TINJAUAN KARAKTERISTIK DANGDUT KOPLO SEBAGAI PERKEMBANGAN GENRE MUSIK DANGDUT

CHARACTERISTIC REVIEW OF DANGDUT KOPLO AS DANGDUT MUSIC GENRE DEVELOPMENT

Denis Setiaji Pasca Sarjana Institut Seni Indonesia Surakarta Ki Hadjar Dewantara Street 19, Surakarta 57126 [email protected]

Received June 24, 2017 Approved on November 17, 2017

Translator: Donati Tan

ABSTRACT The following research focused to describe characteristics of Dangdut Koplo textually. This research used the method of phenomenology with fieldwork activity in the areas of Dangdut Koplo’s performing among the region of East Java and Central Java. The history of the development of Dangdut, described through research to discover characterize of Dangdut Koplo that finally was different with dangdut before. Dangdut Koplo is characterized by its distinctive (1) drum pattern, (2) fast tempo, (3) genre-bending arrangements, (4) eroticized spectacle of performance, and (5) the filler trend of drum called “Jem-jeman” that followed by “senggakan”. Finally, Dangdut Koplo is the development product from Dangdut as the manifestation of creativity who collaborating dangdut with the influence of local anesthetic. Keywords: characteristic, Dangdut, and Koplo.

A. PREFACE even though the naming of the music Popular music in Indonesia still exists was adopting that onomatopoeia drum at each locus of the audience. Start from play can also enter the various social the popular music that came from the classes. Dangdut still exists at the West to popular music that is thick with beginning of its appearance at the 60s the local taste. Talking about popular until now, regardless of the level of music in Indonesia, Dangdut becomes popularity. part whose popularity is quite loved. In fact, Dangdut experienced Dangdut music is expected as one of development and one of the the products of its practitioners through phenomenon is through Dangdut the intercultural process in it. Especially Koplo. East Java became the basis for Dangdut in demand in the lower class, the appearance of the Dangdut Koplo. Handep, Vol. 1, No. 1, December 2017 The appearance of these sub-genres previous era denied that Koplo was not adds wealth from the Dangdut music Dangdut, it cannot be denied that the itself. At first, it only regionally popular people who enjoyed it considered that which is about East Java region Koplo was part of Dangdut. (especially the coastal north area It becomes interesting when talking (Pantura), Central Java, Madura and about the characteristics of Dangdut around it. However, the appearance of Koplo to become something different Inul Daratista made Dangdut Koplo from conventional Dangdut in the became popular on a national scale. The previous era. This paper tries to review popularity of Dangdut Koplo replaces the characteristics of Dangdut Koplo. the existence to who upholds Dangdut Whether the characteristics of Dangdut originally height in the previous era. Koplo are only finished on eroticism There are sentiments that give rise to issues, or whether there are other the pros and cons of the Dangdut elements textually that differentiate it community. This happened at a seminar from the previous Dangdut. Thus, it is held by the Indonesian Malay Music expected that the music audience can Artist Association (PAMMI) chaired by better understand the essence of textual Rhoma Irama which stated that Koplo Dangdut Koplo. is not a type of Dangdut, Koplo is not Ethnographic-based research is Dangdut (Kompas, 5 March 2017). This conducted around the East Java and was mainly due to the phenomenon of Central Java regions and takes several the appearance of Inul Daratista in 2003 samples of Dangdut Koplo Orchestra which was popular with her “Goyang that are popular in the area. Some Ngebor”. Inul, who appeared in the groups such as OM Sera, OM New Dangdut orchestra of the Koplo bearer, Pallapa, Areva Music, and OM Savana. was considered to “pollute” the In addition to field research, this paper previous era’s Dangdut. The previous also collaborated with several types of era of Dangdut carrying moral values research on Dangdut and Dangdut was even used as a media for religious Koplo that have been done before. propaganda, while Inul appeared with Some works of books and journals from stage acts which were considered as Andrew Weintraub, such as “The Sound insidious and contained a very thick and Spectacle of Dangdut Koplo: Genre element of eroticism. and Counter-Genre in East Java, Based on the phenomenon above, Indonesia”, “Dangdut Stories: A Social the appearance of Dangdut Koplo and Musical History of Indonesia’s becomes very interesting to discuss. The Most Popular Music”, “Dangdut: pros and cons of it are so serious even Music, Identity, and Indonesian “Si Raja Dangdut” himself commented Culture”, and a number of other on Dangdut Koplo. Although a number supporting literature. The author uses of Dangdut communities in the Edmund Husserl’s paradigm of Caracteristic Review of Dangdut Koplo (Denis Setiaji) menology as a way of looking at of Dangdut Koplo is obtained to see the constructing research results through difference with dangdut in the previous the thoughts of Dangdut Koplo era. So the development of Dangdut practitioners. The author uses Edmund became a new repertoire on the scene Husserl’s phenomenology paradigm as of popular Indonesian music. a way of looking at constructing research results through the thoughts of B. RESULT AND DISCUSSION Dangdut Koplo practitioners. 1. The Journey of Dangdut in the etymology phenomenology, namely the Indonesian Music Center science of phenomena (Sobur, 2013: Every genre of music has a certain 14). In general, phenomenology refers historical journey from the embryo to to a speculative theory about the being enjoyed and become established appearance of experience, and in its among the audience. No exception initial use, the notion of Dangdut music which has a historical phenomenology is associated with a flow as popular Indonesian music. Later dichotomy “phenomenon-noumenon “, a number of academics, both domestic a visible difference (phenomenon) and and foreign, have historically traced the that is not visible (noumenon). music that is famous for its distinctive Husserl’s phenomenology is a vocal twist. Dangdut appeared when speculative effort to determine the popular music in Indonesia began to nature of which is based entirely on develop. At first, music was not well testing and analyzing something that known and was called the name appears (Sobur, 2013: 15). Dangdut. The Dangdut embryo Studies that use phenomenology originates from the development of emphasize objects that are more active Malay Pop music. The Dangdut embryo in describing the reality of the essence appeared during the appearance of a of the object itself. Researchers as number of Malay orchestras with subjects only compile and describe singers who were so popular with the findings as they are in accordance with songs of Indian puppets, namely Ellya what appears from an object. Husserl’s Khadam. As the source states that, in phenomenology of “returning to the the early 1960s, these translated Indian objects themselves” will become the songs laid the foundation for Dangdut, author’s reference in treating Dangdut even the name of this music genre Koplo as the main object of research. (Dangdut) only appeared a decade later. The phenomenology of Dangdut Koplo The composers created songs inspired means that all forms of knowledge are by Indian film songs, and also adapted obtained through an objective search of Indonesian lyrics with melodies of music itself. Through a search of Indian film songs (Weintraub, 2012: sources, literature studies, and field 66). studies, a review of the characteristics Handep, Vol. 1, No. 1, December 2017 Referring to the above sources, the Dangdut embryo appeared in the 60s through the Malay Orchestra which Notation 1. The pattern of tabla of the Malay Orchestra in the ears of lay listeners is performed works of Indian translation based on onomatopoeia. songs. The Malay Orchestra (OM) eventually became a music prototype The words “dang” and “dut” are that is now popularly called Dangdut1. finally used as new terminology to refer Dangdut embryos from the Malay to the Malay Orchestra. Onomatopoeia3 Orchestra of that era according to from the tabla pattern in the Malay Weintraub (2012: 86), have forming Orchestra was finally legitimized by the characteristics including, (1) the lyrics community to become the name of new of the Indonesian language, (2) Cengkok popular music that continues to grow Melayu, Middle East, and India, (3) the today. As a music terminology in structure of songs consisting of intros , Indonesia, Dangdut is an onomatopoeic section A, section B, interlude, section word taken from the rhythm commonly A, outro. played by tabla. A group consists The process of the Malay Orchestra of electric guitars, bass, mandolin, became “Dangdut”, mainly due to one percussion, and synthesizer. Male and of the typical musical instruments female singers as stars: female singers adopted from India namely tabla2. The and glamorous men sing about love, sound of the tabla played by an OM falling in love, breaking up, losing or arrived and heard in the ears of the joged moral issues such as family problems, lovers in several sound characters in the poverty, wealth, honesty, and others form of “tak, tung, dang, and dut”. (Broughton et al., 1997: 426). At that time the pattern of According to Rhoma Irama, the drumming tended to be monotonous so name Dangdut initially appeared as a that the pattern settled in the minds of form of ridicule. In this context, the Malay orchestra listeners. In layman, group called The Haves derided the people will hear the monotonous pattern Malay Orchestra which was considered as follows, “plebeian” and had a dominant drum pattern that was monotonous. However, Rhoma actually created a song called 1 Although it is better known as Dangdut music “Dangdut” or also known as “Terajana” nowadays, musicians and Dangdut groups continue to use the word Malay Orchestra in so that the derision of negative front of the name of a group. Examples of connotations eventually became a OM SERA, OM Monata, OM Pallapa, and so on. 2 Now it is more famous as a drum Dangdut because there are differences between the 3 It is a mock word, for example “kokok” which tabla and drum Dangdut that are used by is an imitation of chicken sound, “cicit” is a practitioners, both in terms of material and replica of a mouse sound (KBBI Online, the character of the sound produced. downloaded from July 5, 2017). Caracteristic Review of Dangdut Koplo (Denis Setiaji) positive definition of Dangdut music Dangdut period of Malay rhythm into (Weintraub, 2012: 96). two parts, namely the 1950s to 1960s The dangdut embryo found in the which were marked by Indian music Malay Orchestra music format contains influences, the 1970s to 1990s which a blend of Indian music, Middle Eastern was marked by the emergence of (Arabic), and American nuances variations in Dangdut. Furthermore, the (Weintraub, 2012: 86). Indian music is Dangdut period of Rhoma Irama was represented by adapted Indian songs, divided into the periods of “Rhoma and Indian vocal characters, and the Cinta” at the beginning of the career of presence of tabla and mandolin “the King of Dangdut” in 1975 and the instruments that give the impression of period of “Rhoma and Dakwah” which Bollywood country music. The Middle began through Rhoma’s work after the Eastern musical nuances can be found pilgrimage. The last period according in a number of melodic and crooked to Simatupang was Dangdut Koplo, vocal pieces. While the elements of which emerged in the 1990s and after American music from the presence of the fall of Suharto until now. a band combo with the composition of During the Malay Rhythm Dangdut a number of instruments commonly period of the 1950s to 1960s was very used in popular music in the West. The thick with Indian music influences. above is a common characteristic Ellya Khadam is considered as a inherent in Dangdut so that it forms a popular singer in this period. The musical image of Dangdut through its emergence of Ellya was predicted as the forming device. beginning of the presence of Dangdut Through tabla sound adaptation, music. The singer, as well as the the terminology of Dangdut is inherent Dangdut composer, has an important around the 1960s. The name of the role in the nativity of the Dangdut Malay Orchestra also began to fade over genre. Ellya is a very productive time. The term Dangdut which still composer. Her songs include exists as a representation of a new “Termenung”, “Kau Pergi Tanpa popular musical character. The Pesan”, “Pengertian”, “Janji”, and development of the six-decade Dangdut “Mengharap”. Hindi film music is a has experienced some trend “spring” for many of the most famous developments. Some academics try to songs, including “Boneka Dari India” do categorization based on trends that and “Termenung”. appear in the context of Dangdut music. Simatupang distributes Dangdut into several periods, (1) Dangdut Malay rhythm, (2), Dangdut Rhoma Irama, and (3) Dangdut Koplo (Simatupang, 1996: 175). Simatupang divided Handep, Vol. 1, No. 1, December 2017 The next period of the era of “Dangdut Rhoma Irama”, Dangdut music reached a peak of popularity. Through Dangdut, Rhoma Irama’s career as a musician, composer, record producer, preacher, and the film was so high. This was marked by more than 20 film titles and hundreds of songs born. His popularity with OM Soneta became central at that time in the history of the Figure 4. Ellya Khadam stage poster. Source: development of Dangdut. The songs downloadlagualbum.wordpress.com, accessed July 2, 2017. have Indian nuances, melancholy, and In the end, Ellya Khadam was often contain sya’ir with the tagline “Nada called as a singer of “Boneka India” or Dan Da’wah”. Rhoma and Soneta’s “Si Boneka India” (Giri interview, 26 culmination of creativity, especially the November 2016). In the 1970s and musical arrangements that polish 1990s, a number of singers such as A. Dangdut with rock or blues rock Rafiq, Rhoma Irama, Meggy Z, inspired by the Led Zeppelin group and Mansyur S, and so on appeared. In this Deep Purple. His popularity with OM era, Dangdut musical patterns began to Sonnet became a time of history of the develop and become varied. For development of Dangdut. The example, A. Rafiq who added elements impression of “rockdut” packed by of the American Rock Roll as his Rhoma gives a “fresh breeze” towards characteristics. In the end A. Rafiq was the development of Dangdut. called as the Indonesian Elvis Presley (Weintraub, 2012: 82).

Figure 6. Photo of Rhoma Irama in the 1980s. Source: Biografiku.com, accessed July 2, 2017

The next era was Dangdut Koplo Figure 5. Photo of A. Rafiq in the 1970s. period that appeared in the 1990s, Source: ensiklopopindonesia.wordpress.com, accessed July 5, 2017. Caracteristic Review of Dangdut Koplo (Denis Setiaji) the peak of its emergence in the reform developments in Dangdut in the area era, and is still developing today. around Nganjuk, Ponorogo, and According to Ukat S., a Dangdut Probolinggo Jaranan art so that it songwriter said that Dangdut in the becomes “Jandut” or “Jaranan popular music market of that era was Dangdut” which was popularized by closely related to Indonesian ethnic OM Sagita (Nganjuk) and OM Sonata. nuances, thus becoming “ethnic The ethnic phenomenon is a product of Dangdut” (Weintraub, 2012: 234). At two stages of intercultural processes, that time, Dangdut settled into locus between Dangdut (Indian, Arabic, and regional and synergized with its American elements) with elements of locality, both in language, melody, local music. voice technique, and instrument The Dangdut Koplo base appears collaboration. Dangdut which was in East Java to Central Java. One originally associated with Malay and characteristic of the performance is the India was then reinterpreted to be more eroticism models of the singers. Like localized and regional. the group stage model followed by After the fall of Suharto, “Ethnic Inul Daratista namely OM Bianglala. Dangdut” inundated the local music The same staging styles were raised scene in various parts of the country. by groups such as Trio Macan Sung in the regional language and (Lamongan), Pallapa (Sidoarjo) which marketed to certain ethnic communities, is now New Pallapa, Monata these Dangdut schools flourished in, (Mojokerto), Sera (Gresik), Evita such as West Sumatra (Saluang (Gresik), Sanjaya (Blora), Putra Dewa Dangdut Minang), West Java (Pongdut (Tuban ), and Sagita by carrying Sunda), Cirebon (Tarling), East Java “Jaranan and Dangdut Koplo” or (Koplo Jawa) and Banjarmasin “Jarandut”. Another source who tries (Dangdut Banjar) (Weintraub, 2012: to do a periodization of Dangdut 234). In its development in West Java, category along with the artists and for example, today the word “Koplo” music groups that are in it as in the chart is used to designate the format of the below, “progressive” Dangdut above. Dangdut began to spread and come into contact with locality influences in various regions. In its development, Dangdut Koplo which appeared from the basis of East Javanese artists became more popular, especially after the rise of Inul Daratista’s “Goyang Ngebor” controversy in 2003. In its development, there were also Handep, Vol. 1, No. 1, December 2017

Figure 7. Dangdut diagram. Sources: Nizar and Suherman, 1994: 2.

2. The Characteristics of Dangdut to Dangdut and what is the reason for Koplo as the Development of the using the word. In this discussion, the Dangdut Genre Overview author tries to present a number of It seems that the community only cooperative concepts traced by several focuses on Inul as a manifestation of researchers including the results of the eroticism in it when the phenomenon research conducted by the author. One of Dangdut Koplo appears. Music of the well-known researchers practitioners and observers immediately discussing Koplo terminology is accept the product of the development Andrew Weintraub. According to him, of Dangdut music. But gradually, the the word Koplo is related to one type of observers and music researchers began illegal drug, namely ectasy, commonly to be curious about the terminology of referred to as the “koplo pill”. “Koplo” which is attached and by Weintraub also concluded that koplo Dangdut practitioners to be used as a music is a way of expressing the feeling musical language. of being jaded about dance styles that The fact is no source that explained are considered by people to be from where the word Koplo is attached Caracteristic Review of Dangdut Koplo (Denis Setiaji) unbelievable or magical (Weintraub, different from the previous Dangdut. As 2010: 252). in the quote below, Koplo terminology in the Third “However, koplo was not a Dictionary of Indonesian Language, the separate genre from dangdut but rather word Koplo means dumb or stupid a musical treatment or style of dangdut (2001: 594). The word Koplo is also (that blended other genres of music found in Javanese, which means bodho including rock, pop, and local Javanese or gendheng (Mangunsuwito, 2002: songs). . . dangdut koplo is 116). Bodho means stupid while characterized by its distinctive drum gendheng means crazy. This stupid and pattern, fast tempo, genre-bending crazy has a correlation that is quite arrangements, and eroticized spectacle bound, especially in the context of the of performance (Weintraub, 2013: nativity of Dangdut Koplo. 161)”. The relation of Dangdut Koplo and Weintraub’s findings are an Koplo terminology which means crazy, important reference to the as well as koplo pills which are a means characteristics of Dangdut Koplo. to produce the effect of drunkenness and However, there are also other craze, all of them, are related to the issue developments that are a trend in of the crazy era in its era of appearance. Dangdut Koplo so it becomes the In this case, Dangdut practitioners try building blocks of its characteristics. to embed the “social madness” into the These characteristics are explained in Dangdut musical language. In this case, the following sub-discussions. Dangdut Koplo is not a means to a. Specific Play Patterns on Drum increase “madness” in the community The difference in characteristics of but the antithesis of “madness” itself. Dangdut and Dangdut Koplo according Dangdut Koplo became euphoria to to Weintraub above is the first is the reduce the level of stress on the lower presence of a special wasp pattern. In class community over the socio- this context, the pattern is sling political impact of the post-New Order performance. In the previous Dangdut, era. the drumming pattern tended to only use As previously reviewed, Dangdut the chalte pattern from the Indian tabla Koplo is an extension of the process of performance, whereas the Dangdut developing Dangdut music in the Koplo tended to be varied. The elements previous era. East Java is the main base of drumming in Dangdut Koplo are a for the deployment of Dangdut Koplo, combination of chalte and drum although the problem of the origin of patterns from various local arts in its formation is still a debate over a various cultural regions. The Sundanese number of sources. However, East Java drum Jaipong pattern is usually called has indeed become the center of the Mincid (both minced arang and spread of Dangdut Koplo and is rangkep) (Interview with Rasita, May Handep, Vol. 1, No. 1, December 2017 29, 2017). The pattern of the drum play According to the source, the is finally called the “Koplo” drum differences in the basic patterns of pattern. Dangdut drum and Dangdut Koplo play as below,

Source: Weintraub, 2013: 168.

In practice, a group always A, B, and C. In part, A use drum collaborates on the drum patterns chalte pattern, while in part B and using above. The chalte pattern and copy Koplo drum pattern. This is part of the pattern are inserted into parts of the song arrangement approach of a song separately. For example, a song x has a repertoire. The example of some of the song section (for example the song songs performed by Dangdut Koplo verse) group below,

Group OM New Pallapa Singer Gerry Mahesa Song Tum Hi Ho Stanza Stanza Stanza Stanza Part Stanza 1 Stanza 2 Interlude Reff Coda 3 4 2 3 Drum Pattern Arr. Original Arr. Original Koplo Koplo Arr. Original Koplo Koplo Koplo Arr. Original

Table 1. Drum pattern on Tum Hi Ho song by OM New Pallapa in Demak May 29, 2016. Source: Irex Community.

Group OM New Pallapa Singer Lilin Herlina Song Tiada Guna Part Intro Stanza 1 Stanza 2 Interlude Reff Stanza 1 interlude Reff Coda Drum Pattern Chalte Koplo Koplo Chalte Koplo Koplo Koplo Jaranan Jaranan Table 2. Drum pattern on the Unused Song by OM New Pallapa in Demak May 29, 2016. Source: Irex Community. Caracteristic Review of Dangdut Koplo (Denis Setiaji)

Group OM SERA Singer Nirma Permatasari Song Cinta yang Sempurna Part Intro Stanza 1 Stanza 2 Interlude Reff Stanza 1 Interlude Reff Coda Drum Pattern Arr. Original Arr. Original Arr. Original Arr. Original Koplo Koplo Koplo Koplo Chalte

Table 3. Drum patterns on the song Cinta yang Sempurna by OM SERA in Madura. Source : 4shared.com

The examples of the three songs The tendency of fast tempo does above are Tum Hi Ho (Indian songs), occur in Dangdut Koplo, but there are Tiada Guna (Dangdut songs), and Cinta also songs that are worked on by Koplo Yang Sempurna (Pop songs), the three but not included in the fast rhythm. This songs were produced by Dangdut Koplo can happen because if the main pattern group. In the Tum Hi Ho song and Cinta of the Koplo drum is associated with Yang Sempurna, the original the Jaipong drum pattern called mincid, arrangements are retained in some parts the pattern is called mincid carang and of the song. There are chalte, koplo, and mincid rangkep. The mincid ranking jaranan patterns in the Tiada Guna pattern is the acceleration of the short song. In the table above, we can see the mincid pattern. It can be said that mincid mixing of drum patterns from various rangkep is a duplicate pattern from the cultural influences used in one song mincid that makes the drum beat faster arrangement in Dangdut Koplo. That is (Interview Rasita, 22 May 2017). one indicator of the intercultural dimensions found in Dangdut Koplo c. The Mixing of Various Types of drum pattern. Genres as Arrangements The next character is the mixing of b. The Tendency of Fast Tempo various musical genres as an The next development from Dangdut arrangement approach. A number of to Dangdut Koplo is a fast tempo. The music genres such as Pop, Keroncong, tendency of a fast tempo is indeed felt Reggae, Ska, House Music, and so on, in Dangdut Koplo. Dangdut or non- are usually inserted into songs outside Dangdut songs that are worked on by pure Dangdut songs (pre-Dangdut Koplo sometimes tend to have a faster Koplo songs). There are a number of tempo. This fast tempo is very fitting reasons why practitioners do not to form a more dynamic joged arrange pure Dangdut songs using other atmosphere and build its audience to genre music approaches. Dangdut move more energetically. There is also Koplo is music with a fast tempo, more a song arrangement in the beginning stage action and mixing Dangdut genre that tends to be slow tempo and then with other popular music especially in changes quickly when the Koplo pattern the context of local music. Then is entered. Dangdut Koplo adapts pop, rock, and Handep, Vol. 1, No. 1, December 2017 local music, so it is changing Dangdut development, there are also singers who reflects an era of economic instability choose to make sensuality and eroticism and social change (Weintraub, 2013: as the stage assets on the stage rather 83). than the quality of their vocals. Some speakers gave reasons why pure Dangdut songs tend not to be arranged using other musical genre approaches, (1) Pure Dangdut arrangements seem to be gripped so that they are less comfortable when working on other genres, and (2) Forms of respect for pure Dangdut songs that are Figure 6. Photo of Dangdut Koplo singer with sexy clothes at the Areva Musik Horee considered exclusive and has certain concert on May 8, 2016. qualities (Boyo interview, 6 June 2017). Source: Studio 7 Multimedia. d. The Tendency of Erotism The last characteristic of Dangdut Koplo according to Weintraub is that shows tend to be erotic. This is indeed very common, especially in Dangdut Koplo stage in the North Coast area (Pantura). Inul Daratista as a singer who came from Dangdut Koplo group strengthened the stickiness of eroticism Figure 7. The scene of the tempting singer controlling Areva Music Hooray with in the show. The eroticism that appeared swaying at the dangdut program at THR was in the form of costumes that Sriwedari June 10, 2017. indulged in the curves of the body and Source: Denis Setiaji. the body parts of the singer, the shake or sway of the singers, and e. The Presence of the Jem-jeman improvisation erotic sighs by the singer. Trend was followed by Senggakan The above elements are inherent in The four characteristics according to Dangdut Koplo, although it is possible Weintraub above are the elements that before the Dangdut Koplo eroticism in make up the image of Dangdut Koplo. Dangdut already exists. In its development, Dangdut Koplo The eroticism of female singers is trend today makes the characteristics of very easy to get from Dangdut Koplo the music develop. The author looks at show because it tends to be more than Dangdut Koplo trend in the present era, male singers. Not all elements of the other character is the variation of eroticism are inherent in the singer and drum patterns in the form of fillers, not all singers also use it on stage. In its Caracteristic Review of Dangdut Koplo (Denis Setiaji) commonly referred to as jem-jeman, that build the formation of funny joged jep-jepan, and senggakan4. As movements by Cesar. This phenomenon information in the literature that is one indicator of the development and differentiates Dangdut and Dangdut influence of Dangdut Koplo. The Koplo in the drumming performance influence spreads on a national scale that forms senggakan space. Senggakan through variations or jem-jeman that in filling the repertoire for the repertoire can form a form of senggakan and of songs. Senggakan is proven to stimulation of various types of joged distinguish the tempo of the music. The movements. pieces of music have a more energetic The next characteristic that the and more participatory effect (Raditya, author identifies in Dangdut Koplo is 2013: 184). the appearance of variations in the form Senggakan arises through of entries that are named jem-jeman or variations in the Dangdut Koplo drum jep-jepan. These entries are again the patterns. Indonesian people are familiar responsibility of the drum practitioner. with the phrase “Buka Sithik Josss!” The fists are in the form of broken (Open a little joss). The sentence is so drumming plays with a number of popular through Dangdut Koplo that it accents followed by other instruments, spreads on a national scale, one of such as keyboards, cymbals, guitars, which is through the “Yuk Kita Sahur” and so on. Forms of jem-jeman are very program. The “Yuk Kita Sahur” diverse, some are at the end of a song’s program in mid-2012, precisely in the sentence, and some are even in one holy month of Ramadhan, is very song’s sentence. popular especially when the segment is Jem-jeman in its development is called Goyang Cesar. The segment is a also followed by senggakan which is joged action led by a person named usually done by tambourine players. Cesar in a unique and funny gesture. According to the author, it becomes so The dance uses a song titled “Buka important in the development of Sithik Joss” popularized by Juwita Dangdut Koplo. In the end, senggakan Bahar. Goyang Cesar uses one part of the can be included in one of the song and has a variety of drum patterns characteristics of Dangdut Koplo in the present era. The concept of senggakan in Dangdut Koplo is actually by 4 Actually senggakan is an utterance or vowel definition the same as the understanding in the form of a lyrics or words even sometimes words without meaning. In this in Javanese Karawitan, as in the source context, the author only explained based on findings in the field. The senggakan here is which the author quote d below, drum pattern entries, even though the term is Senggakan has “senggak” basic actually not suitable to be used, but the filler word which means njuwara gijik arame / jem-jeman is always followed by senggakan. mbarengi oening gamelan. From the Handep, Vol. 1, No. 1, December 2017 way it is presented, senggakan in Senggakan of Dangdut Koplo is Karawitan has the impression of being formed by stimulation of the drum play. crowd, thus senggakan can be Drum patterns form the space where interpreted as single or shared vowels there is a possibility of senggakan. using the citation of funds or a series of Words that are senggakan can stick to words (sometimes without meaning) the drum beat pattern, filling up the to support the realization of a blank knock where the drum is not crowded atmosphere in a music sounded. (Murwaningrum, 2012:5).

Notation 2. The variation pattern of the drum with senggakan follows the beat (red) and fills in the blank beat (blue) on the Areingan Music Exile song piece in the download program at Hamlet Masaran Kulon, Masaran, Sragen September 24 2016. Source: Purnama Video Production.

The facts above show how the drum players, senggakan is also established pattern provides space for the players between players and audiences. The (usually tambourine players) to do some senggakan between the audience and fun to make the atmosphere of the show the player is one form of interaction more crowded. Then player interaction phenomenon. As in the example below, and objectivity. Apart from players and

Notation 3. The drum pattern with senggakan of players and spectators on Areva Music’s piece of the former Kelingan Mantan song during the download event at Hamlet Masaran Kulon, Masaran, Sragen September 24 2016. Source: Purnama Video Production. Caracteristic Review of Dangdut Koplo (Denis Setiaji) The example above is one of the The picture above shows how the frequent interactions between players power of Dangdut Koplo drum play is and audiences, especially in every show able to stimulate a variety of creativity held by Areva. One of the uniqueness specifically in penjoged cases. The and things that make Dangdut Koplo group led by a person named Temon lovers look forward to in every Areva tried to make drum poles in the form of music show is the interaction between jem-jeman as a means of creating joged players and audience which causes the movements that were unique, funny, musical chemistry that occurs between and creative. them. The other phenomenon that makes C. Conclusion jemjeman as a characteristic of Dangdut Dangdut Koplo which is increasingly Koplo in the present era is the popular in this era and it has become a appearance of a joged (dance) new face of Dangdut genre. This can community consisting of a group of be seen through the characteristics that young people from Solo, Klaten, and are distinctive and different from the Yogyakarta regions. The famous one is previous Dangdut. Apart from the the Temon Holic community. The assumption of Dangdut practitioners community makes Dangdut Koplo who consider Koplo is not Dangdut, its drum patterns as a means to make existence cannot be denied through movements unique, funny, and Dangdut media and through a number entertaining. The community in each of creativity of its practitioners. action is always grouped and led by one Although in the end, it becomes a person as the director of the movement “Dangdut” that is different from its so that it is followed by other group base. Dangdut Koplo displays an image members. These movements appeared that is considered more “progressive” immediately on stage through with the appearance of a number of stimulation of Dangdut Koplo intercultural dimensions in it. drumming pattern, mainly based on Dangdut in the era of the 90s variations or patterns of jem-jeman experienced a developmental transition played by Koplo drum practitioners. that peaked in the early 2000s. Development towards Dangdut with the addition of the term “Koplo”. The development of Dangdut into Dangdut Koplo is certainly related to the construction of formers in it. Dangdut Koplo is seen as more “progressive” Figure 8. Temon Holic group in a Dangdut Koplo concert. Source: www.temon- with elements of mixing various genres, kis.wordpress.com/. dynamic drum patterns with a fast accessed June 29, 2017. tempo, eroticism that emerges through Handep, Vol. 1, No. 1, December 2017 musicians, such as drum variations imaginers and contains intercultural called jem-jeman, and the inclusion of dimensions should be of more concern senggakan which becomes the musical to research on Dangdut Koplo objects part. in the future. It is possible that Dangdut Koplo will experience innovation and the SOURCE LIST development of the next stage. So that Alwi, Hasan et al. 2001. Kamus Besar other characteristics appear that Bahasa Indonesia Edisi Ketiga. increasingly add repertoire from Jakarta: Pusat Bahasa Departemen Dangdut. The nature of the art that art Pendidikan Nasional. is flexible and also culture always Broughton, Simon et al. 1994. World develops all the time. Dangdut Koplo Music. London: The Rough Guide. is a popular Indonesian music product that appeared through innovation in Diskografi. Purnama Video Production. Dangdut music of the previous era, has Diskografi. Studio 7 Multimedia. a thick local content, thus adding to the Diskografi. 4shared.com. repertoire of music development in Indonesia. Diskografi. Irex Vommunity. Research on the intercultural Fealy, Aspinall, Edward, dan Greg. dimension seems interesting to be able 2003. Local Power and Politics to see what cultural elements influence in Indonesia: Decentralisation & the musical image in Dangdut Koplo. Democratisation. Singapore: The intercultural dimension is also very ISEAS. inherent and visible in its playing kbbi.web.id download on June 2, 2017 patterns. The author assumes that the basis of Dangdut Koplo is how Dangdut Mangunsuwito, S.A. 2002. Kamus practitioners make changes to the Bahasa Jawa. Bandung: CV Yrama pattern of drumming that is more Widha. dynamic by combining a number of Murwaningrum, Dyah. 2012. cultural influences. This is evidenced Senggakan Sebagai Permainan by several numbers of information both Vokal dalam Lengger Banyumasan practitioners and audiences who think di Jawa Tengah. Tesis. Yogyakarta: that Koplo is a matter of drumming Prodi Pengkajian Seni Pertunjukan patterns. When a stage orchestra then dan Seni Rupa Universitas Gadjah has elements of a fast drum pattern, an Mada. erotic singer, and arranges several genre Nizar, dan Maman Suherman. 1994. songs, it has not been called featuring “Sejarah Perjalanan Dangdut: Dangdut Koplo if there are no Pohon Dangdut Bertangkai drumming plays that are “awesome” or Money”. Citra, 28 Maret-3 April, “mengkoplo”. 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