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Songah is one of the traditional arts originating from Citengah Village, Sumedang Regency. This art was formed from the creativity and innovation of the people of Citengah Village, Sumedang Regency to maintain the existence of traditional arts. Based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. This study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. Through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of Citengah Village in maintaining and developing the songah art. This study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. The results showed that the creativity of the people of Citengah Village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. The community changed songong, which is a means of blowing fire in a furnace (Sundanese: Hawu), into an art tool called songah (songsong Citengah/songong kabungah). As a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. The development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. This has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. Based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts.

This study aims to obtain data on changes in function and initial forms of performing Lebon in the community, Pepedan Village, Parigi District, Pangandaran Regency. This study uses a qualitative descriptive approach. With the development of the current era through various factors, the Lebon art has turned into a means of entertainment that is arranged in such a way that the aim of the Lebon art remains sustainable and is accepted by the Papedan community. Lebon art in the language of the local community lebon has a meaning that is grave or buried. Lebon art performance can occur because there are two groups fighting over plantation land ownership or fighting over women to be wives, Lebon art is art that contains violence in earlier times, because in this art required as winners are surviving champions and losers must reach die and be buried in the place of the Lebon art performance. Lebon art in general Pangandaran community has become an art that was born originally from Pangandaran Regency.

In the current era of globalization, learning is often associated with local wisdom. The local cultural base is indeed very important, because national character is formed from cultural roots. Therefore many have raised local culture and wisdom as a basis for learning. Likewise, in the Music Education Study Program, one course is presented, namely Vocal Tradition of the Archipelago, in which there is material in the Toba Batak Tradition Vocal, Andung. Through this course, "Andung" is taught, so that the traditional vowels return and the young generation is able to appreciate them. Based on this background it is necessary to do research on the existence of Andung in the present, with the aim of reintroducing Andung as a vocal of the Toba Batak tradition. This article is a small part of the research on the development of vocal learning media for the "Andung" Toba Batak tradition. Data collection about Andung, carried out by documentation techniques, surveys and interviews. Interviewees consisted of three people, two pangandung people, one cultural observer. The data obtained are andung mabalu, andung matean ina, andung tilahaon.

Problems in the implementation of women empowerment activities organized by government or community institutions indicate that the number of women is large enough, yet can not be utilized all the potential for development purposes because women can not enjoy life better because of the shackles of cultural sanctions. the theoretical studies developed related to building women through entrepreneurship program is one of the reasons to empower women to be able to create entrepreneurship opportunities. This study was conducted using research and development methods with data collection techniques; literature study, observation, interview, documentation, questionnaire and test. The data are analyzed descriptively, qualitatively and quantitatively. Implementation of activities in Neglasari Village Tasikmalaya. The findings show that the implementation of entrepreneurial activities as an effort to empower women can improve the level of better family economy. The results of this activity can be concluded that the model of empowerment of entrepreneurship women is very effective to improve self-reliance.

The local wisdom describes the way to behave, to act, and to quickly respond towards the physicalor cultural community’s environmental changes. The study was conducted in January-March 2017 in thearea of a traditional village at kampong Naga Nagaratengah, Neglasari, Salawu, Tasikmalaya, West JavaProvince. The integrated community empowerment model with the wisdom and local cultural values aimedto increase the productivity, income and quality of life which was mutually beneficial. In this empowermentmodel, the research method employed was a qualitative approach with the descriptive method, and thetechniques of data collection were the study of literature, observation, interviews, and documentation. Thefinding described the role of the community as one of the bases of the local wisdom role improvement thatpossessed by the Naga village community environment. Through the social entrepreneurship activities,a handy-craft was not only measured by its profit only, moreover it was viewed as a social cooperationbetween members of the community as well as providing the largest understanding to the communityabout the importance of the natural and cultural conservations for the survival of the kampong Nagacommunity. The obedience and cultural inheritance in the form of values, norms, customs, and socialroles continuously transpired from generation to generation. They become a unity in the social culturalenvironment and one of the tourism potential of the area. References Astuti, M. (2012). Pemberdayaan perempuan miskinberbasis pemanfaatan sumber daya lokalmelalui pendekatan sosial enterpreneurship.Sosiokonsepsia, 17(3), 241–251. https://ejournal.kemsos.go.id/index.php?journal=SosioKonsepsia&page=article&op=view&path%5B%5D=829 Greertz, C. (1992). Kebudayaan dan agama.Yogyakarta: Kanisius. Harsojo. (1997). Pengantar antropologi. Bandung: Bina Cipta. Kamil, M. (2009). Mengembangkan pendidikannonformal melalui PKBM di Indonesia:Sebuah pembelajaran dari kominkan diJepang. Bandung: Alfabeta. Moleong, L. J. (2011). Metode penelitian kualitatif. Bandung: Remaja Rosda Karya. Nasution & Subino. (1988). Metode penelitiankualitatif naturalistik. Bandung: Tarsito. Peraturan Daerah Kabupaten Tasikmalaya Nomor2 Tahun 2012 tentang Rencana Tata RuangWilayah Kabupaten Tasikmalaya Tahun 2011-2031 Satori, D. (2012). Metodologi penelitian kualitatif.Bandung: Alfabeta. Sudjana, D. (1993). Strategi pembelajaran partisipatifdalam pendidikan luar sekolah. Bandung:Nusantara Press. Pynkyawati, T., Agung, E., Noviandi, A., Suhardiman,R.N., & Putri, M.A. (2014). Kajian desainstruktur rumah tinggal masyarakat KampungNaga di Tasikmalaya. Reka Karsa, 2(3),1-11. doi: https://doi.org/10.26760/rekakarsa.v2i3.597 Suryadi, A. (2009). Mewujudkan masyarakatpembelajar. Bandung: Widya Aksara Press. Zubaedi. (2007). Wacana pembangunan alternatif.Yogyakarta: Ar- Rizz Media.