Approval of Multimedia Performing Arts as a Revitalization Product

of the Ambu Hawuk Myth in the Form of Multimodal Texts

Adita Widara Putra

, Syihabuddin

and Sumiyadi

Departement of Indonesian Language Education, Siliwangi University, Siliwangi Street Tasikmalaya, Indonesia

Department of Indonesian Language Education, Universitas Pendidikan Indonesia, Setiabudi StreetBandung, Indonesia

Keywords: Approval, Multimedia Performing Arts, Revitalization Product, Ambu Hawuk Myth, Multimodal Texts.

Abstract: This study attempts to identify and analyze aspects of the acceptability of multimodal text teaching materials

in the form of the Ambu Hawuk multimedia performing arts as a product of oral literature revitalization. This

is done to find out the form of multimedia teaching materials received by the education community in which

there is a crystallization of cultural values from oral literature. The research model used is the simplified

UTTAUT model in line with the research objectives. The results of the analysis of the model structure show

that the relationship between Performance Expectancy, Effort Expectancy, Social Influence, Facilitating

Conditions, and ICT Usage Habits has a positive influence on Attitude Towards ICT. Meanwhile, Perceived

Learning Opportunities have no effect on Attitude Towards ICT.

1 INTRODUCTION

The use of technology to develop multimedia

performing arts in this study is the estuary of the

process that defines efforts to revitalize oral literature

by utilizing technology. Its concreteness lies in the

production of multimodal texts which crystallize

cultural values through the use of technology(Putra et

al., 2022, 2023). Technology as part of modern life is

basically a necessity. This is because technology

influences people's lifestyles a lot as evidenced by the

use of technology in various aspects of people's lives

(Bendi &Andayani, 2013; Frost, 1999; Mahende &

Jasruddin, 2017; Nasir, 2013). Based on this, it is

unfair if we think that technology plays an important

role in undermining national identity. Technology

should be a means to bridge revitalization and

language education and learning.

The existence of multimodal texts has an

important role related to the use of verbal language as

teaching material which is considered a learning

problem (Kress, et.al., 2001; Moreno & Mayer,

2007).In this regard, the issue of multimodality is of

great interest to academics, as indicated by a large

number of books and journals on multimodal texts

https://orcid.org/0000-0001-6886-3185

https://orcid.org/0000-0001-6156-7826

https://orcid.org/0000-0002-0599-250X

and their research (Jewitt, 2016). This is based on the

fact that today's society lives as a multimodal society,

a society that produces the meaning of life experience

through language, images, gestures, actions, sounds,

and other resources. Society always presents texts in

a multimodal form by utilizing and combining the

resources of various semiotic systems (Baldry &

Thibault, 2006; O’Halloran et al., 2010). In this

regard, technology makes it easy to produce text and

provides broad access to consuming text.

The use of multimodal text teaching materials that

contain oral literature is in line with efforts to

revitalize oral literature, myth is one of them. In this

regard, revitalization is basically an effort made to

revive the existence of oral literature in the midst of

people's lives that accept foreign cultures along with

the influx of new knowledge and bring modernity to

life. This is done by maximizing the potential of oral

literature through the creation of improvised spaces

by presenting them in a more modern form(Amir,

2013; Sibarani, 2012). Revitalization is carried out so

that ethnic wisdom as part of cultural wealth does not

disappear with the death of tradition (Amir, 2013;

Godoy, 1998; McDade, 2007; Reyes-García, et.al.,

2005; Reyes-García, et.al., 2007; Ross, 2002;

Rusyana, 2006; Sibarani, 2012).

Widara Putra, A., Syihabuddin, . and Sumiyadi, .

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts.

DOI: 10.5220/0012197200003738

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 4th International Conference on Innovation in Education (ICoIE 4 2022) - Digital Era Education After the Pandemic, pages 103-116

ISBN: 978-989-758-669-9; ISSN: 2975-9676

103

Multimodal is a term used for a way of

communicating using different semiotic modes at the

same time to strengthen and complete certain

information structures. Multimodal is used as a

technical term that aims to show the process of

interpreting information by utilizing a variety of

semiotics or semiotic events simultaneously and

certain ways of combining these semiotic modes.

Multimodal is considered a source of verbal and

visual semiotics that can be used to realize the types

and levels of dialogic involvement in a text (Chen,

2010; Iedema, 2003).

This study aims to determine the acceptability of

the revitalization product of the Ambu Hawuk myth

as teaching materials in the form of multimodal texts

that integrate various modes in the form of language,

images, gestures, actions, sounds, and other resources

as a unitary social semiotic system.The product of the

revitalization of the Ambu Hawuk myth in this study

is a multimedia performing artwork in the form of a

poetry musical performance that is produced through

a process of reconstruction, refunctionalization,

representation, reform, reinterpretation, reorientation,

and recreation with the steps of introduction,

documentation, transfer, and dissemination

(Durachman, 2016; KBBI, 2013; Sibarani, 2012;

Sumiyadi, 2016). Concretely, the myth of Ambu

Hawuk underwent two transformations, namely the

transformation of spoken texts into poetry texts and

poetry texts into multimedia performing arts

texts(Putra et al., 2023).

The analysis model used in this study is the

Unified Theory of Acceptance and Utilization of

Technology (UTTAUT) model. The Unified Theory

of Acceptance and Utilization of Technology

(UTTAUT) model is a development of the

Technology Acceptance Model (TAM). The

UTTAUT model is built from a combination of eight

acceptance models namely Theory of Reason Action

(TRA), Technology Acceptance Model (TAM),

Theory of Planned Behavior (TPB), Combined TAM

and TPB (C-TAM-TPB), Innovation Diffusion

Theory (IDT), Social Cognitive Theory (SCT),

Motivational Model (MM), and Model of PC

Utilization (MPCU). The aspects that become

indicators in this analysis are Performance

expectancy, Effort expectancy, Social influence,

Facilitating conditions, Perceived learning, Attituted

towards ICT, and ICT usage habits (Bendi& Sri A.,

2013; Liebenberg et al., 2018; Mahende &Jasruddin,

2017; Nasir, 2013; Sedana&st.Wisnu W., 2009;

Taiwo & Downe, 2013; Venkatesh et al., 2003, 2012).

The UTAUT model is an integrated model

developed based on a cognitive social theory with a

combination of eight leading research models

regarding the acceptance of information technology

(Taiwo & Downe, 2013). The UTAUT model has

proven successful out of eight other technology

acceptance theories in explaining up to 70% of user

variance (Nasir, 2013; Taiwo & Downe, 2013).

Figure 1: UTTAUT Model (Venkatesh et al., 2012).

The UTAUT model (Venkatesh et al., 2003) then

underwent development with the addition of several

variables (Venkatesh et al., 2012). The old UTAUT

model has four key constructs, namely: performance

expectancy, effort expectancy, social influence, and

facilitating conditions which have an influence on

behavioral intentions to use technology.

2 METHOD

This study uses the UTAUT model which was

adapted from the UTAUT 2 (figure 1) model through

simplifications as shown below.

ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

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Information;

1:Performance expectancy

2: Effortexpectancy

3: Socialinfluence

4: Fasilitatingconditions

5: Perceivedlearning

opportunities

6: ICT usagehabbits

7: Attitutedtowards ICT

Figure 2: Model UTTAUT.

The data used in the UTTAUT study were

obtained based on the results of a questionnaire

distributed to 200 respondents via Google Forms. The

sampling method uses the Proportionate Stratified

Random Sampling method. Respondents in this study

were students of the Indonesian Language Education

study program at several universities and Indonesian

language subject teachers in West Java. The scale

used is a 5-point Likert scale namely; Strongly Agree,

Agree, Doubtful, Disagree, and Strongly Disagree.

Analysis of the measurement model (outer model)

was carried out through four stages of testing, namely

individual item reliability, internal consistency

reliability, average variance extracted, and

discriminant validity (F. Hair Jr et al., 2014; Henseler

et al., 2009; Urbach &Ahlemann, 2010; Yamin&

Kurniawan, 2011).

Individual Item Reliability Test: This test is

carried out by looking at the value of the standardized

loading factor. This value illustrates the magnitude of

the relationship between each indicator and its

construct. A loading factor value above 0.7 can be

said to be valid as an indicator that measures

constructs (Afthanorhan & Asyraf, 2013; F. Hair Jr et

al., 2014; Henseler et al., 2009; Urbach&Ahlemann,

2010; Yamin & Kurniawan, 2011). It can be seen

from table 1 that all items have a loading factor above

0.7 so it can be said that all indicators are valid for use

in the research model.

Table 1: Loading Factor Test Results with Smart PLS.

AT EE FC PE PLO SI UH

AT1 0,782

AT2 0,768

AT3 0,719

AT4 0,801

EE1 0,796

EE2 0,806

EE3 0,703

FC1 0,845

FC2 0,727

FC3 0,851

PE1

0,8

PE2

0,8

PE3

0,7

PLO1 0,816

PLO2 0,881

PLO3 0,840

PLO4 0,890

SI1 0,810

SI2 0,865

SI3 0,833

SI4 0,877

UH1 0,810

UH2 0,777

UH3 0,776

Table 2: Composite Reliability Test Results with Smart

PLS.

Com

osite reliabilit

(

rho

)

AT 0,852

EE 0,813

FC 0,850

PE 0,872

PLO 0,917

SI 0,910

UH 0,831

Table 2 also shows that all CR values are above 0,7

so it could be concluded that all variables meet the

requirements for use and there are no problems in the

composite reliability test.

Average Variance Extracted: This test is carried

out by looking at the average variance extracted

(AVE) value. This value describes the magnitude of

the variance or the diversity of manifest variables

(indicators) that can be contained by latent variables

(constructs). A minimum AVE value of 0.5 indicates

a good measure of convergent validity (Afthanorhan

&Asyraf, 2013; F. Hair Jr et al., 2014; Henseler et al.,

2009; Urbach & Ahlemann, 2010; Yamin &

Kurniawan, 2011).

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts

105

That is, the latent variable (construct) can explain

on average more than half of the variance of the

indicators.

Table 3: Results of the Average Variance Extracted Test

with Smart PLS.

AT EE FC PE PLO SI UH

AT1

0,782 0,434 0,266 0,561 0,562 0,332 0,332

AT2

0,768 0,517 0,341 0,588 0,510 0,252 0,301

AT3

0,719 0,488 0,288 0,496 0,465 0,234 0,354

AT4

0,801 0,811 0,409 0,548 0,429 0,269 0,287

EE1

0,480 0,796 0,267 0,483 0,368 0,302 0,219

EE2

0,565 0,806 0,221 0,607 0,545 0,151 0,267

EE3

0,391 0,703 0,217 0,406 0,360 0,332 0,330

FC1

0,273 0,182 0,845 0,236 0,148 0,283 0,190

FC2

0,412 0,323 0,727 0,447 0,336 0,251 0,193

FC3

0,298 0,185 0,851 0,237 0,152 0,269 0,194

PE1

0,623 0,626 0,356 0,856 0,631 0,283 0,147

PE2

0,648 0,526 0,354 0,854 0,536 0,348 0,262

PE3

0,501 0,491 0,304 0,787 0,579 0,354 0,251

PLO1

0,536 0,464 0,214 0,552 0,816 0,298 0,385

PLO2

0,572 0,542 0,262 0,625 0,881 0,301 0,264

PLO3

0,518 0,395 0,217 0,589 0,840 0,230 0,268

PLO4

0,568 0,518 0,285 0,618 0,890 0,286 0,242

SI1

0,261 0,209 0,244 0,348 0,250 0,810 0,161

SI2

0,325 0,314 0,306 0,338 0,303 0,865 0,198

SI3

0,289 0,226 0,289 0,321 0,227 0,833 0,162

SI4

0,319 0,334 0,284 0,322 0,316 0,877 0,220

UH1

0,359 0,245 0,168 0,180 0,223 0,167 0,810

UH2

0,319 0,324 0,300 0,305 0,361 0,233 0,777

UH3

0,296 0,253 0,100 0,132 0,214 0,119 0,776

From table 3, we can conclude that all AVE

values have a value greater than 0.5 so that it can be

said that all variables meet the requirements for use

and there are no problems in the AVE test.

Disciminant Validity: This test is carried out

with two stages of cross loading examination, namely

cross loading between indicators and Fornell-

Lacker's cross loading (Subiyakto et al., 2014).

Examination of the cross loading of each indicator is

carried out by comparing the relationship between the

indicator and its construct and other block constructs.

If the correlation between the indicator and the

construct is higher than the correlation with other

block constructs, this indicates that the construct

predicts the size of their block better than the other

blocks (Afthanorhan & Asyraf, 2013; F. Hair Jr et al.,

2014; Hair et al., 2012; Henseler et al., 2009).

Examination of Fornell-Lacker's cross loading

was carried out by looking at the root AVE value

which must be higher than the correlation between the

construct and other constructs (Afthanorhan&Asyraf,

2013; F. Hair Jr et al., 2014; Hair et al., 2012;

Henseler et al., 2009; Subiyakto et al., 2014;

Urbach&Ahlemann, 2010; Yamin& Kurniawan,

2011).

Figure 3: Analysis Model.

3 RESULTS AND DISCUSSION

3.1 A Myth of Ambu Hawuk

Based on the results of ethnographic research, Ambu

Hawuk's myth is obtained in the form of speech from

several sources. The speech obtained is in the form of

fragments that need to be combined into a whole unit.

This causes the process of revitalizing myths needs to

be reconstructed.

Ambu Hawuk's myth is a myth that tells a sacred

figure but is also believed to be a"hawuk" or dark

figure due to his black magic mastery.In a myth that

is the basis of writing Ambu Hawuk poetry represents

the contents of the myth that breaks all the

assumptions about the figure of Ambu Hawuk as a

figure "Hawuk." The myth of Ambu Hawuk

represented by Ambu Hawuk 1 poem also reflects

how the Sundanese human figure mastered the

supernatural powers whose black or white

classification lies in how to use them. Is it for good or

badness to society? The figure of Ambu Hawuk who

in the myth is told as a member of the kingdom who

Average Variance Extracted (AVE)

AT 0,590

EE 0,592

FC 0,655

PE 0,694

PLO 0,735

SI 0,717

UH 0,621

ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

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does not get his rights as a member of the kingdom.

At present, it is said that the figure of Ambu Hawuk

often appears in the form of a giant bat that is perched

on a monument in the area around Rumantak

Galunggung Tasikmalaya. Ambu Hawuk's speech is a

folklore that comes from the Galunggung community

and develops in the past, it is also a characteristic of

every nation (Sundanese society) that has a cultural

culture. Ambu Hawuk's speech said how Ambu

Hawuk figures in Galunggung. Ambu Hawuk's speech

is an expression of the literary Galunggung

community that is spread orally and is closely related

to the collective memory of the traditional

arrangement of Galunggung while still in the form of

a kingdom. The contents of the speech are anonymous

and adventurous and are distributed for a long time

among the Galunggung community.

The above proves that Ambu Hawuk's speech is

folklore in line with several conceptions. Folklore is

a story that comes from society and develops in

society in the past, also a characteristic of every

nation that has a cultural culture. Folklore tells about

an event in a place or the origin of a place. The

characters that are raised in folklore are generally

manifested in the form of animals, humans, and gods

(Gusnetti,2015,p.184).Folklore can be interpreted as

an expression of literacy of citizens of a culture whose

delivery and distribution are spread orally that are

directly related to various aspects of the culture and

the social values of the community

(Hutomo,1983,p.8). Folklore is one of the literary

works that are born, lived, and develop several

generations in traditional society, whether the

community has known letters or not, is spread

verbally, contains adventure, is anonymous, and is

spread between certain collectives in sufficient

periods long.

Ambu Hawuk folklore is a story that contains

education about how we use knowledge in life.The

figure of Ambu Hawuk as a knowledgeable human

being or magic indicates how he uses it when meeting

with good humans and evil humans. One time he will

use it as a path of virtue but it is not impossible to use

in the path of faintness, depending on who rubbed it

against him. This is in line with the results of the study

of Dorji (2009) which states that folklore is a story

that grows in the community itself. Folklore is a

history that reflects the community where folklore is

born. Folklore has traditional values which are the

most important part of folklore consisting of; (1) good

thoughts or intentions; (2) reply to kindness;

Obedience to parents; (3) karma law; and (4) love of

goodness.

Ambu Hawukfolklore is a myth. This is in line

with the opinion of Malinowski (Bascom, 1954, p.

magical. Legend is shopped by humans, although

sometimes they have extraordinary qualities and are

often assisted by magical creatures. The place of

occurrence is the same as what we know because the

time of occurrence is not too past (Danandjaya, 1994,

p. 50). While another division of folklore is Mite

(Myth), folklore that is considered truly happening

and is considered sacred by the owner of the story,

stated by the gods or half-god creatures. Events in

Mite occur in a world that is not what we know today

and happened in the past, and fairy tales (folktales)

are people's prose that is not considered to happen.

Fairy tales are told for entertainment, although many

describe the truth, contain lessons (morals), or even

satire. Ambu Hawuk folklore as a myth can be proven

by the trust of some people who believe that Ambu

Hawuk still often appears today in the form of a giant

bat. Folklore is essentially a part of oral literature

which is dichotomically divided into oral literature

performances and not performances. Oralliterature in

the form of performances is complex and involves

many people because it consists of kickers,

instrument players, dancers, and even dialogue

carriers. The complexity of the show is determined by

the genre of oralliterary performances delivered. Oral

literature is composed, composed, and delivered

verbally through a show.At the show,the

performer,the text,and the connoisseur community

met in physical and aesthetic meaning. The text in this

case becomes the realm of an aesthetic meeting of

performers and the community (Amir, 2013).

Folklore is essentially a part of oral literature

which is dichotomically divided into oral literature

performances and not performances. Oral literature in

the form of performances is complex and involves

many people because it consists of kickers,

instrument players, dancers, and even dialogue

carriers. The complexity of the show is determined by

the genre of oralliterary performances. Oral literature

is composed, and delivered verbally through a show.

At the show,the performer,text,and the connoisseur

community met in physical and aesthetic meaning.

The text in this case becomes the realm of an aesthetic

meeting of performers and the community (Amir,

2013). Based on the concept above, it can be seen that

the form of Ambu Hawuk's myth is oral literature, not

a show. Ambu Hawuk's

myth contains the mandate

that is developed implied in a story, story, or

testimony that contains ethical and aesthetic

properties in a group of people where the oral located

verbally from one generation to another (Astika

&Yasa, 2014). Ambu Hawuk's myth is literature that

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts

107

appears in oral form(Literature Transmitted

Orally/Unwritten Literature), (Francis Lee, in

(Dundes, 1965)). In addition, the myth of Ambu

Hawuk is also a narrative oral literature. This is in line

with the conception of oral literary forms as narrative

oral literature and not narrative. The form of narrative

oral literature in the form of poetry, drama, and prose.

Oral literature in the form of non-narrative such as

songs, puzzles, humor texts, and jampi- jampi

shamans when treating sick people and others

(Pudentia, 1998).

The myth of Ambu Hawuk exists orally among the

Sundanese people, especially in Galunggung. This

proves that Ambu Hawuk's myth has an oral cultural

reference and is an essential dimension. In cultural

products, Ambu Hawuk's myth can be categorized as

an oral tradition because it has four dimensions

(Pudentia, 1998; Sibarani, 2012; Sukatman, 2009),

namely; (1) Littleness; proven by its existence orally;

(2) language; proven by the main media to inherit it

through spoken language;(3)literature; Evidenced by

the existence of the nature of Dulce et Utile in the

myth of Ambu Hawuk; and(4)have cultural values;

Evidenced by the existence of a story that states the

necessity of maintaining the order of life that’s should

be adjusted to the cultural order of the past.In

addition, the myth of Ambu Hawuk has two main

characteristics of oral traditions, namely the

characteristics of the traditions and the characteristics

of the viciousness.Characteristics of Ambu Hawuk

Myths are: (1) Speech is accepted from the previous

generation; (2) fixed and recurring patterns;and(3)the

separation turned into a story that was told

again.While the characteristics of the illegal in the

myth of Ambu Hawuk are: (1) speech in the oral

medium; (2) many sentences are incomplete

components; (3) there is an implicit explanation; and

(4)there are parts that are repeated (Rusyana, 2006;

Sukatman, 2009).

Figure 3: Dimensions of Oral Traditions in Ambu

Hawuk Myth

Ambu Hawuk'smyth is a cultural product inherited

by the Galunggung community generation for more

than two generations.This is evidenced by the

linkages of Ambu Hawuk's myth with the Kingdom of

Galunggung that existed in Galunggung in the year of

1111 AD (seen from the incident or incident of

strengthening the Defense of the Kingdom of

Galunggung by Batari Hyang based on the

Inscription Geger Hanjuang). Although the story of

Ambu Hawuk is not explained in detail about when he

exists. Ambu Hawuk's myth is a message of the past

in the form of utterances that are passed down to the

next generation. Ambu Hawuk's myth contains

problems about life in the Galunggung community

regarding the famous "Ambu" figure. This proves that

Ambu Hawuk's myth is an oral tradition in the form

of a past message spoken from generation to

generation (Danandjaya, 1994; Vansina, 1985).

Ambu Hawuk myth can be categorized as folklore.

This is due to the similarity with the concept and

characteristics of folklore. Folklore is a tradition

owned by a group of people with certain

identification characteristics and cultural wealth in

the community. Ambu Hawuk's myth is a myth that

once existed in Sundanese society, especially in

Galunggung. This myth also has the characteristics of

being spread orally,being traditional,developing in

the versions, having patterns, being anonymous,

collectively useful, paralegals and collective, and

reflects the value of honesty so that it is in line with 9

features of folklore. Whereas the form of Ambu

Hawuk myth is oral folklore as evidenced by its oral

existence (Danandjaya, 1994; Endraswara, 2009).

3.2 Cultural and Social Value in Ambu

Hawuk Myth

Cultural values are the values possessed by a group of

people through the process of planting and or

agreement naturally. Cultural values are rooted and

reflected through beliefs and habits and also

sometimes reflected in symbols that are typical and

can be distinguished from symbols in society or other

organizations as guidelines for behavior and

responses to events that have been, moderately, or

will occur. Cultural values can also be instilled

verbally or in writing from the generation above to

the generation below.

Ambu Hawuk's myth is a myth that tells a figure

that is sacred but is also believed to be a "hawuk" or

dark figure due to his supernatural powers mastering

black magic. In a myth that is the basis of writing

Ambu Hawuk 1 poetry represents the contents of the

myth that breaks all the assumptions about the figure

of Ambu Hawuk as a figure "Hawuk." The myth of

Ambu Hawuk represented by Ambu Hawuk 1 poem

Literature

Culture

Value

Language

Liddness

ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

108

also reflects how the Sundanese human figure

mastered the supernatural powers whose black or

white classification lies in how to use them. Is it for

good or badness to society? This becomes a belief that

is embedded in the Galunggung community roots to

bring up polite, and humble attitudes but will become

fierce when they feel disturbed. These attitudes and

behaviors have been studied since childhood by the

Galunggung community so that the attitudes and

behaviors are fleshandare lasting and are not replaced

by other cultures.On the other hand, the attitude and

behavior guidelines are beneficial to the Galunggung

community itself to maintain threats from outside.

This finding is in line with the analysis of

F.Boas(Bascom, 1954) of the Tsimshian myth based

on the words of Herskovits that folklore substantially

is more than just a literary expression of society.

The reality above is in line with some conceptions

of cultural values.The cultural context in folklore is

something important about the depiction of

community attitudes and beliefs (Bascom,

1954).Culture is seen as something complex and full

of meaning, beliefs, practices, symbols, norms, and

values that are generally accepted in society.Cultural

values emphasize more on the form and justification

of individuals or groups of beliefs, actions, and goals.

Orientation of cultural values develops in a society

that faces problems in regulating human

activities(Schwartz, 2006). Cultural values become a

reference for the behavior of the majority of members

of the community concerned, are in their minds,and

are difficult to explain rationally.Cultural values are

lasting,and not easily changed or replaced with other

cultural values (Setiadi& Usman K., 2011).Cultural

values consist of concepts about everything that is

considered valuable and important by the citizens of

a society. Cultural values can function as a guideline

for the lives of the citizens concerned. The cultural

values adopted by the community are values as a

guide to life in society(Koentjaraningrat, 2002).

The explanation above emphasizes the

understanding of cultural values that refer to the good

and bad behavior of people based on values that are

used as guidelines for life. This life guideline

concerns human nature about oneself, other

humans,nature,and its creator.The values of life in a

society that are used as guidelines in social life for the

Galunggung community based on the myth of Ambu

Hawuk are,

1. Family value. Ambu Hawuk's myth reflected the

value of kinship which indirectly invites the

Galunggung community, especially to take care of

harmony and harmony in society. Togetherness to

in still the values of goodness is used as a means

of unifying.

2. Religious Value.The myth of Ambu Hawuk

reflected in religious values for the Galunggung

community to follow the teachings of their

religion well. Because religious teachings always

teach goodness,virtue,and wisdom.This is

described through recommendations to carry out

consistent and joint worship activities so that

everyone can be followed.

3. Community value. Through the myth of Ambu

Hawuk, the social value that arises is the value to

strengthen relations between society to maintain

the life order of ancestral heritage by prioritizing

the attitude of compassion. Do not always believe

in the news of confusion that discredited one of

the parties to always be awake from bad thoughts

and corrupted the system of life.

4. Political Value. Through the myth of Ambu

Hawuk, the political value that can be interpreted

is the existence of an effort of the Galunggung

community to maintain security against the threat

of people outside Galunggung. This Ambu Hawuk

myth indirectly also implies a figure who will

participate in maintaining peace for the

Galunggung community.

5. Educational Value. Through the myth of Ambu

Hawuk, the value of education is implied to

mature and educate the Galunggung community.

Through the figure of Ambu Hawuk who is told to

have a "hawuk" figure but always presents

positive things to the community as a whole, one

of which is through prayer.

The social value of Sundanese society is a process

of determining good or bad, appropriate or

inappropriate,through the weighing process.

Sundanese culture is one of the oldest cultures in the

archipelago."Sundanese culture is a culture that

grows and lives in Sundanese society.Sundanese

culture is known as a culture that upholds courtesy. In

general, the character of the Sundanese society is

cheerful,friendly(soméah),smiling,weak,and very

respectful towards the elders. That is the cultural

mirror of the Sundanese community"(Gloriani, 2015)

The teachings in Sundanese culture about the path to

the virtues of life are manifested in the character of

Sundanese such as cageur,bageur, singer,

jeungpinter, which can be interpreted that Sundanese

people must have healthy characters both physically

and spiritually, their behavior, skilled in living life,

and many other skills to increase mind capacity.The

traditional spiritual belief of Sundanese society is

Sunda Wiwitan which teaches the harmony of life

with nature.

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts

109

In general, the people of West Java or Sundanese

are known as a gentle, religious, and very spiritual

society, this trend is visible in the Pameo Silih Asih,

Silih Asah, and Silih Asuh; Loving each other

(prioritizing the nature of compassion), mutual

perfecting or improving themselves (through

education and sharing knowledge), and protecting

each other (maintaining salvation). In addition,

Sundanese people also have several other values such

as politeness(handapasor),humility to others, respect

for the older, and love for the younger

(hormatkanuluhur,nyaahkanuleutik)Those who need

it and who are in trouble (nulung ka nu butuhnalang

ka nu susah). In Sundanese culture, the magical

balance is maintained by conducting traditional

ceremonies, while the social balance of the

Sundanese community is cooperation to maintain it

(Gloriani, 2015). The mindset of the Sundanese

people is known as Tritangtu.The composition of this

tritangtu is the tekad, ucap, and lampah that are

parallel to lives, raga jeungpapakean(clothing). This

Sundanese philosophy gives the meaning that if his

determination is true and good, his thinking is true

and good, then his actions will be true and pretty

decent. Conversely, if his determination is not good,

eventhough he has a stable mind capacity, the results

are still not good. All three are united in the law of

causality. (Sumardjo, 2011) further explains about

this tritangtu that Sundanese people symbolize the

sky as water, humans as stones (which can be built in

writing, mind), and earth as land. Thus there is a unity

of nature between heaven, human, and earth. The

meaning of that all is the fabric of the pattern of

relations between humans and other humans,human

relations with God, and the relationship between

humans with the universe.

The above opinion emphasizes that Sundanese

society has a philosophy of the relationship between

humans and God who created themselves and the

universe, the relationship between humans and other

humans,and the relationship between humans and the

natural surroundings. The sky created by God is the

source of the origin of water as a fortune given by

God to humans. Water descends to earth (soil)

fertilizing all plants that can be used for human needs.

And humans who live on earth can be formed

according to the needs and conditions of the

surrounding nature. These three things, namely

heaven, human, and earth interrelated and influenced

each other.

3.3 Creative Process of Transformation

the Ambu Hawuk Myth

The form of multimedia performance art in this study

is a musical performance of poetry which is

visualized through several other works of art such as

poetry readings, painting, dance, and dramatization

art. The text of the poem and its composition in the

form of musical poetry become the center of the

artwork created based on the mythical content of

Ambu Hawuk. Therefore, in the creative process of

transforming the oral text of Ambu Hawuk's myth,

priority is given to it into a poetic text which is

continued in its composition to become a

musicalization of poetry. The entire creative process

can be visualized in the following chart.

Figure 4: The Sequence of the Creative Process of

Transformation the Ambu Hawuk Myth.

The creative process of transforming the Ambu

Hawuk myth is a creative process that focuses on

extracting ideas based on mythical content that has

been explored and analyzed in ethnographic research.

The creative process is preceded by composing or

writing poetry, representing the content and value of

the Ambu Hawuk myth. Furthermore,the tone

composition process is carried out in the poem,

referred as the musicalization of poetry. The

compositional process coincides with the creative

process of representing Ambu Hawuk in the form of

painting. Furthermore, the creative process continued

with the design of the dance concept as a form of

Ambu Hawuk Poetry Writing

Music Composition on poetry and Ambu

Hawuk's Representation on Paintings

Representation of Ambu Hawuk in Dance

Poetry Reading Performance and Poetry

Dramatization

Taking pictures/videos of dance,

painting, poetry readings, and

dramatizations

The process of composing music and

video fragments into performing

multimedia art

ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

110

representation of Ambu Hawuk, adapted to the poem's

musical strains. Furthermore, the creative process

continued with designing the concept of poetry

reading performances. After everything has been

designed, shooting is carried out on stage or off stage.

This video was shot on a different stage in line

with the predetermined video composition concept.

The first video shot was a dance video taken by Ai

Mellyana Agustin, RistaAulia, Imelda Ayu Syaqila

Asprilia, Dahlan, Rahma Naila Cahya, Silfa Milatul

Istiqomah, and Chelsea Putri Kinanti. The video

shooting continued with the painting process carried

out by Septia Pahlawan. This video was taken not on

the stage, but in a building that had not yet been

completed. The shooting was carried out at night and

assisted by lighting from the lighting system normally

used in performances on stage. The next video shot is

a poetry reading by Ai Siti Mardiah. The video was

taken in a studio with the help of a lighting system

that combines red and yellow light. The aesthetically

expressive poetry reading conducted by Ai Siti

Mardiah,uses the concept of imagination how to

inform the figure of Ambu Hawuk as conveyed by the

poet text writer through his poetry.

There are two characteristics of the figure of

Ambu Hawuk which is the source of Ai Siti Mardiah's

appreciation: the figure of "white" and the figure of

"Hawuk" or "black." From these two figures, Ai Siti

Mardiah imagined how she would respond to these

two figures, if the "white" figure reflected virtue, then

she read the text of the poem in a subtle,respectful,

and slightly shady way. On the other hand, when it

comes to the figure "Hawuk" or "black", Ai Siti

Mardiah reads it with fear as if she is facing a figure

that will give her bad luck.

This is also reflected in the gesture that Ai Siti

Mardiah shows through her aesthetically expressive

poetry reading as a form of artistic representation of

the Ambu Hawuk’s figure through the text of a poem

written by Yana S. Atmawiharja (Putra et al., 2023).

The videos above are taken thoroughly or from start

to finish. This is done to provide the necessary stock

videos for the video composition process to become a

complete multimedia performance art.The video

composition process uses the Adobe Premiere Pro

application in 2021. In the application, the main basis

for video composition is the musical track of the

composition of poetry by Alfin Nurul Azmi.

This means that the composition of the video

fragments in each of the artworks above must be able

to represent the content of the musicalization of the

poem which will automatically represent the myth of

Ambu Hawuk. This indicates that not all of the video

fragments taken in each of the artworks above are

used in multimedia performance art in the form of

poetry and musical performance art (Putra et al.,

2023).

Figure 5: Adobe Premiere Pro 2021 Application for

Editing(Putra et al., 2023).

In the video composition process using the Adobe

Premiere Pro 2021 application, the first time is to

prepare the musicalization track of Ambu Hawuk

poetry. The next step is combining the components

between the poetry musicalization track and the

poetry illustration video. In this composition process,

the editor selects video illustration materials that are

tailored to the needs of the poetry musical track. Each

part of the video must be able to represent the musical

track of the poem. After the composition process is

complete, then the editor will provide color grading

to the video (Putra et al., 2023).

As a whole, the musical performance of Ambu

Hawuk poetry consists of three parts: the opening, the

content, and the closing. The opening section is

preceded by a narration that introduces the viewer to

multimedia performing arts.

The narrative conveyed is about what viewers will

watch if they continue to watch multimedia

performing arts. Furthermore, the opening section

continued with a video of the process of painting and

expressive reading of the text of Ambu Hawuk poetry.

In the content section, multimedia performance art

begins with dance and audio of the musicalization of

Ambu Hawuk poetry. In this section, the Ambu Hawuk

dance is accompanied by the musicalization of Ambu

Hawuk poetry. Furthermore, in the closing section,

the names of actors who have contributed to this

multimedia performance art are displayed(Putra et al.,

2023).

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts

111

Figure 6: Fragments of Multimedia Performing Arts.

The pictures above represent the video graphics

content of the musicalization of poetry as a whole

multimodal text. The first image (top left) is a

narrator's visualization that leads the appreciator into

the content of multimedia performing arts. The

second and third images (top right and center left) are

visualizations of the opening videography which

shows the process of painting and expressive reading

of poetry. The fourth and fifth pictures (middle right

and bottom left) are visualizations of the video

graphics contents featuring dance and musical

accompaniment of poetry. While the sixth image

(bottom right) is a visualization of the closing part of

the videography which displays the actors involved in

the process of making videography as a multimedia

performing art. Overall, multimedia performing arts

in the form of videography of poetry and musical

performances lasts 13 minutes and 9 seconds. The

whole video tries to collaborate different works of art

that represent the contents of the Ambu Hawuk myth.

3.4 Results of Model Structure

Analysis

Analysis of the model structure was carried out

through six stages of testing, namely testing the path

coefficient (β), coefficient of determination (R2), t-

test using the bootstrapping method, effect size (f2),

predictive relevance (𝑄2), and relative impact (𝑞2)

(Afthanorhan & Asyraf, 2013; F. Hair Jr et al., 2014;

Yamin& Kurniawan, 2011). Path Coefficient (β):

This test is carried out by looking at the threshold

value above 0.1. This means that the intended path

has an influence on the model (Afthanorhan &

Asyraf, 2013; F. Hair Jr et al., 2014; Hair et al., 2012).

Table 4: Path Coefficient Test Results with SmartPLS.

Variables AT EE FC PE PLO SI UH

EE 0,191

FC 0,123

PE 0,360

PLO 0,190

SI 0,014

UH 0,157

It can be seen from Table 4 that the result is that

there are five paths that have values above 0.1 which

means they have an effect on the model, while one

other path shows an insignificant effect, namely

SI→AT. Coefficient of Determination (R2): This test

is conducted to explain the variance of each target

endogenous variable (a variable that is considered to

be influenced by other variables in the model) with a

standard measurement of around 0.670 as strong,

around 0.333 moderate, and 0.190 or below indicates

a high level of variance. weak (Afthanorhan &

Asyraf, 2013; F. Hair Jr et al., 2014; Hair et al., 2012;

Henseler et al., 2009). The research results had shown

that the R2 value of AT (Attitude toward ICT) is

0.622 (62.2%), thus it can be explained that the ability

of the independent to explain the dependent variable

AT (Attitude toward ICT) is 62.2%, which means

moderate in explaining the dependent variable.

Table 5: T-test results with SmartPLS variable.

Q²

redict RMSE MAE

AT 0,580 0,657 0,505

T-test: This test was carried out using the

bootstrapping method, using a two-tailed test with a

significance level of 5% to test the research

hypotheses. The hypothesis will be accepted if it has

a t-test greater than 1.96 (Afthanorhan & Asyraf,

2013; F. Hair Jr et al., 2014; Hair et al., 2012). It can

be concluded from table 6 that there is one t-test value

that is less than 1.96, namely the relationship between

the variables SI→AT which has a t-test value of 0.257

in other words, this result shows that of the 6

hypotheses, there is one hypothesis that is not

accepted.

Effect Size (f2): This test was conducted to predict

the effect of certain variables on other variables in the

model structure with a threshold value of around 0.02

for a small effect, 0.15 for a medium, and 0.35 for a

large effect (Afthanorhan&Asyraf, 2013; F. Hair Jr et

al., 2014). f2 is calculated using the following

formula. 𝑓





















ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

112

Table 6: Effect Size Test Results with SmartPLS.

Hypothesis q2

Information

Numb

Path Q2-in Q2-ex Σq2

H1 PE → AT 0,580 1,000 -1,000 Small

H2 EE → AT 0,580 1,000 -1,000 Small

H3 SI → AT 0,580 1,000 -1,000 Small

H4 FC → AT 0,580 1,000 -1,000 Small

PLO → AT

0,580 1,000 -1,000 Small

H6 UH → AT 0,580 1,000 -1,000 Small

Table 7: Predictive Relevance Test Results with Smart PLS.

Hypothesis f2

Information

Numb Path R2-in R2-ex Σf2

H1 PE → AT 0,622 0,715 -0,246 Small

H2 EE → AT 0,622 0,631 -0,024 Small

H3 SI → AT 0,622 0,354 0,709 Large

H4 FC → AT 0,622 0,425 0,521 Large

H5 PLO → AT 0,622 0,641 -0,050 Small

H6 UH → AT 0,622 0,414 0,550 Large

Table 6 shows the f2 test for 6 pathways, three of

which have a major influence, namely SI→AT,

FC→AT, and UH→AT. The rest have little effect.

Predictive Relevance (Q2): This test was carried

out using the blindfolding method to provide

evidence that certain variables used in the model have

predictive relevance with other variables in the model

with a measurement threshold above zero

(Afthanorhan&Asyraf, 2013; F. Hair Jr et al., 2014;

Hair et al., 2012). It can be seen from the research

results that 𝑄2 of all variables has a predictive

relationship, namely, the 𝑄2 value of the AT variable

is 0.580.

Relative Impact (q2): This test was carried out

using the blindfolding method to measure the relative

effect of a predictive linkage of a particular variable

with other variables with a threshold value of around

0.02 for a small effect, 0.15 for medium/moderate

effect, and 0. 35 for major influence (Hair et al.,

2012). The formula used for calculating 𝑞2 is as

follows.

𝑞



𝑄



𝑖𝑛𝑐𝑙𝑢𝑑𝑒 − 𝑄



𝑒𝑥𝑐𝑙𝑢𝑑𝑒

1 −𝑄



𝑖𝑛𝑐𝑙𝑢𝑑𝑒

Table 8: Predictive Relevance Test Results with Smart PLS.

T statistics

(|O/STDEV|)

P values

EE -> AT 3,146 0,002

FC -> AT 2,183 0,029

PE -> AT 4,124 0,000

PLO -> AT 2,298 0,022

SI -> AT 0,257 0,797

UH -> AT 2,720 0,007

Table 8 shows the results from 6 paths. All paths

have little effect. Based on the results of the analysis

of model measurements carried out by the researcher,

the final result of the analysis shows that the

measurement model of this research model has

fulfilled the requirements and has good

characteristics so that it is feasible to proceed to the

model structure analysis stage to test the structural

model of this research model.

This section will present interpretation and

discussion based on the results of the six stages of

model structure analysis, namely path coefficient (β),

coefficient of determination (R2), t-test using the

bootstrapping method, effect size (f2), predictive

relevance (𝑄2), and relative impacts (𝑞2).

The following is a presentation of the results of

the analysis carried out by following the research

questions and hypotheses that have been formulated

previously.

Table 9: Hypothesis Test Results.

Hypothesis

β T-Test

Information

Numb Path

T-Test

H1 PE → AT 0,191 3,146 Significant

ccepte

H2 EE → AT 0,123 2,183 Significant

ccepte

H3 SI → AT 0,360 4,124 Significant

ccepte

H4 FC → AT 0,190 2,298 Significant

ccepte

PLO →

0,014 0,257

NotSignifica

Not

Accepte

UH →

0,157 2,720 Significant

ccepte

Based on the results of the analysis of the model

structure, the t-test value as can be seen in table 9

shows that the H1 relationship PE → AT is accepted,

so it can be interpreted that Performance Expectancy

has a positive influence on Attitude Towards ICT. In

addition, it is also supported by the results of the path

coefficient (β) of 0.191 which means that

Performance Expectancy also has a significant effect

on Attitude Towards ICT. This shows that the

acceptability of multimedia performing arts for

learning is supported by the assumption that

multimedia performing arts can improve teaching

quality, increase productivity, and increase student

competence.

The results of the analysis of the model structure,

the value of the t-test relationship EE → AT is

accepted, so it can be interpreted that Effort

Expectancy has a positive influence on Attitude

Towards ICT. Besides that, it is also supported by the

results of the path coefficient (β) of 0.123 which

means that Effort Expectancy also has a significant

Approval of Multimedia Performing Arts as a Revitalization Product of the Ambu Hawuk Myth in the Form of Multimodal Texts

113

effect on Attitude Towards ICT. This shows that the

acceptance of multimedia performing arts as teaching

materials is due to the assumption that using

multimodal texts in learning is easy to do, simplifies

the teaching process, and does not require much

preparation.

The results of the analysis of the model structure,

the value of the t-test relationship SI→AT is

accepted, so it can be interpreted that Social

Inffluence has a positive influence on Attitude

Towards ICT. In addition, it is also supported by the

results of the path coefficient (β) of 0.360 which

means that Social Inffluence also has a significant

effect on Attitude Towards ICT. This shows that the

acceptance of multimedia performing arts for

learning is due to the use of multimodal texts for

teaching influenced by those closest to them. In

addition, the use of multimodal texts in learning has

been suggested and supported by the school.

The results of the analysis of the model structure,

the t-test value of the FC→AT relationship is

accepted, so it can be interpreted that Facilitating

Conditions have a positive influence on Attitude

Towards ICT. In addition, it is also supported by the

results of the path coefficient (β) of 0.190, which

means that Facilitating Conditions also have a

significant effect on Attitude Towards ICT. This

shows that the acceptance of multimedia performing

arts for learning is due to the use of multimedia

performing arts that do not require facilities and

infrastructure outside of today's educational

standards. In addition, the use of multimodal text is

considered to be able to make students work in teams.

The results of the analysis of the model structure,

the t-test value of the PLO→AT relationship is not

accepted, so it can be interpreted that Perceived

Learning Opportunities have no influence on Attitude

Towards ICT. In addition, it is also supported by the

results of the path coefficient (β) of 0.014, which

means that Perceived Learning Opportunities do not

significantly influence Attitude Towards ICT. This

indicates that multimedia performing arts are still

considered unable to open up opportunities to teach

in new ways, have not opened up opportunities to

interact with students, have not contributed

opportunities to think creatively, and have not

stimulated students to be active, creative, and critical.

The value of the t-test relationship UH → AT is

accepted, so it can be interpreted that ICT Usage

Habits have a positive influence on Attitude Towards

ICT. In addition, it is also supported by the results of

the path coefficient (β) of 0.157, which means that

ICT Usage Habits also have a significant effect on

Attitude Towards ICT. The results of the analysis of

the structure of this model indicate that the

acceptance of multimedia performing arts is due to

the fact that it is also supported by the habits of the

educational community in using ICT in their lives.

The educational community has studied and used a lot

of technology-based learning media.

4 CONCLUSIONS

The use of technology in learning and the provision

of teaching materials that have cultural values are two

challenges faced in the 21st-century education era.

Ambu Hawuk's multimedia performance art is one of

the products of revitalization which is assumed to be

able to answer these two challenges. In this regard,

the UTTAUT model is a useful model for

determining the acceptance of the educational

community towards Ambu Hawuk's multimedia

performing arts as a product of oral literature

revitalization. The results of the structural model

analysis show that Performance Expectancy, Effort

Expectancy, Social Influence, Facilitating

Conditions, and ICT Usage Habits have a positive

influence on Attitude Towards ICT. Meanwhile,

Perceived Learning Opportunities have no effect on

Attitude Towards ICT. This indicates the acceptance

of revitalization products which are considered to be

able to improve teaching quality, increase

productivity, and increase learner competency. On

the other hand, the use of multimodal texts in the form

of multimedia performing arts in learning is easy to

do, simplifies the teaching process, and does not

require much preparation. In addition, today's social

conditions also influence the use of ICT-based

multimodal texts.

Multimedia performing arts are considered not to

require facilities and infrastructure that are beyond

current educational standards. Besides that,

multimedia performing arts are considered to be able

to make students work together as a team. The

acceptance of multimedia performing arts in learning

is also supported by the habits of the education

community in using ICT in their lives. However,

multimedia performing arts are still considered

unable to open up opportunities to teach in new ways,

have not opened up opportunities to interact with

students, have not contributed opportunities to think

creatively and have not stimulated students to be

active, creative and critical. Based on the results of

the analysis of the model structure in this study, it can

be concluded that the steps for transmitting cultural

values through the provision of multimodal text

ICoIE 4 2022 - The Fourth International Conference on Innovation in Education

114

teaching materials based on patterns of revitalization

of oral literature by utilizing technology can be said

to be appropriate. However, other creations are still

needed with regard to understanding teaching

strategies in their use to be able to support better

educational goals.

ACKNOWLEDGEMENTS

Appreciation is conveyed to the FKIP Indonesian

Language Education Study Program, Siliwangi

University Theater 28,Ngaos Art Tasikmalaya, and

Langgam Pustaka Tasikmalaya as the facilitators of

this research. In addition, appreciation was also

conveyed to Dede Rahmat, Yana S. Atmawiharja,

Alfin Nurul Azmi, Septia Pahlawan, Ai Mellyani

Agustin, Ai Siti Mardiah, and Dani Ramadhan as

research collaborators.

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