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D:\Jurnal Handep\Data Terjemaha 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.
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