ANALYSIS OF STRUCTURE, FUNCTION, AND MODEL OF PRESERVATION OF

BUAYA MANGAP STORY THROUGH LITERATURE APPRECIATION IN MA AL-

KHAIRIYAH RANCARANJI

Momon Andriwinata
Student of Applied Linguistics, Postgraduate Program, State University of Jakarta
Email: momon.andriwinata@gmail.com

Zainal Rafli
Applied Linguistics, Postgraduate Program, State University of Jakarta
Email: zainal.rafli@unj.ac.id

Novi Anoegrajekti
Applied Linguistics, Postgraduate Program, State University of Jakarta
Email: novi_anoegrajekti@unj.ac.id

Abstract
The destination study describes existing structures, functions, and conservation models in the story people in Banten
regency. This study use approach qualitative with method ethnography, research data sources this is story Buaya
Mangap in Banten province. The data obtained through informants consist of player Buaya Mangap, self, audience,
character custom, and figure society. Besides that, the data obtained through the process show by player Buaya
Mangap good in the show. Based on the results analysis structure, art traditional crocodile is a good thing to do
writer. I mean analysis to the front, which includes several element shaper show arts, including time, place and
distance, prayer, kiting food that is read out, player society (audience/viewer), stages show tool music
accompaniment, arrangement makeup face, fashion , and symbols. Researchers find several types of function stories:
aesthetic, historical, pragmatic, and ethical as for founding moral values in the story Buaya Mangap, which are
individual, social, and moral values of religion. Results analysis structure, function, and preservation model contained
in story people Buaya Mangap in Banten regency, namely traditional art Buaya Mangap and could be utilized as
ingredient learning appreciation literature in school.

Keywords: structure, function, moral value, story people, appreciation literature.

Introduction
Most folklore has morals that readers and listeners will be able to comprehend. It can be
argued that folklore was passed down orally in earlier times, and the tales are still remembered
now (Rahim, Affendi, & Pawi, 2017). Important research focused on the cultural studies method
in all subjects, especially social sciences and educational sciences, were made possible by the
anthropological perspective that was noticed in all branches of science in the final years of the
20th century (Fİşekcİoğlu, 2022). Although in O. Mandelstam's poetry is frequently discussed in
the context of global literature traditions, ancient legacy, and myths, most of which are
eschatological in nature, the subject of folkloric essence was not openly addressed in his poems
(the latter is much more closer to the problem of our interest) (Dudareva, Milovanova, Anisina,
& Shorkina, 2017). However, since the development of technology, the younger generation has
not been particularly fond of folklore (Normaliza Abd Rahim, 2014; Normaliza Abd Rahim,
2014).
The diversity of ethnic groups in the archipelago presents different forms of culture and
traditions in each community in the region. This diversity is a nation's potential that must be
developed and preserved its values in national and regional development. Indonesia is a vast
archipelagic country and has a diverse culture. One of these cultures is folklore originating from
a particular area. The values contained in culture and traditions play a role in the life of the
supporting community. Society is a unit of human life that interacts according to a certain
system of customs that is continuous, and is bound by a sense of shared identity
(Koentjaraningrat, 2001). In this case, Koentjaraningrat uses the term custom. Without these
norms, society is only a collection of humans with no sense of togetherness. Based on the
concept of society, it can be explained indirectly about the existence of culture as one of the
most important elements of society. The study of a society will always be related to the study of
the culture contained in its society. Related to the explanation above, Sudikan defines culture as
a whole of human knowledge as a social being that is used to understand and interpret the
environment and its experiences, as well as a guide for its behavior. Culture that has become a
part of people's lives in a certain tribe or ethnic group. The traditional arts are rooted in the
culture of their ancestors. Therefore, historically, traditional art has been a part of the life of the
old Indonesian people, the people of the Archipelago and has provided invaluable benefits and
experiences for the people of Indonesia.
Folklore is born in the traditional world, which contains a very close relationship between
literature and the society in which it was born. Robson mentions the term classical literature,
namely literature created in a society that is still traditional (David Stephen P. Robson, 2006) .
Rosidi said that regional literature is a literary work born in regional languages found
throughout Indonesia, both oral and written. The phenomenon of culture in society is
inseparable from the order of values that are formed and mutually agreed upon through cultural
products. One of the cultural products is an oral tradition, namely folklore. Oral tradition can be
declared as folklore if the oral tradition contains aesthetic elements.
Danandjaya asserted that folklore is part of folklore while folklore itself is part of the
culture of a collective, which is spread and passed down from generation to generation, among
any kind of collective, traditionally in different versions, both in oral form and examples
accompanied by movements cues or with a reminder (Danandjaya , 2007). In this case, folklore
should be the object of research and be a part of language and literature learning. It can be
concluded that folklore is a symptom of a culture that exists in society, the variety is very much
and each variety has a very large variety as well. Thus, folklore contains the cultural values of
the society in which literature grows and develops. Then the cultural values contained in
folklore are past cultural values which are spoken by word of mouth. Folklore describes the life
of the people of the past.
The folklore of the community which is believed by the local community as an ancestral
culture has its own function, including as a medium of education, because teachings and advice
are more easily conveyed through joint activities. Folklore is also an institution and social

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creation that uses language as a medium, meaning that folklore is a part of the world of
literature that cannot be separated from the influence of new values that live and develop in
society. This fact is made more possible by the closed nature of traditional society and is not
usually forthright in conveying feelings and thoughts to others. Therefore, literary activities are
one of the ways used to convey it (feelings, advice, and fatwas). Banten province is part of the
archipelago which has a diversity of cultures and traditions. The diversity of culture and
traditions of the people who in the course of their lives are accustomed to passing down stories
from generation to generation through oral speech.
One of the folklore that is feared to be forgotten so that it becomes extinct from our
artistic life is the folklore of Buaya Mangap in Serang Regency, Banten. Some of the previous
performers of this art have died, and only their heirs can continue the performance of the
folklore Buaya Mangap. Meanwhile they are getting old. Therefore, this research needs to be
done immediately before it completely disappears and disappears in the acculturation process.
The fact that one of the cultures belonging to the Serang community will be destroyed requires
a thought along with concrete conservation measures. This form of cultural preservation can be
carried out through inheritance efforts by the community itself or at least local artists who have
attention, art teachers including Indonesian language and literature teachers, and local mulok
teachers themselves through learning at the public high school level, to policy makers. in this
case local officials. Without all of that, the Crocodile folklore manga for the next few years will
only exist in the documentation records.
From several illustrations that exist in the community, schools are an important part to be
trusted as an institution that will inform and preserve Buaya Mangap folklore for future
generations. In more detail, Folklore can be used as teaching materials to enrich materials and
sources of learning materials for Indonesian language and literature in schools. Through the
curriculum for learning Indonesian language and literature in schools, this folklore can be
introduced to students. What is introduced can be in the form of performing arts and can also
be in the form of art history which is often read in cultural arts lessons about the folklore of
Buaya Mangap. This is as explained by Hamid who revealed that every folklore aims to provide
entertainment, teach or fulfill other functions. The functions in question include the functions of
formal education, religion, social and other life functions.
The results of the literature search, the researchers found several studies related to
folklore, this can be seen in the following journals and research: several studies on folklore have
discussed research on Buaya Mangap folklore, but no research related to folklore was found.
Likewise with the sub-focus, no one has studied the structure, function, type, performance,
cultural values and maintenance and preservation of Buaya Mangap in the Serang community,
the results of reviewing the journal above and the results of observations on the folklore of
Buaya Mangap. So, the novelty in this research is to expose and optimize the folklore of Buaya
Mangap. This is based on the fact that no one has conducted a comprehensive research on the
performing arts of mangap crocodiles.

Method
This study aims to understand in depth about the Buaya Mangap as folklore in the Serang
community, Banten Province. In detail, this research is directed at understanding: (1) the
structure of Buaya Mangap in Serang Regency; (2) the function of Buaya Mangap in the people of

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Serang Regency; (3) Buaya Mangap Show in Serang Regency community; (4) Types of Buaya
Mangap in the Serang Regency community; (5) Cultural values contained in Buaya Mangap; (6)
Maintenance and Conservation of Buaya Mangap. The research was conducted in Serang,
Banten Province, where the initial target of the research was to an area where there were Buaya
Mangap players and their cultural activities who knew about it. Places that are research targets
can also be obtained information through traditional leaders and community leaders who know
about it. Therefore, when the researcher gets the information about the place where the data
source is located, the researcher goes to that place. These places are generally located in rural
areas.
This study uses an ethnographic method while the approach is a qualitative approach.
The ethnographic method is intended to explore and understand the culture of certain
communities, especially related to Buaya Mangap as a variety of folklore in Serang Regency.
Then for the research implementation procedure, the steps follow the steps offered by Spradley
(Emzir, 2012), which include: (1) selecting an ethnographic project; (2) submitting ethnographic
questions; (3) ethnographic data collection; (4) making an ethnographic record; (5) entographic
data analysis; and (6) writing an ethnography. The steps above are carried out cyclically and
repeatedly based on the existing context. This means that going to the field is not enough just
once in digging and deepening focus. The cyclical concrete steps can be seen in the following
chart.

Selecting/creating Recording and

observing Making field Transcribing
appearance
crocodile notes record values
situations
appearance

Making Carry out

Make a domain Make focused taxonomic follow-up
analysis observations analysis observations

Make component Making theme Make data Making

analysis analysis reduction conclusions

Figure 3 Research cycle of Buaya Mangap

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 Based on the chart above, the researcher started the research by selecting and creating a
Buaya Mangap show. The first is determined based on the experience, ability and popularity of
manganese players. Then from Buaya Mangap players, the names of manga manga players were
also obtained others who can be contacted to participate in presenting Buaya Mangap. And so
on, the search and search for crocodile players is based on the snowball model. After selecting
the situation and displaying Buaya Mangap, it is followed by recording Buaya Mangap data
using a recording device, either an audio recorder or an audio-visual recorder.
The next stage is to conduct a domain analysis followed by focused observations. This
observation focuses on the elements that emerge in the focus of the research. After that, focused
observations were made followed by making taxonomic analysis. The analysis looks at the parts
of each domain. After finding these parts, it is followed by making selected observations. This
observation is intended to explore the elements of the domain. Next, the researcher made a
componential analysis and followed it up with an analysis of cultural themes. After the analysis
is presented in the form of data exposure, the researcher performs data reduction and finally the
researcher makes conclusions based on the results of the previous analysis.
This research is folklore research, namely field research. However, as a support in carrying
out the research, the authors conducted a literature study to find out the cultural background of
the Serang Community which had been previously archived. According to Danandjaja that the
collection and inventory of folklore can be done in two ways, namely (1) collecting all folklore
titles (books or articles that have been done by people about Indonesian folklore, and (2)
collecting folklore materials directly from people's words. group members who have folklore and
then the results are published or archived.More clearly, the first research is library research,
while the second is field research (Danandjaja, 2007).
The main instrument in this research is the researcher himself. The sampling is in the
form of a snowball. In collecting research data, researchers will explore it through; (1)
Observation; (2) Recording with audio and audio-visual recorder; (3) Making field notes; and (4)
Conduct interviews. For more details, data collection techniques, the stages according to the
research procedure are as follows; (a) Pre-Research Stage, this stage includes; (1) determining
the traditional arts to be performed, (2) determining the place (location) of research, the
research location in Serang Regency, (3) conducting a survey to the research location, (4)
preparing the instrument that will be used to collect data, namely interview guidelines. ,
observation guidelines, voice recorders and image recording devices (handycams), cameras, field
notes, and stationery. Data collection, namely: (1). Interview technique, (2). Observation
technique (observation), and (3). Document engineering. The use of three types of data
collection techniques is in line with the opinion conveyed by Emzir that special ethnographic
research uses three types of data collection, namely: interviews, observations and documents.

RESULTS AND DISCUSSION

Structure, Function, and Meaning of Values in Buaya Mangap
a) Analysis of the Structure of Mangap Crocodile Traditional Art
Analysis of the structure of the Mangap Crocodile Traditional Art carried out by the
author, which means an analysis of the performance which includes several elements that make
up the art performance , including time, place and distance, prayer, chanting of food that is

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read, community players (audience / audience), stages musical accompaniment performances,
makeup, clothing, and symbols.
b) Analysis of Mangap Crocodile Traditional Art Functions
Based on direct field observations, the authors saw live performances and interviewed
several informants. From several informants, the current function is more dominant is the
entertainment function. The function is mostly enjoyed by the old, young and even boys and
girls; they are like a reunion to reminisce about childhood or the past for the elderly. However,
many young viewers were also present. Especially they are interested when the crocodile
attraction is played. The music that accompanies the art creates a reflection of the audience's
limbs shaking their bodies for a moment.
In this study, the authors found several other functions, specifically the Mangap Crocodile
Traditional Art, the Curgdahu community, Kadubeureum Village, Padarincang District, Serang
Regency, namely religious functions, education and teaching, community communication and
entertainment, as follows:
Religious Function
The religious function is revealed based on the analysis of the performance, especially at
the beginning of the show which performs a prayer as a request to the Almighty (Allah). The
prayers they convey in the ritual of the Buaya Mangap Traditional art show are prioritized for
the safety of the general public. In addition, request something related to community activities.
Those who carry out wedding celebrations, circumcisions, building inauguration, and then they
ask that the event be given safety and blessings. They also asked that in the course of the event
to last until the end of their lives as happy family and there would be no disturbance from
outside or from within the family.
Function of Education and Teaching
This function is revealed through the content of wawacan (readings) which are read by
ustad or who are used to serving in Traditional arts. her husband must also understand and
respect and love his wife also in the sense that the bride and groom must accept and respect
each other and respect each other. Including both parents who always love their sons and
daughters must also be respected and loved by their children (both bride and groom). There
should be no mutual revenge if there is a misunderstanding.
Communication and Community Function
An activity in society cannot be separated from the goals to be achieved by the
perpetrators. The Mangap Crocodile Traditional Art also has several informational purposes in
its performances. The information is part of the elements of public communication either
directly or indirectly. The Mangap Crocodile Traditional Art Performance in the context of
mapag Panganten (bride) contains information that at that time people always come to give
each other or give what is needed by the groom's family, either for free (sincerely because of
Allah) or social gathering or social gathering. lend. Therefore, maintenance in society is very
good, because the performance in the traditional mapag Panganten (bride) ceremony is very
much needed.
Entertainment Function
It is the same as what Rismanto said about the sociological function of Buaya Mangap Art,
which is to entertain the public. The community is entertained by the echoing rudat music, the
sass of the Putri Ayu dance and the unique movements of the crocodiles played by the officers

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of the arts, especially the farming community, after months of always working and working or
daily in the fields or in the fields, then with the existence of Mangap Crocodile Traditional Art
shows pleasure is expressed through smiling expressions and even laughing when appreciating
the Mangap Crocodile Traditional Art performances as entertainment, moreover, people don't
need to pay expensive fees, even roads that are more than 1 KM away they always follow with
joy .
c) Analysis of the Meaning of Buaya Mangap Traditional Art Values
God-Human Relationship
God's relationship with humans is a vertical that must exist in human life. In Traditional
Crocodile Mangap this can be identified. Although it is expressed through something that is
considered mystical by some people (in the teachings of Islam), however, this is not what it
seems because based on an interview with Mr. Basri, and in their minds (the players of the
Buaya Mangap Traditional Art) this art always asks for prayer. The reading of the Shahada at
the beginning of the show is a manifestation of the recognition of the Oneness of Allah SWT. In
addition, this art performance ends with the reading of Hamdalah or Alhamdulillah by the
entire cast.
Relationship between Human and Human
The existence of problems in human life actually comes from the horizontal relationship
humans. In telling the story, the Mangap Crocodile Traditional Art became a meeting place
between humans and other humans. This relationship is a symbol of the sense of togetherness
carried by the event of this Buaya Mangap traditional art performance. Through these meetings,
community members make contact with their environment. In the end, they will inform each
other something, for example information other than what is brought to help neighbors who are
in need, related to farming, they always give each other information, gardening or technology
information that has to do with their livelihoods.
Human Relationship with the Universe
Human needs as living beings to the universe are a primary need that cannot be ignored.
Rice or other foods are important for humans for their survival. Damage to rice or other crops in
the universe, lack of natural resources will make human life difficult and miserable.As a human
being who lives in an environment of heterogeneous behavior, we cannot be separated from
deviant behavior, for example doing destruction. In such a position, the Traditional Art of
Crocodile Mangap is in the form of advising or giving advice to other people to act fairly by not
doing things that are detrimental. This can be found in the wawacan (reading) message that was
read before leaving for the show.
d) A Model for Preserving Mangap Crocodile Traditional Art through Literary
Appreciation Learning at MA Al-Khairiyah Rancaranji
Buaya Mangap Traditional Art has been analyzed by the author based on cultural values,
structure and function. The next step the author will develop a conservation model through
literary learning at MA Al-Khairiyah Rancaranji. There are several things that take into
consideration the need for Mangap Crocodile Traditional Art to be preserved.
First, the people of Curugdahu Village, Kadubeureum Village, Padarincang District,
socially and culturally have made this preservation effort through regular monthly Mangap
Crocodile Art performances, especially practicing in the studio. This activity is different from the
performance when holding rehearsals at night when people gather after a day of working

7
according to their profession. Not infrequently or no later than once a month, the arts, apart
from regular practice, are also called for events according to the needs of the devotee.
Second, changes to the education curriculum bring new hope for the preservation of
Mangap Crocodile Traditional Art, Kadubeureum Village, Padarincang District, Serang Regency
or any community that has local arts. The new KTSP (Education Unit Level Curriculum)
contains learning materials that refer to Competency Standards (SK), and Basic
Competencies (KD). Competency standards related to traditional arts are contained in the
syllabus for class 1 semester 2 about listening to the folk stories he tells. Basic Competence
contains finding interesting things about characters and folklore settings that are told directly or
through recordings. The SK and KD are important as the initial foundation in developing
Traditional Arts as local cultural wisdom of the community.
Third, the 2015-2020 Medium Term Development Plan (RPJM) has now been prepared by
the new government in Serang Regency. The RPJP proposal includes the vision and mission of
development with several elaborations. The following is a description of the mission which
includes several elements, namely as follows.
1). Realizing the quality of human resources who are faithful, devoted, healthy, intelligent and
have a decent life and master science and technology.
2). Realizing a stable regional economy, by relying on people's agribusiness development.
3). Creating a proportional and sustainable infrastructure.
4). Realizing good governance.
5). Realizing environmental conservation.
Based on these elements, the last element, namely realizing environmental conservation, is
used as a juridical strength as the legitimacy of environmental conservation. This preservation
includes all local wisdom in Serang Regency, Banten Province. Among them is the social
environment, culture, the universe and so on. And the preservation of this Buaya Mangap
traditional Art is implied in the elaboration of the vision and mission, (school autonomy).
According to some religious communities as something that must be nurtured or
preserved, because in this case there is nothing to worry about the Mangap Crocodile
Traditional Art. The reality or reality that occurs in this effort to preserve Mangap Crocodile
Traditional Art, actually includes the concerns of the Curugdahu community as well. In the next
few years, it could happen that only the name remains, it is estimated that it will be difficult to
show the Mangap Crocodile Traditional Art, because young people, especially modern music
lovers, among others, do not dare to try or learn to follow the art, let alone master the character
of a step down.
As explained above, that the author conducted an interview by asking several questions
regarding the preservation of the Mangap Crocodile Traditional Art, the Curugdahu community,
Kadubeureum Village, Padarincang District, one of the important questions in the interview was
regarding the choice of alternative conservation models. Of the 20 respondents, 4 people or 20%
chose non-school (outside learning), while most of the respondents chose the preservation
model through learning at school, namely 16 respondents or 80% as follows in the table form
Table 4 Recapitulation of Respondents
No 1. Respondent 2. Model 1 3. Model 2 4. Model 3
1 5. Respondent 1 √
2 Respondent 2 √

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 3 Respondent 3 √
4 Respondent 4 √
5 Respondent 5 √
6 Respondent 6 √
7 Respondent 7 √
8 Respondent 8 √
9 Respondent 9 √
10 Respondent 10 √
11 Respondent 11 √
12 Respondent 12 √
13 Respondent 13 √
14 Respondent 14 √
15 Respondent 15 √
16 Respondent 16 √
17 Respondent 17 √
18 Respondent 18 √
19 Respondent 19 √
20 Respondent 20 √
Amount 3 1 16
% 15% 5% 80%
Information:
Model 1: Conservation model through routine performances in buildings
Model 2: Art studio formation model
Model 3: Model through learning at school

e) Buaya Mangap of Traditional Art Learning Model at MA Al-Khairiyah Rancaranji

Buaya Mangap traditional art is a performing art that has its own structure in its
performance. The opening of the show begins with (prayer), reading the wawacan or reading the
opening and closing. Structural philosophy also provides a picture of life which always begins
with the beginning or birth of life, followed by the journey of life and ends with death.
Buaya Mangap traditional art is done by walking together, signifying togetherness
between fellow humans. No one becomes dominant or is considered dominant. Walking without
anyone using a vehicle no matter how far the distance traveled. This response is communication
between each other in society. Furthermore, the philosophy of the story that is staged contains
religious, moral, and social values. This value is often used as a measure of the acceptance of a
literary work for learning to students. In addition, the accompaniment music describes the
harmonious rhythm of life between God as the creator and humans as his creatures, between
humans and humans and between humans and the universe.
Aesthetics is defined as beauty. Aesthetics in Buaya Mangap Traditional Art can be seen
from various things. Music, as described above is the rhythm of life. With the aesthetics of
Traditional Art, Buaya Mangap is livelier to be staged. Reading the wawacan script (reading)
which has the characteristics of reading typical of other arts is a beauty that is very liked by
people who are interested in Buaya Mangap traditional Art, because not many are able to

9
master the reading at the opening. Beauty can also be identified from the form of dance
performed by the lady-in-waiting who pays respect to the bride and groom marked by throwing
flowers or sowing flowers through graceful hand movements. The movements of a crocodile
carrying roasted chicken (bekakak) which is kept in the mouth of a crocodile that is always
gaping (gaping) as a symbol of honor to the king and queen for a day (a bride and groom). A
work of art terms with beauty. Aesthetics in this case is a consideration whether or not a work
of art is conveyed. Mangap Crocodile Traditional Art is full of these aesthetics. Therefore, it is
important to introduce students to the next generation of young people. This learning model is
designed for learning Traditional Art of Buaya Mangap. This model is contextually oriented or
CTL (Contextual Teaching and Learning) which is influenced by the constructivist philosophy
initiated by Mark Baldwin. Subsequently developed by Jean Piaget, the basic learning theory is
included in the Information-Processing Models learning cluster and Vigotsky's learning theory is
included in the Social Interation Models which emphasizes one's activeness in learning.
Contextual learning is a strategy that is directed at helping and inspiring students through
the process of linking a standard of competence with real-world situations. The process that can
be developed is through encouragement towards the development of new experiences by
combining knowledge with application in the lives of students. This process will familiarize
students with their environment, both the family environment, society, and the world of work.
The hope is that students become more motivated to learn. In addition, this model is built from
the local wisdom of the community. Although this model is devoted to learning Traditional Arts
in Padarincang District, its application can be carried out for learning other regional traditional
arts scattered in the archipelago. This model is formed from seven learning strategies in its
implementation. Here are the learning steps.
1). Students are grouped into small groups; the division of the group is based on certain
considerations.
2). Each group must pay attention to (watch) the recorded performance that has been prepared
by the teacher. Students find something related to the content of the show, for example the
structure of the Traditional Art Performance of the Buaya Mangap, the Padarincang
community, in which there are folk tales played by the players or readings read by the
officers (pengidung).
3). Students report the results of their group discussions about the structure of the Mangap
Crocodile Traditional Art performed by the Padarincang community that they watch.
4). Students make observations and interviews with the community, both leaders, players of
the Buaya Mangap Traditional Art or to their leaders as well as cultural observers in
Padarincang about issues related to Buaya Mangap traditional Art.
5). Students conduct class discussions led by the teacher to report their findings. In these
activities, students give and receive input to improve their activity reports.
6). Students reflect on what they have done in the learning process.
7). Students report the results of their group work to be assessed by the teacher. The teacher's
assessment is not only based on the work done, but also gives an assessment to students
who are active in research or class discussions.
This model is characterized by the active process of students in finding, adding and
understanding more deeply a material of local wisdom based on their experiences in the
community. Communication with other people is very important in the implementation of

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learning. In addition, it fosters the ability to construct things together . Lessons integrate social
life in the classroom and in the community.
Learning appreciation of Buaya Mangap Traditional Art in Padarincang using a contestual
learning model designed by the author provides an opportunity for students to get to know the
local wisdom of the community, where the student is located. In addition, it gives hope for the
preservation of the arts and culture of the Padarincang community in particular. The expected
impact of the Buaya Mangap traditional Art preservation model through appreciation learning
at MA Al-Khairiyah Rancaranji is as follows.
1). Students recognize and understand Buaya Mangap Traditional Art as art that contains local
wisdom values that need to be preserved.
2). Students can be wiser in making interpretations of literary or artistic works that have
religious, moral and social values.
3). Buaya Mangap Traditional Art is strived to last longer as a traditional art that is performed
which will reflect the behavior of the people in the future.
4). The people of Curugdahu, Kadubeureum village, Padarincang District, Serang Regency
have good hopes for the preservation of Traditional Arts, because through this learning the
traditional arts of the community are better known by students.
5). The model compiled will contribute to the preservation of other traditional arts that are still
alive and thriving in rural communities.
Indonesian language teachers and Sundanese Language teachers can take advantage of
the model that has been prepared in the implementation of their learning, and then can develop
it again so that it is more perfect.

Conclusion
Buaya Mangap Traditional Art in Padarincang, especially in Curugdahu Village,
Kadubeureum Village, is a local cultural wisdom that still remains in the region. In contrast to
several sub-districts in Serang Regency, the Traditional Art of Mangap Crocodile in Curugdahu
Village is still being maintained and maintained even more and more developing. It is proven by
the fact that performances are still being held every fourth week in a rehearsal event that takes
place in an art studio. These performances are usually carried out in mapag Panganten
(weddings), circumcisions, building inauguration, welcoming guests, opening competitions,
ikhtifalan (remembering school children). The conclusions of the research conducted by the
author are as follows; (1) The Structure of Mangap Crocodile Traditional Art includes several
elements, namely (a) time, place and distance (b) Reading (c) Player (d). musical accompaniment
(e) make-up (f) clothing (g) symbols; (2) Human behavior in the performance of the Mangap
Crocodile Art can be identified; (3) The function of Mangap Crocodile Traditional Art includes
several things, including religious functions, entertainment functions, community
communication functions, education and teaching functions. The model proposed by the author
for the preservation of Mangap Crocodile Traditional Art as part of local wisdom by using a
contextual learning model or Contextual Teaching and Learning (CTL). This model is based on
seven learning strategies, namely, constructivism, inquiry, modeling, questioning, community
learning, reflection, and real assessment. Students are directed to identify deeper through direct
observation in the field that are performing Mangap Crocodile Traditional Art and recognize the
local wisdom of other communities around them. In this activity, it is hoped that there will be a

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process of activities involving cognitive, affective, and psychomotor students so that they are
able to become preservers of the traditional arts of their ancestors.

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