The Song Work of “SARASSA” (Interpretation of National Unity for Ethnic Diversity in Pendalungan)

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Yuddan Fijar Sugma Timur Lecturer of Karawitan Subject in STKW Surabaya [email protected]

ABSTRACT

Sarassa song is an interpretation of similarity in difference and unity in diversity of Pendalungan tribe in life. Pendalungan tribe is like a mirror of harmony between Javanese, Madurese, and Chinese tribes who mingle with differences in custom, belief and culture. The difference is precisely such as adhesive of kinship to live side by side in peace with love and compassion. It is manifested through making of song lyric that raise the values of togetherness, tolerance, and love in diversity. The making of the song becomes a unity in working on musical composition set in Pendalungan music tradition. The ethnic color of Ghâlundhâng and Patrol music are presented as a reinforcement of the dynamic and character of the work as well as a symbol of the social and cultural diversity that live in East Java.

Keyword : Song, Ethnic, Pendalungan, Ghâlundhâng

A. INTRODUCTION expression from the author to express A song is one of the effective anxiety, anger, love, or criticism communication media to express a delivered to the listener as the message to the listener that can recipient of the message (2017: 13). contain intended meaning to be easily Thus, the song can be said to be a understood. Yahya Ardiansyah (2017) symbol to the listener or the audience in his research entitled "The Meaning expresses a musician or an artist of Social Criticism in Song Lyric" anxiety to the conditions that flare up describing that as a communication on an individual and communal scale medium, a song conveys message (environmental condition). through lyric. Musician actas Environmental condition and communicator and song lyric become feeling that experienced are very media for author to convey message. important to the musician towards The message in the form of an achievement of end result of the song

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which created. Generally, it can be those cities until Lumajang city, seen from two aspects namely; Bondowoso and Jember. The long musical aspect and purpose aspect. journey of Pendalungan society Musical aspect is aspect that certainly has a very significant impact fundamentally create melody, on the development of culture, arrangement, and dynamic in the song. language, religion and behavior to Purpose aspect is aspect that come in form a strong identity inherent in relation with the target of creator in Pendalungan ethnicity itself his/her personal mission include; Almost the same as other tribe, social criticism, public exclamation, Pendalungan Ethnic also has a romance etc. These two aspects diversity of culture and religion become important elements that followed by its people. If it is seen in determine the success or failure of the term of culture there are some unique work of the song creator can be arts both folk art, custom ritual, and delivered to the predetermined target. other arts in several areas in A diversity of tribe signifies a Pendalungan. In term of religion, the beauty that has given by God to us most of Pendalungan tribe is muslim. with various kinds of difference in it However, people in Pendalungan tribe but still can establish a harmonious area also have groups that followed life. As in Pendalungan tribe which is other religions such as Christian, spread in the southern part of the Hindu, Buddha, and Catholic. The island in East Java. Pandalungan is difference in the society context in one of the tribes in East Java that was Pendalungan tribe area is not a formed from assimilation between significant problem. This is reflected Javanese and Madurese during Dutch in people life who always live side by government. The spreading of side and able to keep tolerance among Pendaluangan society in general others. consist of the area that face to Madura The condition of Pendalungan including: Pasuruan City, tribe should become an example for Probolinggo, Situbondo, and other tribes or other groups related Banyuwangi. In its development, current political contestation that is Pendalungan also spreads inland to heating up. In recent years, Indonesia

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has experienced political chaos which who have ambitions to be in power. is at risk of disunity between people. From this phenomenon, in this This condition is very dangerous for case the writer is eager to raise a fact the integrity of Unitary Republic of that in social life, especially in Indonesia (NKRI). According to the Pendalungan society. Difference is not information that the writer got from an obstacle for us to respect each various media, both print media, social other. Looking at the condition in media and other mass media, there are which Pendalungan society is able to a lot of news about political issues that maintain tolerance, the musician will are attacked each other among express a phenomenon in the form of political elites until lower political song entitled Sarassa illustrates a level. Moreover, many discrimination social harmony that is based on is done to a tribe, race and religion so difference and making of Pendalungan that disunity cannot be avoided. In an music ethnic in the media or lyric that article entitled "When Jokowi Asks are made. Sarassa song is expected to TNI to Eradicate Communism and be able to convey a message to the PKI Legacy" President Jokowi advised audience for always appreciate to "fight against ideology other than difference. Pancasila, eradicate communism and the legacy of PKI (Indonesia B. IDEA Communist Party) to disappear from Social life in Pendalungan tribe area Indonesia land forever". An emphatic should become an example for other appeal is echoed by country leader in areas in East Java or even in order to keep safe and comfortable Indonesia, which lately has been condition before simultaneous disunity by the issue due to difference election in 2019 (tempo.co on in political view namely religious 5/10/2018). The appeal is conveyed in issue, hate speech and spreading hoax the speech of 73rd anniversary of TNI news . in Cilangkap, East Jakarta.It is also a Life based on harmony values is denial to accusation that President reflected in the attitude of mutual Jokowi is a part of PKI. The various cooperation, mutual respect, and events are intentionally built by those mutual love whatever religion,

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ethnicity and culture. This attitude to small that resembles saron, peking implies values of life in social society , and demung and there are ten bars context. The relationship which is (Sunarto, 2001: 4). Generally, this based on the awareness of living music is used as accompaniment together, solving problem dependon music at pigeon racing events or the basis of deliberation and better known as Tottaan. agreement also balance in relationship Tottaan in its presentation with life in the world. As a form of there are many moral messages about balance in dealing with relationship the togetherness between the music, among Pendalungan tribes, they carry jockey and pigeon that can go fast. out various activities together and do The values and messages about not dominate each other. A small harmony, togetherness and unity in reflection of such activities as when diversity are very worthy to be raised Pendalungan tribes played as an idea express in the song entitled Ghâlundhâng musical art together Sarassa. In its presentation is an which formed a harmonious expression of togetherness and presentation. diversity of Pendalungan society as Ghâlundhâng is a set of outline through the presentation of musical instruments developed in lyric and song that is made in the Madura and Pendalungan tribes. This complete composition. It implies a instrument is made of wood which variety of life values that are part of consists of several sizes that resemble life and unite in the daily life of the pieces of Demung, Saron, and Pendalungan society with their Peking in Javanese Gamelan. Sunarto determination to keep unity in in his thesis entitled "Description of diversity. Ghâlundhâng Music, Karangnangka Village, Rubaru Sub-district, C. MAKING Sumenep District" states that Sarassa song is formed from Ghâlundhâng is a kind of Slendro- musical idioms that developed in xylophone, however it differs from Pendalungan region including the wooden-size xylophone or bar Ghâlundhâng music, Patrol music, that is used varying in size from large and keroncong which are combined

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into a unique music. Sunarto said that perform into other events as a musical Ghalundhang is a type of xylophone instrument. The material making with Slendro-aligned xylophone, but considers certainly to keepthe the difference with the xylophone lies alignment and harmony of the spirit in the size of the wood and the bar with the theme as the basis for song used in Ghalundhang varying in size creation. Hopefully, it will be easier in from large to small and rancak that mastering, understanding and resembles demung, saron, and peking. presenting, as well as one of the media The number of bar in Ghâlundhâng is to convey messages to the audience. smaller when compared to the The song lyrics that used xylophone ricikan, which is only ten isMadurese language. The language bars (Sunarto, 2001: 4). choice is certainly adapts to Pendalung Bouvier in Munardi's writing cultural location as the main place. in his book entitled "LEBUR! Music The pattern of making melody using Art and Performance in Madurese Madurese ethnic song is slightly Society ", explains that" Ghalundhang combine with popular song pattern. music is a set of gamelan too, solely, The pattern of popular song presented the material of the instrument is not is an effort to introduce the culture of metal but almost entirely made of current Pendalungan tradition, so that wood and bamboo. Bars or pencon are it is easier for the audience to replaced with wooden bars, thus, it is understand and enjoy. similar to xylophone. Kendang In making on song instrument is replaced with a tool arrangement uses Pendalungan culture namely kentongan. In other words, it element. The use of musical is a short wood/bamboo with a cavity instrument consist of Ghãlundhãng and mouth on the sides "(Bouvier. H instruments are made of wood 2002: 54). resembling xylophone ricikan In general, this music is used including: saron 1, saron 2, demung 1, as accompaniment music at pigeon demung 2, peking combined with racing championship events. However, some dug-dug music, patrol / tong, along with the development of the era, and cak-cuk music. The combination Ghâlundhâng music is starting to of several types of music aims to

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demonstrate more ethnic strength. E. SONG DESCRIPTION The presentation of Sarassa Notation writing on Sarassa song is packaged in a show with a song uses two systems. Namely, the duration of approximately 5 minutes first uses number notation (diatonic) (the duration limitation is determined for song notation, and the second uses by the committee which is 5 minutes number notation (kepatihan) for with a tolerance of 60 seconds). This gamelan ricikan notation. Both of means that the presentation of the song them use number notation but the way is not only to be heard (auditive), but how to read it is different. For diatonic also to be heard and seen (audio notation normatively is written 1 2 3 4 visual). So that,the singer who is on 5 6 7,and is read do re mi fa sol la si, the main stage not only performing the while for kepatih number notation is song with expression, but also become written 1 2 3 5 6, and is read ji ro lu a single unit in composition of the ma nem. The written of whole show. The motion making of the main presentation notation as follows: singer who combines with the choreography of the background Song 1 : dancer is presented as a form of musical expression that can further j5k.3 j.5 j6k.5 j.6 | jz6xk.c! j.6 5 . strengthen the character of Sarassa |j6k.! j.6 j5k.3 j.1 | jz2xk.x3x xj.c1 2 . song, especially in the totality area of the presentation as a show. A cem-macem bãrna ko - le’ nadã- ri man-dimman a - sal - la

D. MEDIA jz5xk.c6 j.5 3 j.! | j!k.@ j.! 6 . | Sarassasong work will use several media in its detailed j@k.! j.6 j5k.6 j.! | 5 . . zj7xk!c7 presentation as follows: A set of A - po-long dhãd-dhi ta-tangghã Ghâlundhãng Gamelan (Demung 1, Nyittong dhãddhi sadã – rã Té –

Demung 2, Saron 1, Saron 2, Dug- dug), Bamboo flute, Kendang, 6 . 5 . | j6k.5 j.6 . zj7xk!c7 | 6 Keyboard, Acoustic guitar, Bass guitar, and Drum set. . 5 6 | j$k.# j.! . .

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mor bã - rã’ dã-jã Nyit -tong dhãddhi sa-dã – rã j3k.2 j.3 . zj3c5 | j6k.5 j.6 . zj3c5 |

j6k.5 j.6 . j6! | j@k.@ j.! j@k.! j.@ Translation : Various skin colors, coming from all dã-yã-na ka - se - ni-an bãn directions a-gã-ma bennè masa-lahde’bhãngsa Gathering to become a neighbor, uniting like in one blood (sibling) From east, west, south, north uniting # . . . like in one blood (sibling) Na

Translation : Song 2 : From east to west are in line various cultures j!k.@ j.# # . | j!k.@ j.# # . | Art and religion are not obstacle to be proud j!k.@ j.! j6k.6 j.! | j@k.@ j.! @. Ce’ nyamanna nyaman saraO - dik Reff : rokon bãrãng tatangghãna . . ! 7 | 6 . zj5c6 jz3c5 | j6k.5 j!k.@ j.! 6 . | j5k.6 j.! @ . | j#k.@ jj.# j%k.# j.@ | j!k.! j.6 ! . j.6 . j6! | j@k.@ jj.! j5k.6 j.5 Andhãp a-sor gotong royong Sa ras - sa dhi - ka bãn dhãddhi sé-patta réng pandhãlungan bu-lãjhãghã ka makmoran na-ghã Translation : Oh the enjoyment is really beautiful, living in harmony with the neighbor 3 . 4 3 | 2 . zj1cy 1 | j2k.2 Andap-asor, mutual cooperation are the character of Pendalungan people j.2 . j23 | j5k.5 . . .

rã sa ras - sa dã - lem a Pre Corus : - tè - na Sadhã - jã-na

. . . zj3c5 | j6k.5 j.6 . j35 | j6k.5 . jz#x@x xjx!c6 ! | j.6 . j35 | j2k.2 j.2 j2k.2 j.2 Mol - jhã Dã - ri te - mor teros ka bã - rã’ A-jhãjhãr bãr-na- Translation : bãrnibhu It feels like you and I (unity) to keep prosperity of the country

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It feels in the hearts of all (society) glorious j7k.! . j#k.! . | j7k.! j.$ j.# j!@

Golek mulya ojo nggawe cara cidra Kéjhungan bisa nggawe cilaka-ne wong li

1 2 3 z3x2c1 z1x2c3 5 z3x2c1 1 % . . . | 2 z3x2c3 Ya Dim-ma bu - lã ta’ na - ngi – sa Translation : ra - ma You must not have too high ambition if you torture yourself Looking for glorious must not use 1 2 3 3 z3c5 3 z3x2c1 2 cunning way, you can harm others z3c2 Gerongan : Mon bã - dã sèa - ro - sak bhãng – sa # z#c@ z!c6 @ | j23 j21 jy1 2 | j23

j21 j25 3 | 5 j65 j65 5 | 1 2 3 z3c5 3 z3x2c1 2 z3x2c1 Ter-ro nyaman ca’na rèng Tan - to bu – lã tak na - rè - ma pandhãlungan jè’ sèggut atokaran jè’ tokaran Translation :

How don’t Ito be sad

If someone disunite the nation % # ! @ | j.3 2 j.3 2 | 3 Of course I will not keep silent 4 6 5 | . . . . | Groove : Ka-ro - ko - nan nojju de’ ka - mar-dhi-ka – an j7k.! . j#k.! . | j%$ j#@ j$# j@! | Translation : Wanting to live comfortably, j7k.! . j#k.! . | j7k.! j./# . . according to Pendalungan peoples A-ja ri-ka nduwe karep ngayawara nanging dadi sangsa-ra Don't fight often, don't fight Harmony is the basic toward independence j7k.! . j#k.! . | j%$ j#@ j$# j@! |

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Reff : c%. . . . jz#x@x xjx!c6 ! |

. . ! 7 | 6 . zj5c6 jz3c5 | j6k.5 Mol - jhã j.6 . j6! | j@k.@ jj.! j5k.6 j.5 Translate : Sa ras - sa dhi - ka It feels like you and I are united to bãn bu-lãnyittong dhãddhi bhãngsa ra make a great nation

it Feels inside the heart shining like a moon 3 . 4 3 | 2 . zj1cy 1 | j2k.2 It feels like you and I (unity) to keep prosperity of the country j.2 . j23 | j5k.5 j.6 zj5xk.c3 j.2 It feels in the hearts of all (society) jã sa ras - sa dã - lem a-tè - na glorious nyonar akaddhi por - na F. THE CREATION PROCESS OF A WORK 3 . ! 7 | 6 . zj5c6 jz3c5 | j6k.5 1. Observation The creation of "Sarassa" j.6 . j6! | j@k.@ jj.! j5k.6 j.5 song is made from the Ma Sa ras - sa dhi – ka bãn bu-lãjhãghã ka makmoran na-ghã songwriter anxiety about phenomena that arise in the society before Election in 2019. 3 . 4 3 | 2 . zj1cy 1 | j2k.2 In analyzing the phenomenon, it is necessary to analyze in-depth j.2 . j23 | j5k.5 . . . data for a good result that can be rã sa ras - sa dã - lem a - tè – na Sadhã - jã-na responsible. The data research is obtained from several credible sources namely written literacy, . . 3 j.5 | j6k.6 . . . | . mass media, virtual media and interview/society leaders who . # j.% |j#[email protected] x x!x are directly involved in the Sa-dhã - jã-na Sa - dhã - jã - na recent phenomenon. Besides, describing the phenomena that occur about disuniting between

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ethnic groups due to different touch of musical work that is views in General Election in more interesting and up to date. 2019 as the main concept,the To obtain the data needed, songwriter is also interested in the writer also goes directly to using Ghâlundhâng music as a the society to ensure the actual media to express. condition occurring. The Ghâlundhâng is a set of writer tries to get accurate musical instruments that live in a information by communicating social environment of with the surrounding society. In Pendalungan. The musicians the process, the writer gets a lot choose this instrument because of important information to they want to develop its define the event contained in the existence in the regional music mass media. Sugeng, 58, who is scene. Considering the existence a RW leader in Sraten Hamlet, of Ghâlundhâng music that Prajekan Kidul Village, Prajekan exists in Pendalungan area Sub- district, Bondowoso especially in Bondowoso district District, said that "there are gradually less interest. Sarjo, a some residents who are involved Ghâlundhâng artist, said that in minor problem related to the "since 2007 Ghâlundhâng music election period, but there is no has been practically passive in incident occurring. They only various activities. Special mock each other. Thus, the attention from the government writer wantsto express the of Bondowoso district has also phenomenon that exists as the begun to reduce and the artist main idea in making a work that himself/herself has begun not to can be used as unifying medium. do Ghâlundhâng art activity As the proverb says "united we ”(Sarjo; 2 July 2019). There is stand, divided we fall" so that reduction in the existence of become a stimulant for us to Ghâlundhâng music becoming remain firm to keep unity. a stimulant for artists to re- establish its existence with a

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2. Creating Process Ghâlundhâng music is also an The song work of important thing that must be "Sarassa" in creating process is shown by the songwriter. It is through several steps. The steps intended to the identity which are carried out so that getting a contained in Ghâlundhâng good result in accordance with music can be more familiar to the wish of the songwriter. Some the listeners’ ears. The results of of the steps taken by the authors this exploration step includes when creating the song of search for musical genre, "Sarassa" are as follows: balance between ethnic music a. Exploration and western music, as well as Exploration in "Sarassa" musical connection patterns song is done to find the genre of between two types of music. The song that describe the situation connection patterns formed in of unity, but the listener / such a way are explored so audience feels comfort in thatthe identity of Ghâlundhâng enjoying the song. Usingambitus music does not disappear in its tone that can be reached and presentation. easily imitated by the listener. b. Variation The processing of cengkok (way Variation is the next step of singing) also become special after the material has been attention by the songwriter, obtained from the result of avoiding cengkok (way of exploration. This step is useful singing) patterns that are too to form the basic material that complex to minimize errors has been discovered by the when applied to the original songwriter can be more diverse. singer. The processof cengkok This needs to be done melody exploration is carried considering the material result of out repeatedly to get a simple exploration tend to be still plain, but pleasant pattern. musical touches are still needed The exploration of typical so that the material will be beat (tabuhan)patterns found in better. The making of variation

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in "Sarassa" song is done c. Composition collectively with other musicians The creative process in who involved in it. The material making "Sarassa" song uses a that is found by the songwriter varied composition to make it then carried to the studio room more interesting, but the identity to be responded together with that expresses music and the musicians who are involved. regional songstill become the Thus the material found will get main idea of the songwriter. The various inputs in the form of composition step is very musical ornaments,so that the important in the formation of a basic material which is still plain song. Although in general the can evolve to be better in drafting of a song has musical and in accordance with alreadyhad a kind of standard the wishes of the songwriters. rule that become a reference for The results of variation which famous songwriters. In this case madeis in introduction. If in the the songwriter wishes to form a beginning introduction starts bit different composition in with Ghâlundhang music, after "Sarassa" song. After the result getting a variation that part is materialof variation can be said started with the flute instrument. to be worthyto use. Next step, Because the series of melodies the songwriter combines the that are played become softer composition of material by and in accordance with the considering the dynamic of musical condition is wanted by making. This is very determine the songwriter. Almost every so that the end result of a song part that gets a touch of musical can be interesting and not variation is always repeated with monotonous.Based on this a variety of other considerations desire, the songwriter in order to achieve a series of successfully applied it to the melodies and characters suitable "Sarassa" song. Which indicates with the songwriter desire. the application is in the pattern of song structure that does not

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experience much repetition. material which is created, it can Only the refrain has repetition be certain that there will be less twice. This thing aims to get the partfrom the perspective of peaked dynamic to end the series others. The purpose of this of songs presented. evaluation process is that the d. Evaluation material for the song has been Evaluation is the final step declared final, it will be to explore everything that is still presented perfectly. Even though lacking (it needs a musical and perfection belongs only to Allah performance follow-up) and if it SWT, there is nothing wrong as has already good to be kept in an artist who wants the best "Sarassa" song performance. result. This step is carried out when the presentation material has been G. CONCLUSION declared to be structurally The songwork of "Sarassa" is a working on the show. Dynamic, songwriter interpretation in expressing inspiration, power (vocal), and anxiety about the phenomenon before other techniques become General Election in 2019 regarding to concentrations which are the the different view among political object to find weaknesses. When party supporters. Describing into a there are some parts that are still song using local idioms Pendalungan not good. Moreover, there will ethnic who is attached to the unity be correction to the part that values in order to stimulate and referred to until it is completely educate the audience about the beauty in accordance with the of national unity. songwriter wish. In general, this process also involves the observers to be asked for their opinions in order to get input for improvement, so it will get more maximum result. If the songwriter evaluates solely the

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REFERENCE DISCOGRAPHY Budiarto, C T. 2001, Musik Modern Video : “Nyittong” performance dan Ideologi Pasar. Tarawang byYuddan Fijar Sugma Timur, Press Yogyakarta. Bondowoso, 2017 Bouvier, Hèléne. 2002, Lèbur (seni Video : “Kuwung Gandrung” Musik dan Pertunjukan performance recording byNurul Huda, Masyarakat Madura). Grafika Surabaya 2017 Mardi Yuana Bogor. Interviewees Endraswara, Suwardi. 2015, Etnologi 1. Sugeng (55) Artist. Prajekan Jawa: Penelitian, Perbandingan Village Prajekan Sub-district dan Pemaknaan Budaya. CAPS Bondowoso District. (Center for Academic 2. Sarjo (68) Ghâlundhâng Publishing Service) Yogyakarta. Artist. Wonokerto Village Roqib, Mohammad. 2007, Harmoni Tamanan Sub- district Dalam Budaya Jawa (Dimensi Bondowoso EdukasidanKeadilan Gender). District. Pustaka Pelajar Offset Yogyakarta. Sedyawati, Edi. 2006, Budaya Indonesia (Kajian Arkeologi, Seni, dan Sejarah). PT RajaGrafindo Persada Jakarta. Supanggah, Rahayu. 2007, Bothekan Karawitan II (Garap). ISI PressSuraharta. Supanggah, Rahayu. “Konsep Garap: Salah Satu Model Pendekatan Kajian Musik Nusantara”, Metodologi Kajian Tradisi Lisan, Asosiasi Tradisi Lisan Jakarta, Bab XXI (2008): 385- 397.

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APPENDIX 2 APPENDIX 3 Photo of practice Photo of Performance

Photo of Performance 1 Practice process of vocalist staging (document : Arif Wibowo) (document : Arif Wibowo)

Photo of Performance 2 (document : Arif Wibowo) Practice process of arrangement

(document : Arif Wibowo)

Practice process of choreography with background dancer (document : Arif Wibowo)