , Docudrama , Prototype

Abstract

Docudrama is a television program that offers a hybrid genre between reality and fiction to convey the socio-cultural reality of Ciayumajakuning in the form of drama. The purpose of this study is to describe the structure of drama, visualization, and audio of the docudrama prototype, and to support the study of the trial results through appreciation. The method used is descriptive analysis applied to the docudrama prototype. The prototype public test was conducted through a questionnaire to analyze audience appreciation. The title Becak Stasiun represents the Ciayumajakuning community (Cirebon, Indramayu, Majalengka, and Kuningan) is a drama performance set in a train station, Nasi Jamblang, and a fishing village with the Cirebon landscape that supports its visualization. The language used is a mixture of Javanese and Sundanese dialects, accompanied by music and regional songs with a tarling nuance. The results of this study indicate that the audience appreciation survey shows that the Becak Stasiun Dokudrama is entertaining and educational by highlighting the potential of Cirebon, including its artistic and cultural values. As a television show, the prototype of the Docudrama Becak Stasiun represents the ethnography of the Ciayumajakuning community and functions as a medium for conveying local wisdom that attracts the interest of the people of Cirebon and its surroundings.

Downloads

Download data is not yet available.

References

[1] A. Merenus and M. Lollok, “The Image of the Czech Past in the Contemporary Docudrama,” Porównania, vol. 27, no. 2, pp. 101–125, Dec. 2020, doi: 10.14746/por.2020.2.6.

[2] M. Slugan and E. Terrone, “The Fiction/Nonfiction Distinction: Documentary Studies and Analytic Aesthetics in Conversation,” Stud. Doc. Film, vol. 15, no. 2, pp. 107–113, May 2021, doi: 10.1080/17503280.2021.1923141.

[3] D. Paget, “Acting a Part: Performing Docudrama,” Media Int. Aust., vol. 104, no. 1, pp. 30–41, Aug. 2002, doi: 10.1177/1329878X0210400106.

[4] J. Ruby, “Is an Ethnographic Film a Filmic Ethnography?,” Stud. Anthropol. Vis. Commun., vol. 2, no. 2, pp. 104–111, Sep. 1975, doi: 10.1525/var.1975.2.2.104.

[5] J. Bignell, “Docudramatizing the real: Developments in British TV docudrama since 1990,” Stud. Doc. Film, vol. 4, no. 3, pp. 195–208, Dec. 2010, doi: 10.1386/sdf.4.3.195_1.

[6] D. J. Donnelly and E. L. Shaw, “Docudrama as ‘Histotainment’: Repackaging Family History in the Digital Age,” Public Hist. Rev., vol. 27, pp. 48–68, Aug. 2020, doi: 10.5130/phrj.v27i0.6971.

[7] R. Augustine and M. S. Xavier, “A Critical Study On Netflix Docudrama ‘The Social Dilemma,’” Media, Cult. Soc., vol. 22, p. 24, 2021.

[8] W. C. Adams et al., “The Power of The Right Stuff: A Quasi-Experimental Field Test of the Docudrama Hypothesis,” Public Opin. Q., vol. 49, no. 3, p. 330, Jan. 1985, doi: 10.1086/268931.

[9] R. N. Amalia, S. S. Indriani, and J. N. Mahameruaji, “Resepsi khalayak pada program acara televisi di Trans 7 sebagai media edukasi,” ProTVF, vol. 6, no. 1, p. 106, May 2022, doi: 10.24198/ptvf.v6i1.36061.

[10] V. C. C. Putri and A. F. Sonni, “The quality of television news in Indonesia,” ProTVF, vol. 6, no. 2, p. 224, Sep. 2022, doi: 10.24198/ptvf.v6i2.37882.

[11] W. Mathew, “Reality in Ethnographic Film: Documentary vs . Docudrama,” Vis. Anthropol., vol. 27, no. 1–2, pp. 17–24, Jan. 2014, doi: 10.1080/08949468.2013.756713.

[12] L. Lindawati, N. M. Bakhir, I. Ismawan, and R. Ramdiana, “Visual ethnography of the Aneuk Jamee bridal chamber as an effort to preserve cultural products in Tapak Tuan, Aceh Province,” Dewa Ruci J. Pengkaj. dan Pencipta. Seni, vol. 19, no. 1, pp. 77–90, Jun. 2024, doi: 10.33153/dewaruci.v19i1.5504.

[13] V. Štětka, “From Global to (G)local: Changing Patterns of Television Program Flows and Audience Preferences in Central and Eastern Europe,” J. Pop. Film Telev., vol. 40, no. 3, pp. 109–118, Jul. 2012, doi: 10.1080/01956051.2012.697779.

[14] S. Grigoriev, “Dewey: A Pragmatist View of History,” J. Philos. Hist., vol. 6, no. 2, pp. 173–194, 2012, doi: 10.1163/187226312X650737.

[15] R. T. Hurlburt and S. A. Akhter, “The Descriptive Experience Sampling method,” Phenomenol. Cogn. Sci., vol. 5, no. 3–4, pp. 271–301, Dec. 2006, doi: 10.1007/s11097-006-9024-0.

[16] J. Moss, P. A. Whalley, and I. Elsmore, “Phenomenological psychology & descriptive experience sampling: a new approach to exploring music festival experience,” J. Policy Res. Tour. Leis. Events, vol. 12, no. 3, pp. 382–400, Sep. 2020, doi: 10.1080/19407963.2019.1702627.

[17] S. Roopa and M. Rani, “Questionnaire Designing for a Survey,” J. Indian Orthod. Soc., vol. 46, no. 4_suppl1, pp. 273–277, Dec. 2012, doi: 10.1177/0974909820120509S.

[18] H. Taherdoost, “Designing a Questionnaire for a Research Paper: A Comprehensive Guide to Design and Develop an Effective Questionnaire,” Asian J. Manag. Sci., vol. 11, no. 1, pp. 8–16, Apr. 2022, doi: 10.51983/ajms-2022.11.1.3087.

[19] R. Fassinger and S. L. Morrow, “Toward Best Practices in Quantitative, Qualitative, and Mixed- Method Research: A Social Justice Perspective,” J. Soc. Action Couns. Psychol., vol. 5, no. 2, pp. 69–83, May 2013, doi: 10.33043/JSACP.5.2.69-83.

[20] A. Gustavsson, “Revisiting and reframing ethnographic praxis. The return of visual collections from Gothenburg to the Argentine Chaco,” Int. J. Herit. Stud., vol. 28, no. 11–12, pp. 1242–1254, Dec. 2022, doi: 10.1080/13527258.2022.2146154.

[21] H. Heryani, “Kedwibahasaan Pada Masyarakat Tutur di Kota Cirebon,” J. Educ. Dev., vol. 10, no. 2, pp. 429–433, 2022.

[22] Z. Firdaus, E. P. Surya, U. F. N. Imami, A. Aruna, and D. Setiawan, “Pelatihan dan Inkubasi SDM Kampung Industri Tempe Sanan: Strategi Pengembangan Produk Tempe Multirasa,” in Prosiding Seminar Nasional Unimus, 2023, vol. 6, pp. 1235–1245.

[23] I. N. A. F. Setiawan, I. N. W. Adnyana, and P. W. Aditama, “Fenomena Pertanian Di Desa Celuk Buruan Bali Dalam Media Dokumenter,” Andharupa J. Desain Komun. Vis. Multimed., vol. 7, no. 01, pp. 44–58, Feb. 2021, doi: 10.33633/andharupa.v7i01.3517.

[24] Y. Peng and T. Yang, “Anatomy of audience duplication networks: How individual characteristics differentially contribute to fragmentation in news consumption and trust,” New Media Soc., vol. 24, no. 10, pp. 2270–2290, Oct. 2022, doi: 10.1177/1461444821991559.

[25] F. Ogunleye, “Television Docudrama as Alternative Records of History,” Hist. Afr., vol. 32, pp. 479–484, May 2005, doi: 10.1353/hia.2005.0019.

[26] T. Ebbrecht, “Docudramatizing history on TV,” Eur. J. Cult. Stud., vol. 10, no. 1, pp. 35–53, Feb. 2007, doi: 10.1177/1367549407072969.

[27] J. Chigwada and P. Ngulube, “Stakeholders in the acquisition, preservation, and dissemination of indigenous knowledge projects,” Inf. Dev., Aug. 2023, doi: 10.1177/02666669231192851.

[28] M. J. Vandermark, K. A. Conrad, E. D. Boyle, B. C. Ziegler, and F. Lawrence, “Docudrama Media Effects on Viewer’s Behaviors Related to Stress, Emotion, Perception, and Reality,” in Academic Forum. Conference. Proceedings, 2014, p. 37.

[29] S.-N. Zhang, W.-Q. Ruan, and T.-T. Yang, “National Identity Construction in Cultural and Creative Tourism: The Double Mediators of Implicit Cultural Memory and Explicit Cultural Learning,” Sage Open, vol. 11, no. 3, Jul. 2021, doi: 10.1177/21582440211040789.