Advances in Social Science, Education and Humanities Research, volume 443 International Conference on Science and Education and Technology (ISET 2019)

Banyuwangi Caruk Festival: Aesthetic Reconstruction in Cultural Commodification Practice

Karsono Totok Sumaryanto Florentinus Universitas Negeri Universitas Negeri Semarang Semarang, Semarang, Indonesia [email protected] [email protected]

Tjetjep Rohendi Rohidi Wadiyo Universitas Negeri Semarang Universitas Negeri Semarang Semarang, Indonesia Semarang, Indonesia [email protected] [email protected]

Abstract The increasingly rapid development of era as a technologies. It started from the territory of the United result of technological advancement drives social and Kingdom that the revolution of industry spread to cultural changes in the lives of Indonesian people. In various countries and continents, including to responding these changes, cultural adaptation becomes a Indonesia (Clark, 2001); (Baiquni, 2009); (Landes, necessity, especially in the aspects of ideas, thoughts, 2014). To date, the the revolution of industry has even values, and actions. One of the real forms of cultural reached the 4.0 era marked by symptoms of disruption adaptation occurs in , the regency in the i.e. the decreased role of humans in producing goods eastern tip of . The change in socio-cultural and services, which is subsequently replaced by configuration from an agrarian to an industrial society is various kinds of artificial intelligence technological responded by the Banyuwangi government by products. constructing a policy to change the direction of its In Indonesia, the revolution of industry had regional development, from an agricultural economy to a actually begun since the colonial era, the Dutch tourism industry-based economy. Based on this policy, colonial power with VOC companies until the various acts of commodification of local potentials finally Japanese occupation (Susetiawan, 1997:31-33). In emerged, including the commodification of Osing traditional arts for the purpose of cultural tourism in the post-colonial era, Indonesia continued the Banyuwangi. This research is a study of the reality of the industrial era through cooperation with various commodification of Osing traditional music, Angklung countries to lay the foundations of development Caruk, in the context of the development of Banyuwangi based on production capabilities. Industrialization cultural tourism. The study used a qualitative approach in Indonesia initially covered basic manufacturing with the data collection methods including observation, to support infrastructure development, such as the interviews, and document studies. The data were steel and mining industries. However, during its analyzed using the Spradley’s ethnographic analysis model. It was found that (1) the commodification of development, industrialization in Indonesia Angklung Caruk is carried out by considering the expanded by initiating various fields that could be uniqueness of competitive forms of performance, (2) the sold and produced massively, including the commodification is carried out by reconstructing the agricultural and tourism industries (Susetiawan, structure and form of the Angklung Caruk performance, 1997) and (3) the commodification resulted in the emergence of The quite monumental tourism industry in kitschy Angklung Caruk performances. Indonesia began in 1991 with echoing of the tagline Keywords: commodification, Angklung Caruk, “Visit Indonesia Years”. The basis of the emergence competition, kitsch of the strategy of the Visit Indonesia Years cannot be separated from the consideration that the tourism I. INTRODUCTION industry promises large foreign exchange earnings. The revolution of industry started in the mid-18th In addition, the relief of Indonesia's diverse century has become a milestone in the history of world landscapes and the richness of exotic ethnics and civilization towards the modern era. The revolution has cultures are potentials that can be produced in been able to change the order of economic, social and packages that attract both domestic and foreign cultural lives of the world community. The main factor tourists to visit and watch them (Siahaan, 2008). is a fundamental change in the increasingly massive Since 1991 until now, the tourism industry in and widespread production process in various fields such as agriculture, mining, transportation and other Indonesia has continued to be developed. The

Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 265 Advances in Social Science, Education and Humanities Research, volume 443

development occurs because in reality, this sector position. has contributed a large income to the country It is this development of tourism objects and (Siahaan, 2008); (Shasta Pratomo, 2009). Therefore, cultural festivals that ultimately makes the world’s in every change of government, there is always a eyes turn to see Banyuwangi. This is evidenced post of the ministry of tourism. Even today, along from the increase in the number of domestic and with the golden era of information technology, the foreign tourists to Banyuwangi. In 2013, domestic government is beginning to explore, discover, and tourists visiting Banyuwangi amounted to construct new tourist destinations to complement 1,057,952, which increased to 5,039,934 in 2018. previously well-known destinations e.g. , Meanwhile, the number of foreign tourists in 2013 Yogyakarta, and Toraja. The extensification of the of 10,462 increased to 127,420 in 2018 tourism sector by opening up these new destinations (Banyuwangi, 2019). occurred, for example, in the Labuan Bajo region in The data confirm that as a region that was once Nusa Tenggara Timur, Raja Ampat in Papua, considered a marginalized, subordinated, and a Mandalika in Nusa Tenggara Barat, and developing area with a negative stereotype and full Banyuwangi in . of suspicion (Sungkowati, 2003); (Herriman, 2007) As one of the areas of tourism development in has now appeared to be a tourist destination full of Java, Banyuwangi has intensively started to charms, energetic, creative and full of vitality. improve, especially since this decade. Under the Even, the cultural festivalization has made leadership of the regent Abdullah Azwar Anas, who Banyuwangi a cultural force of East Java, which is started to hold the position on October 21, 2010, able to keep pace with Ponorogo, Madura, Jember, Banyuwangi turned up to be a new tourist destination and , which previously seemed more to be reckoned with. The breakthrough of Regent active in cultural festival events. Azwar Anas began as he initiated the construction of Framed in a tourism destination, cultural an international airport, which had been aspired festivals organized by the Banyuwangi government since the era of Regent Purnomo Sidik in 1991. Ease employ a creative strategy i.e. cultural of access with the existence of an airport and the commodification. Commodification is the making location of Banyuwangi close to Bali are the of cultures, in the form of values, behaviors and important promising factor of the tourism cultural products, a commodity sold for the benefit development in Banyuwangi. of the tourism industry. As a commodity, the In addition to the two aspects mentioned, the cultural elements are of course packaged into a form potential for Banyuwangi tourism development is that is more easily "consumed" by the wider supported by the diversity of environmental ecology community. Another characteristic of and cultural exoticism. These two aspects are commodification is that the cultural packaging carefully mapped by Regent Azwar Anas. As a presented is the imitation or synopsis of its original result, new tourism locations based on the natural form (Widyastuti, 2011: 201); (Minawati, 2013) environment in Banyuwangi, which are ready to (Ye et al., 2018). captivate the eyes of visitors and, at the same time, Among the various commodifications presented facilitate the passion to self-actualize on social in the Banyuwangi cultural festivals, one of which media by taking pictures (selfie), have come to is the commodification of traditional arts. existence. On the other hand, the richness of Banyuwangi is indeed famous for having a rich diversity of Banyuwangi people's cultural products, variety of traditional arts. From a number of such as customs, habits, culinary, rituals, to arts of traditional arts presented in cultural festivals, the community, makes Banyuwangi an exotic almost all of them come from the traditions of the cultural tourism destination. Osing community, the Banyuwangi indigenous Based on these cultural capitals, the community. This traditional art commodification extensification and intensification of Banyuwangi model is evident, for example, in the Gandrung tourism was constructed by the Banyuwangi regional Sewu festival, the literary festival, Gending government through the strategy of organizing a Banyuwangen festival, Kuntulan Caruk festival, cultural festival. With the tagline “Majestic and Angklung Caruk festival. Banyuwangi: The Sun Rise of Java”, the Angklung Caruk in the socio-cultural context of Banyuwangi government through the Department of the Osing community is a performance model, Culture and Tourism held hundreds of cultural which brings together two angklung music groups festivals which took place sequentially for one year, on one stage to compete with each other to show ranging from arts, food (culinary), rituals, games, to their skills in playing angklung music. The process fashion festivals. These festivals have increased in of demonstrating the ability to play music is done frequency since Regent Azwar Anas held the by exhibiting and imitating each other musical

266 Advances in Social Science, Education and Humanities Research, volume 443

compositions (gending) made by the two groups. for tourism, (2) how the commodification of This art is also often called Bali Balian art (Karsono, Angklung Caruk occurred, and (3) what is the 2004); (Hastanto, 2007). impact of the commodification for Banyuwangi The Angklung Caruk or Bali Balian performance tourism and for Osing community culture. has long been developing in Banyuwangi. Based on previous research reports, in the 1930s, there was II. METHOD already a crowd in the Banyuwangi Tegalloji square. This study was conducted in Banyuwangi, The crowd was caused by the presence of some focused on the series of activities of the Caruk angklung groups from various villages that gather Angklung festivals held in 2017 and 2018. The and take turns presenting gending (Pigeaud, 1932). series of activities investigated are limited to the The development and continuity of Angklung preparation until implementation to of the festivals. Caruk's life subsequently appeared in the research In a series of Caruk Angklung festival activities report of Banyuwangi Education and Culture (E&C) each year, it takes approximately 2 months from the Office (1976), research of East Java E&C regional announcement/outreach to the implementation. office (1996), Sutton's book (1991), Wolbers’ thesis Based on the activity scheme, the field study was carried out in 3 months for each year. This was done research (1992), Karsono's research (2004), to enable data collection in a more flexible time. Hastanto's article (2007), and the article rewritten from Wolbers’ research report (2014). Based on the focus of the research to be studied, As Banyuwangi’s socio-culture changes from this study used a qualitative approach. The research agrarian to industrial era, in the early decades of the method used is the ethnographic method developed third millennium, around 2010, the art of Angklung by Spadley. The method which is based on the flow Caruk had begun to experience a crisis of existence of 'new ethnography' believes that culture actually and was very rarely performed again. This was due exists in people’s minds. The task of the researcher to the social context of Angklung Caruk that was no is to raise this thought out, so that it can be longer supporting. Angklung Caruk was born and understood and explained again as the public lives in the womb of an agrarian culture whose life understands, views and regulates their cultural cycle is not as rigidly structured as industrial sphere (Spradley, 2006: xii-xv). society’s. Therefore, when industrialization has In line with the Spradley’s method above, data begun to enter Banyuwangi, Angklung Caruk will collection techniques in this study included rarely be performed in the social celebration of the participant observation, interviews, and Osing community because it might not be relevant to documentation studies. The data collection in this the cycle of industrial community activities. study included observation, interview, and From the unfavorable situation of documentation study techniques. Observations industrialization for Angklung Caruk, the were made during the preparations before the government tried to festival until the time of the Angklung Caruk reconstruct the show by packaging it into the festival. Interviews were conducted with Angklung Angklung Caruk festival. The goal is not only for Caruk artists, festival participants, and the cultural tourism commodities but also for the community involved in this event. The document preservation of traditional arts. Caruk Angklung studies were conducted on the documentation Festival has been included in the agenda of the products produced by the researchers and Banyuwangi cultural festivals since 2017 and 2018. documentation belonging to the Banyuwangi In the context of a cultural festival for tourism, Culture and Tourism Office, uploaded in the Angklung Caruk is clearly seen as a commodity. This Facebook account "Kabupaten Banyuwangi". position naturally places it in a contradictory situation. On the other hand, there is a need for the III. RESULTS AND DISCUSSION preservation of Angklung Caruk through travel packages, the impact of which is of course A. Angklung Caruk: Musical productive for regional income. The Competition commodification of tradition, which also occurs at Angklung Caruk is a performing art of Osing Angklung Caruk, is often accused of lowering the traditional music, which in its performance presents quality and "aura" of cultural originality as in the real two Angklung music groups to compete with each life context. This is certainly counterproductive to other, pitting musical abilities. In linguistic the preservation of the "aesthetic quality" of the art. meaning, Angklung refers to its notion of an Osing In this contradictory situation, this study is interested musical instrument in the form of bamboo blades, in finding the answers of (1) why Angklung Caruk which is played by being hit using two wooden becomes one of the traditional musics commodified beaters. Meanwhile, Caruk linguistically means "to

267 Advances in Social Science, Education and Humanities Research, volume 443

meet". Thus, Angklung Caruk means a group of Penghormatan is a piece of music containing angklung artists who meet. Specifically, they meet to greetings, group introductions, and opening creations outperform each other's musical abilities through the made by a group to honor the host (show organizer). activity of showing off musical works and imitating Gendang Embat-Embat, often called Blindrong, is a the opponent's. musical composition that must be presented by each At the time of caruk, the Angklung music groups group. This musical notation is fixed and is a play a set of , which consisted of not only traditional gending that originates from Gandrung angklung, but also other instruments including art. However, in Angklung Caruk, gendang embat- , , , drum, and kenul. With the embat can be presented with different arrangements. presence of two Angklung groups on one Angklung Gending Engselan is also a fixed notation but may be Caruk stage, there are two sets of angklung gamelan arranged according to group tastes. that are traditionally arranged facing each other. The setting of the sets of angklung gamelan on the stage can be illustrated in more detail in Figure 1 below:

Figure 2. Scheme of the presentation order of Angklung Caruk parts

Gending Klocian is a new composition Figure 1. Musical instrument setting on the Angklung Caruk stage (gending), which is mainly played by two musicians (in Osing, musicians are called Panjak) of Angklung From the picture above, it can be seen that the instruments. Panjak Angklung is commonly called custom of arranging musical instruments on the Satu'. In presenting klocian, one of the Saturn 'will Angklung Caruk stage is reflective by facing two bring a series of complex angklung melodies, which musical ensembles of the two groups, let’s say must be imitated by the opposing group, while the Angklung A and Angklung B, in a position that seems Satu’ who becomes his partner will make a to reflect each other. This musical instrument ‘disruptive melody’ to make it difficult for the arrangement model caused the position of the opposing group to detect and imitate the melody. angklung artists from the two groups would face This klocian part will continue with adu gending. each other during their performance on the stage. Panjak Saturn of the opposing group will discuss to The angklung instrument arrangement model is try to learn, guess, and imitate the opponent's related to the pattern and process of competition that klocian. After feeling able to imitate, the opposing occurs between musicians at the time of group will play hard and loud the klocian so that it presentation. can be heard and asked if the imitation is successful. The pattern of competition in the Angklung In the Angklung Caruk tradition, this adu Caruk show is regulated through the traditional gending part will last long. This happens because of performance agreement. The pattern is structured in the process of arguing with each other about the the presentation part by part of the show. The order truth of imitation in complex situations, which is of presentation in the competition pattern of the often accompanied with emotional tension between Angklung Caruk show can be illustrated through the panjak Angklung. The tension is getting stronger scheme in Figure 2 below. when the audience also get involved and evaluate From figure 2, it can be seen that each angklung the right imitation of gending klocian. The audience group is given the opportunity alternately to present will ridicule and even blasphemy each other as a and imitate gending (music composition). Part 1 result of the actions supporting the competition of presenting gending giro-giroan is a part that gives an the panjak on stage. opportunity for each group to present the repertoire of In the development of the Angklung Caruk their collection of musical works, which have been show, gending imitation, which initially only made for previous performances. Gending

268 Advances in Social Science, Education and Humanities Research, volume 443

involved klocian Satu', developed into a whole Indonesia. gending imitation. Therefore, adu gending facilitates As far as the searching of the author, musical musical battles between Saturn and between panjak competition performances have indeed existed in as a whole. In the development of this model, after several regions in Indonesia. In Banten, there is a the angselan part, the presenting group will play a Ngadu show that pits the beauty of the new piece of music in full before coming into the musical pieces of the drum instrument musical battle of klocian compositions. (Karsono, 2004)This groups (Kuswandari, 2014) In Jembrana Bali, there is why each group always prepares new gending is Jegog Mebarung who pits the strength and before caruk, at least one month or a week before loudness of the jegog sounds between groups meeting their opponents on stage (Karsono, 2004) (Sukerna, 2001). In Banyuwangi itself, there is In the midst of the fierce adu gending, there is Kuntulan Caruk, besides Angklung Caruk. one more performance entity called badut (clown). However, the music competition in Kuntulan Caruk Each angklung group brought its own clown. Thus, is inspired or developed after the presence of there are two clowns in each angklung caruk Angklung Caruk. Of the three arts, it is indeed only performance. When a group plays a role as a Angklung Caruk that has a part that pits the ability presenter, its clowns will perform, which starts from to 'receive' and then imitate the melody created by the penghormatan to keok-keok parts. The clown is the opposing group. tasked to dance and lead the presentation of the Thus, it can be seen that the musical angklung group by part, but in the situations of adu performance of Angklung Caruk does have its gending, this clown often plays a contradictory role. specialty and uniqueness in the pattern and process He can mediate between groups, but because of of its competition. The uniqueness of adu gending emotional ties with their groups, it is uncommon that is the unique identity of the who love the clown becomes subjective and mocks the to compete and like to play. From this reality, the imitators. He even contributes to the assessment that reconstruction of Angklung Caruk in the process of the gending is wrong. This behavior makes the clown commodification into an agenda of the Banyuwangi more visible as a provocateur amid the excitement of cultural festivals is a relevant decision. the competition between Angklung groups. The A. Structure and form of Angklung Caruk festival clown provocation can be done with verbal The Angklung Caruk show did not develop well expressions or dance movements that mock the until the third millennium. In 2003, there were only opponent. seven active Angklung groups invited on several After the adu gending is finished, the presenter occasions to the caruk show that remained and were plays gending keok-keok which marks the series of spread out in 4 districts (Karsono, 2004). This stages of presentation. Angklung Caruk artists in condition is much different than before the several interviews linked the use of this gending millennium in the 90s decade, in which there were keok-keok with the reality of winning and losing. still around 20 Angklung groups spread in almost all “Keok” means "lose". Thus, this gending keok-keok Osing residents in 10 districts (Tim, 1976) Even, by is regarded as a symbolic statement regarding the the second decade of the millennium, in 2011 until "losing" of one group over another. In reality, in the now, there are no more Angklung Caruk midst of adu gending, as the presenting group plays performances in the context of the social celebration gending keok-keok, and then the emotion of the of the Osing community's life cycle. imitating group will immediately be lit. The emotion Before being listed in the Banyuwangi cultural is expressed by shouting, claiming that the imitator tourism agenda, Angklung Caruk festival activities is correct, uttering words loudly and sometimes had actually already existed. From the information coming to the presenting group to stop the keok-keok of the artists, in 1997, there was a kind of Angklung presentation. Caruk festival held, which brought together many It is the pattern and process of the musical angklung groups from various Osing villages. The competition in this unique Angklung Caruk show model of the festival was pitting musical abilities that makes this art reconstructed to be made one of between angklung groups with the scheme similar the agenda of the Banyuwangi cultural festivals. On to sports tournaments. Each group was drawn first the final night of the Angklung Caruk festival held to get an opponent. Each group had to pass the on February 17, 2018, the master of ceremony (MC) preliminary round until finally reaching the final. clearly revealed that the art of Angklung Caruk was Unfortunately, the festival which aimed to preserve a unique performance owned by the Osing the Angklung Caruk art was also not sustainable. community in Banyuwangi. The process of This was due to the emergence of an impact in the "guessing" the melody in adu gending is the tiptop form of conflict between the supporters of the of this uniqueness and is perhaps the only one in

269 Advances in Social Science, Education and Humanities Research, volume 443

Angklung groups. audition. In this final stage, the form of the show is The Caruk Angklung festival under this study is similar to the Angklung Caruk tradition by bringing different from that of 90s. The Caruk Angklung together two angklung groups on the stage. The festival examined in this study began in 2017, which differences between the final stages of the Angklung is part of the Banyuwangi cultural tourism events. Caruk festival and the traditional Angklung Caruk Although there are differences, the newly-organized performances are (1) not presenting gending giro- Angklung Caruk festival has some similarities to the giroan, (2) the duration of gending penghormatan that of 90s. presentation is not long; (3) the gending melodies The form and structure of performances in the presented in the klocian have been determined, 12 Angklung Caruk festival in 2017 continue to be traditional gending Banyuwangen, and (4) the sourced from the form and structure of the traditional winner is decided by the judges. Angklung Caruk performances. However, tourism Gending giro-giroan is not presented because motivation caused the form and structure of the the festival participants are not professional artists Angklung Caruk festival to undergo a reconstruction who previously had a large repertoire of musical leading to some differences. The difference is due to pieces. The short duration of penghormatan is due the different functional context compared to the to the limited time between 10 and 12 minutes. original life in Osing culture. Meanwhile, the determination of 12 gending The first difference between Angklung Caruk klocian is based on the consideration that festival traditional performances and the Angklung Caruk participants are still children and adolescents, so festival is the status of artists in the angklung group. they do not know many of the banyuwangen Panjak (instrument player) and badut (clown) in the traditions often composed again to be used as Caruk Angklung festival are school children with the Klocian. Therefore, the determination of gending categories contested in the festival including the klicoan is done so that festival participants have the elementary school and the secondary school opportunity to practice remembering the melodies categories (junior high school, senior high school, and memorize the melodies of the 12 gending. With and vocational high school). This is different from this limitation, children's musical burden is not too angklung caruk tradition, where angklung artists are heavy. Meanwhile, the determination of the winner professional artists. This participation of the is on the judges to avoid conflicts between Angklung Caruk festival that requires amateur artists supporters. With regard to the judges’ authority in causes adjustments in the structure and form of judging, their transparency and accountability are at festival performances. stake with the recording of the show. Thus, when In the Angklung Caruk festival, the competition the results of the assessment come out, if the is divided into two stages, the audition and final community is not satisfied, they can look back at the stages. This staging model had never been found in recording of the presentation. Thus, the evaluation the traditional stage of Angklung Caruk or Angklung process can occur based on the objectivity and Caruk festival model of the 90s. In the audition credibility of the judges. stage, the presentation structure of the show is also The form and structure of the presentation of the different. There is no process of pitting or competing Angklung Caruk festival which is different from its between Angklung groups. The structure of the form of tradition are clearly caused by the presentation of the audition stages is that each reconstruction purpose of the show which is for the angklung group is asked to take turns presenting a sake of tourism. It has become plural that traditional sequence of gending that is composed of art formations, which have been resurrected as penghormatan, embat-embat, engselan, klocian, and tourism commodities, will have differences with keok-keok.. Along with the gending presentation, the their original forms (Widyastuti, 2011) (Minawati, clown dances to show their creations. The time given 2013) (Ye et al., 2018). This phenomenon is for each group to present a series of gending is 10 to commonly referred to as the concept of pseudo 12 minutes. The presentation is assessed by 3 judges. traditional art(Irianto, 2016), or according to The assessment categories include compactness, Sodarso Sp, the phenomenon is often referred to as neatness of the arrangement, and appearance or kitsch art (Sunarya, 2008). clothing. Then, 6 participants who can proceed to the The phenomenon of pseudo traditional art, as final stage for each school level category are part of the commodification of tradition, implies a announced . Therefore, those who can go through the negative meaning in some discussions. The final stage are 6 angklung groups in the elementary argument that always arises is that the 'packaging' school category and 6 in the secondary school of a tradition will result in the loss of cultural category. meaning, sacredness, vitality to the point of being The final stage is held the following day after the counterproductive to the continuity of tradition

270 Advances in Social Science, Education and Humanities Research, volume 443

(Widyastuti, 2011) (Minawati, 2013) (Irianto, 2016). B. Continuity in the commodification of Angklung Trying to disagree with the above opinion, the Caruk Angklung Caruk reconstruction effort in the form of The discourse between original and pseudo a festival shows that pseudo traditional arts in traditional arts in the context of quality will cultural commodification are not always negative certainly come to the fact that the pseudo or kitsch products. It is precisely in this case that it appears will never be of the same quality as the original that the reconstruction of Angklung Caruk. which is (pure) (Sunarya, 2008: 6, 26-28). This is also the manifested in the festival for tourism, does not case with the form and structure of the Angklung merely place the art as a commodity without thinking Caruk festival discussed above. However, an about the process and quality. The quality certainly important aspect of the Angklung Caruk festival that cannot be measured and compared apple to apple cannot be forgotten other than quality is of course with the quality in the context of Angklung Caruk the "price" of a process leading to the festival. traditionality. This is due to differences in the The findings of field observations show that the background of the presentation. Traditional process towards the Angklung Caruk festival is a Angklung Caruk is presented by professional socio-cultural process that is not easy. Almost every Angklung artists while the Angklung Caruk festival school wants to attend the festival, but of course not is presented by amateur panjak who are still in all can register themselves as participants. This school. happens because the consequence of following the The achievement of music arrangements by festival is the readiness for financing. There is no panjak Angklung who are still children and registration fee for the festival, but the process of adolescents certainly deserves appreciation. training angklung groups in schools certainly costs Although articulated in a short arrangement, the a lot of money. musical aesthetic, typical of Angklung Caruk with With these consequences, each school will try to fast pace and intricate interlocking patterns and full raise funds to finance the angklung group to the of dynamic playing, can be presented neatly and festival. In fundraising, it is not uncommon for compactly by these students, both elementary-school schools to discuss with committees and with parents or secondary-school level panjak. about how to obtain these funds. From field The panjak in this festival also have no difficulty observations, it is evident that parents voluntarily in following the flow, structure, and patterns of support their children's participation in the festival competition set by the government. It means the with various forms of participation. Funding is not reconstruction of festival performances made by the always realized in the amount of money deposited government, although the form is kitsch, does not to schools, but can take the form of preparing complicate the freedom of expression and creation consumption, clothing, makeup and transportation of these students. One thing that needs to be noted is during the process of preparing for the festival until perhaps the presence of the singer (sinden) in the the festival takes place. Angklung Caruk festival. It seems that this Apart from the commodification which might development needs to be reconsidered. In the be considered to have degraded the quality of traditional Angklung Caruk, it indeed does not tradition, on the other hand, the Angklung Caruk recognize the special sinden. The role of sinden to festival inadvertently has become Osing's social sing Banyuwangen song is usually performed by the integration media. The Osing community whose clown. children are involved the angklung group at their In fact, the presence of a sinden in the Angklung school or the villagers where the school is located Caruk festival needs to be criticized, not in terms of enthusiastically support the angklung group from her presence or existence, but in the context of the training to the performance day at the festival. musical expression. Sinden is played by girls in the In the interviews with the community members Angklung Caruk festival. Especially in the involved in supporting the school angklung group elementary school category, it still seems that they who want to take part in the festival, a statement was find it difficult to sing high notes. This happens obtained that they provided the support voluntarily, because the ambitus (the range of the vocal tone happily, and with full of pride. They hope the region) of sinden is indeed still far below the range angklung group they support can be the champion. of musical instrument tones in the angklung The following is an excerpt from one of the ensemble. The strategy is of course to find traditional interviews about the theme. songs that use low and reachable notes or the Sing paran-paran wis korban picis. Sun seneng anak isun melok government to consider making a special gamelan bali-balian. Yo mugo’ menang seneng atinisun, biek hadung kalah yo sing paran-paran, hang penting anak sun dadi panjak instrument for the angklung festival for these digu (Informant M-14, February 17, 2018) children. [It is okay to spend some money. I am happy that my child is

271 Advances in Social Science, Education and Humanities Research, volume 443

taking part in the festival of bali-balian (Angklung Caruk). I hope The initial ability built earlier by the trainer is he wins, so I will be happy, but even if he loses, it’s okay; the the musical ability of the panjak. They are taught important thing is that he has already become a panjak] The social integration built through the support the technique of hitting musical instruments, interlocking techniques, mastery of tempo, mastery process of the angklung group who participates in the festival seems to confirm the solidarity in the of dynamics, and compactness. In training, the Osing community's social life, which is actually still trainer does not use notation or musical note media . The trainer relies more on the demonstration, strong. The Angklung Caruk festival turns out to be a trigger to reconstruct social cohesion which in the listening, and repetition (ear training) methods. After the school angklung group has been able industrial era today has begun to be eroded by social interaction in cyberspace. This positive social impact to play the main gending parts for the festival, the is one of the first important points of the Angklung training continues to include badut and sinden. It is Caruk festival. these long stages of the training process that The next important point related to the impact of ultimately makes children and adolescents involved in the school angklung group intensively. They get the Angklung Caruk festival is the process of cultural continuity which can be restarted. Cultural closer, get to know, learn, and start the experience of presenting Banyuwangi traditional music continuity here is the continuity of Angklung Caruk music culture, which in a social context has creations. This activity is certainly important for experienced a crisis of existence. The existence of students in particular and for Osing culture in general. the Angklung Caruk art crisis in Banyuwangi is indeed caused by various factors, including the death Through intensive musical activities, these students have the opportunity to find a balance in of senior angklung artists, the migration of artists to other regions, the migration of artists to other forms terms of left and right brain development. This of arts that are more salable on the market, or the balance will support the development of aspects of self-intelligence to be more ideal and more regeneration of artists that does not go well. Since the performance of Angklung Caruk in the complete. This is valuable capital because they are still pursuing formal education at school. It is at this Osing community's social space is increasingly scarce, Angklung art activities in groups or studios in point that the Angklung Caruk festival has a villages have become vacuum. The vacuum of this significant value in the educational context, which musical activity makes the children and young is to deliver students to the optimization of physical generations in Osing villages no longer have the self-development. In addition to physical development, training for opportunity to know and learn, nor to inherit the art. This process is what makes the existence of the festival also develops their mental and character. By intensively practicing and playing the gending Angklung Caruk in the future increasingly threatened. numbers of the Angklung Caruk tradition in With the holding of the Angklung Caruk festival, training, the awareness of cultural identity is gradually formed in students, the awareness that the angklung music activity is running again. School studios - which are sometimes tentatively formed - Angklung music is Banyuwangi music, Osing traditional music, which is their culture and the present angklung trainers from professional angklung artists. With the festival, Angklung artists, awareness that their music culture also has a who previously withdrew from the world of uniqueness and beauty and even complexity that is not inferior to music from other cultures. This Angklung Caruk or began to switch from the artist profession to another profession for survival or cultural awareness process has the potential to foster the character of love and pride in students in switch to another art form, return to the world of Angklung Caruk event though in different status and their culture. role as trainers. In addition to cultural awareness, preparation The process of training for the festival artistically for the festival is also a medium for transfer of and aesthetically is entirely the responsibility of the knowledge and skills. Traditional musical knowledge, specifically the traditional Angklung trainer. In this process, the trainer starts by selecting the musical abilities of the students who will join the Caruk, can be transmitted from the trainer to the students in the training process. In addition, the skill school angklung group. After the Angklung group members have been selected, the trainer will start to of playing musical instruments, creating music, and run a training program. In this training program, working together to play music are important skills that are also transmitted from the trainer to students. students are introduced to the technique of playing instruments for panjak, dancing techniques for With the transfer of knowledge and skills above, the richness of musical treasures contained in badut, and singing techniques for sinden. Angklung Caruk can be preserved. Some gending

272 Advances in Social Science, Education and Humanities Research, volume 443

repertoire of traditional angklung can still be passed involvement to support the continuation of on to students. The technique of playing angklung traditional art. The Angklung Caruk festival instruments and iron gamelan instruments, as well as becomes a social integration space, which, although Osing's typical dancing and singing techniques can only for a moment, is able to move and rebuild also be passed on to the young generations. Through Osing's social cohesion. At this point, the Angklung this process, the continuity of Angklung Caruk art Caruk festival is actually more successful in can be maintained. attracting domestic tourists from the Osing In his opening speech at the final stage of the community itself, compared to people outside 2018 Angklung Caruk Festival, it was clear that Banyuwangi or even foreign countries. This means Regent Azwar Anas emphasized that the festival that it is necessary for the Banyuwangi local event was also used to look for superior candidates government to intensively disseminate the of Angklung Caruk musicians, young candidates of background of the Angklung Caruk festival in its Banyuwangi traditional musicians. This means that leaflet or tourism agenda booklet so that the behind the massive movement of cultural uniqueness of this festival can attract tourists more commodification in Banyuwangi tourism, there is a inclusively. movement for cultural inheritance and conservation. Finally, the Angklung Caruk festival is a model Thus, the Angklung Caruk festival can also be seen of the commodification of traditional arts that has as a cultural investment, which means that the positive and internal cultural impacts. That is, this Angklung Caruk festival, held by the Banyuwangi festival has been able to build the process of government today, is a "nursery of tradition" which inheritance of angklung music culture among will be beneficial in the future. generations. Throughout the whole festival process, there are learning and educational practices for IV. CONCLUSIONS Osing's young generations. The education includes musical knowledge, musical skills, and Osing Based on the data presentation and discussion, cultural values. Based on the reality of inheritance the author formulated the conclusion from the study in the festival, it would be interesting if further of the Banyuwangi Angklung Caruk Festival. The studies could be focused on local culture-based logical consequence of the change in the direction of education that occurs at the Angklung Caruk Banyuwangi's economic development from an festival. agrarian economy to an industrial economy is the presence of the creative economic potential that REFERENCES exists in Banyuwangi, one of which is cultural tourism. The rich variety of cultural expressions [1] Baiquni, M. (2009). Revolusi Industri, possessed by the Osing community has become one Ledakan Penduduk Dan Masalah of the tourism potentials mapped and developed by Lingkungan. Jurnal Sains &Teknologi the Banyuwangi government. In this context, the art Lingkungan, 1(1), 38–59. of Angklung Caruk is considered to have a https://doi.org/10.20885/jstl.vol1.iss1.art3 uniqueness that can be appointed as an event in the [2] Banyuwangi, D. K. dan P. (2019). Data Banyuwangi cultural tourism agenda. Therefore, the Wisata. Angklung Caruk festival appeared. Angklung Caruk https://www.banyuwangikab.go.id/profil/pa performance art that contains competition between riwisata.html artists is an interesting uniqueness to be seen in the show. However, based on tourism considerations, [3] Clark, G. (2001). The secret history of the festival packages with limited duration and simple Industrial Revolution. Manuscript, 1–72. structure are the most likely packages to be http://qed.econ.queensu.ca/pub/undergrad/2 presented. The packaging in the Angklung Caruk 31/GregoryClarkArticle.02.pdf festival still presents elements and parts of the [4] Hastanto, S. (2007). Angklung Caruk, the performance although the presentation is limited to fighting of Angklung. Asia-Pacific Database time duration. As an art for tourism, there is also the on Intangible Cultural Heritage (ICH). development with the presence of sinden that serves https://www.accu.or.jp/ich/en/arts/A_IDN1 to further beautify the presentation in the festival. .html Commodification through the festival has been able to present the form of Angklung Caruk [5] Herriman, N. (2007). “ Sorcerer ” Killings performances that have long been dead. This in Banyuwangi : A Re-Examination of State presence awakens the social memory of the Osing Responsibility for Violence “ Sorcerer ” community so that it can retract community Killings in Banyuwangi : A Re-Examination

273 Advances in Social Science, Education and Humanities Research, volume 443

of State Responsibility for Violence. Ilmiah Panorama Nusantara, IV, 7–15. December 2014, 37–41. [14] Spradley, J. (2006). Metode Etnografi (M. https://doi.org/10.1080/1035782070119669 Yahya (ed.); 2nd ed.). Tiara Wacana. 2 [15] Sukerna, I. N. (2001). Gamelan Jegog: [6] Irianto, A. M. (2016). KOMODIFIKASI Ansambel bambu di Kabupaten Jembrana BUDAYA DI ERA EKONOMI GLOBAL Bali. Univesitas Gadjah Mada. TERHADAP KEARIFAN LOKAL: Studi Kasus Eksistensi Industri Pariwisata dan [16] Sunarya, K. I. (2008). S e n i. 1–32. Kesenian Tradisional di Jawa Tengah. [17] Sungkowati, Y. (2003). Kerudung santet Jurnal THEOLOGIA, 27(1), 212. gandrung : 166–178. https://doi.org/10.21580/teo.2016.27.1.935 [18] Susetiawan. (1997). Industrialisasi dan [7] Karsono. (2004). Membangun identitas: Hubungan Perburuhan di Indonesia. JSP, kompetisi musikal pertunjukan Angklung 1(1), 27–44. Caruk Banyuwangi. Indonesian College of Art Surakarta. [19] Sutton, A. R. (1991). Tradition of Gamelan music in Java: musical pluralism and [8] Kuswandari, R. (2014). Bentuk Penyajian regional identity. Cambridge University Kesenian Rampak Bedug Di Sanggar Press. Pamanah rasa Kabupaten Pandeglang Vol. 8, Issue 33). [20] Tim. (1976). Konsep Selayang Pandang) رProvinsi Banten Universitas Negeri Yogyakarta. Blambangan. [9] Landes, D. S. (2014). The Industrial [21] Tim. (1996). Deskripsi Seni Angklung Revolution in Britain. The Unbound Caruk Banyuwangi. Prometheus, 41–123. [22] Widyastuti, D. A. R. (2011). Komodifikasi https://doi.org/10.1017/cbo9780511819957. Upacara Religi Dalam Pemasaran 004 Pariwisata. Jurnal ASPIKOM, 1(2), 197. [10] Minawati, R. (2013). Komodifikasi: https://doi.org/10.24329/aspikom.v1i2.18 Manipulasi Budaya Dalam (Ajang) [23] Wolbers, P. A. (1992). Explaining Using Pariwisata. Jurnal Ekspresi Seni, 15 Nomor identitiy through musical performance 1, 117–127. Seblang and Gandrung of Banyuwangi East [11] Pigeaud, T. (1932). Catatan Mengenai Sudut Java Indonesia. University of Urbana. Timur Jawa. In Majalah untuk Ilmu Bahasa [24] Wolbers, P. A. (2014). Gandrung and dan Bumi Indonesia serta Ilmu Bangsa- Angklung from Banyuwangi ; Remnants of a bangsa (pp. 215–313). Yayasan Kebudayaan Past Shared with Bali Author ( s ): Paul dan Ilmu Pengetahuan. Arthur Wolbers Stable URL : [12] Shasta Pratomo, D. (2009). Permintaan http://www.jstor.org/stable/834159 . 18(1), Pariwisata Indonesia: Studi Kasus 71–90. Wisatawan Malaysia. Journal of Indonesian [25] Ye, S., Xiao, H., & Zhou, L. (2018). Applied Economics, 3(2), 2–2009. Commodification and perceived https://doi.org/10.21776/ub.jiae.2009.003.0 authenticity in commercial homes. Annals 2.7 of Tourism Research, 71(May), 39–53. [13] Siahaan, S. L. (2008). Visit Indonesia Year https://doi.org/10.1016/j.annals.2018.05.00 2008 : Suatu Tinjauan Dari Perspektif 3 Pemasaran Destinasi Pariwisata. Majalah

274