Seren Taun adalah upacara ritual dan perayaan yang dilakukan di Jawa Barat oleh masyarakat Sunda. Hal ini mirip dengan Thanksgiving di banyak negara. Desa Cigugur yang terletak 3 km sebelah barat Kuningan menjadi fokus karena perayaan Seren Taun di sana telah berlangsung secara besar-besaran dan mendapat banyak perhatian dari media, pemerintah, dan ulama. Banyak perayaan adat non-Jawa yang ditindas pada masa Suharto dan kepercayaan tradisional juga ditindas atau dikooptasi ke dalam salah satu dari lima agama resmi. Pada era pasca-Suharto, semangat reformasi telah memunculkan keberagaman lebih dari 300 kelompok etnis. Dengan tujuan untuk melestarikan dan menjaga tradisi Seren Taun, sekaligus menjaga identitas dan memori kolektif masyarakat, Djatikusumah, Ketua PACKU, dalam beberapa tahun terakhir telah mengembangkan beberapa kebijakan, mengenai pertunjukan seni tradisional, bangunan/ tempat yang digunakan untuk upacara, dan motif batik yang diambil dari ukiran kayu di pendopo Paseban. Tulisan ini akan mengeksplorasi persinggungan antara peran Djatikusumah sebagai agensi dan industri budaya yang ia ciptakan.
KATA KUNCI
Seren Taun, Djatikusumah, hegemoni, tradisi budaya, negosiasi

Seren Taun is a ritual ceremony and celebration, which is practiced in West Java by the Sundanese. It is similar to Thanksgiving in many countries. The village Cigugur, located 3 km west of Kuningan, is the focus of the because the Seren Taun celebration there has been a major event and received a lot of attention from the media, government, and scholars. Many non-Javanese traditional celebrations were repressed during the Suharto era and traditional beliefs were either also repressed or co-opted into one of the five official religions. During the post-Suharto era, the spirit of reformation has brought diversity of more than 300 ethnic groups onto the surface. With the aim to preserve and maintain the tradition of Seren Taun, but as well as to preserve the identity and collective memory of the community, Djatikusumah, chairman of PACKU, has in these recent years developed several policies, concerning traditional art performances, buildings/sites used for ceremonies, and the batik motives that were taken from woodcarvings in the Paseban hall. This paper will explore the intersection between the role of Djatikusumah as an agency and the culture industry he invented.
KEYWORDS
Seren Taun, Djatikusumah, hegemony, cultural tradition, negotiation