Harmonia: Journal of Arts Research and Education 20 (2) (2020), 126-134 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i2.24953

The Relation of and : Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey

Asep Ganjar Wiresna1, Cece Sobarna1, Endang Caturwati2, Gugun Gunardi1

1Universitas Padjajaran, 2Institut Seni Budaya Indonesia, Indonesia

Submitted: June 15, 2020. Revised: September 9, 2020. Accepted: November 24, 2020

Abstract

This study aims to describe the Kendang relationship, as a traditional Priangan musical instru- ment, to the Jaipongan performing arts and dance. Kendang, which has a central function in the Jaipongan dance performance, has received less appreciation in West arts’ discourse. The Jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the Kendang music playing. This study used qualita- tive research methods. The data collection technique is done through interviews, observation, and document study. Data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. The results showed that Kendang, as a musical instrument has a relationship and attachment with the crea- tion and development of the Jaipongan dance art. Kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. The Kendang instrument is an important part that regu- lates the tempo and the course of the Jaipongan dance performance. Pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. Kendang is a source of inspiration for the creation of Jaipongan dance art. During the process of creating the Jaipongan dance, acts as a creator com- municating with other artists, both dancers, and pengendang.

Keywords: Kendang; Jaipongan; kendang musicality

How to Cite: Wiresna, A. G., Sobarna, C., Caturwati, E., & Gunardi, G. (2020). The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey. Harmonia: Journal of Arts Research And Education, 20(2), 126-134

INTRODUCTION Tayub, and so on. Through the Kendang play, the identity attached to the perfor- Kendang, a traditional musical ming arts and the locus (place) that is the instrument from (Priangan), development of the art can be easily iden- plays an important role, namely, as a re- tified. Jaipongan, an art that uses Kendang ference to the beat in each song. Kendang is a popular dance art form. Jaipongan is is a symbol or representation of culture, a dance art that was created since 1979, used in the Priangan arts, one of which is combining traditional dance and martial the Jaipongan dance. Kendang’s musicali- arts (pencak ) from West Java (Durban, ty in Jaipongan dance is different from ot- 2010). According to Durban, Jaipongan her arts such as Bajidoran, Golek, dance, in its current development, pre-

 Corresponding author: E-mail: [email protected]

126 Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 127 sents a variety of movements, music, and pongan dance does not discuss the musi- clothing and is displayed in local and in- cians/pengrawit as an essential part in the ternational performances. Although the history of the development and preservati- Jaipongan dance was born in , it on of this art. The birth and development is well known throughout the Priangan of Jaipongan cannot be separated from the area. Jaipongan dance reached its peak role and existence of musicians (nayaga) of glory and popularity in 1980 (Durban, and Kendang instrument. For example, 2010). In its development, the Jaipongan a singer named Suanda, in collaborati- dance is known throughout Indonesia and on with Gugum Gumbira is a figure who is performed in art events both locally and has contributed in creating the works that abroad. will become known as Jaipongan. Suanda, According to Caturwati (2007), in as a skilled pengendang, is also known as contrast to other performing arts, Jaipon- a musician who dares to break out of tra- gan was born in the modern era so that all dition when accompanying Asikin (dan- aspects underlying this art can be found cer and leader of Topeng Banjet Karawang). clearly. Aspects such as the origin of the Suanda’s expertise contributed to creating character, timing, process, results of cho- Jaipongan, which is a dance form that bre- reography, as well as the recording of gen- aks out of the preceding traditional rules. It ding accompaniment in Jaipongan can be can be said that apart from choreographers found. Jaipongan is a representation of and dancers, Kendang and musicians also the dynamics of modern society towards have an important relationship with the performing arts. Jaipongan is a form of existence of Jaipongan art. Gugum Gumbira’s dissatisfaction, which Previous studies generally focused is the creator of this dance against existing on the variety of Kendang’s variety of tepak/ folk dances (Nalan, 2007). However, the performance in Jaipongan, which is consi- Jaipongan dance is also a fragment of folk dered to have its characteristics. Tirwana dance so that the folk-dance configurati- (2017) in his writing, discusses how pen- on is still present in the Jaipongan dance. gendang named Agus Supriyawan and According to Heriyani (2012), the source Yayan Suryadi have different patterns. If of the creation of Jaipongan dance is folk Agus Supriyawan prefers to use tepak das- arts/dances such as Ketuk Tilu, Pencak Si- ar bukaan jugala, Yayan Suryadi prefers to lat, Bajidoran, and Banjet. The Jaipongan change tepak bukaan Jaipongan instead. dance repertoire has dynamic, attractive, According to Tirwana (2017), his research and sensual dance movements. It is sta- concludes that tepak Kendang in Jaipon- ted that sensuality and eroticization are gan is something that can be developed elements that cannot be separated and the but cannot be separated from its basic form main attraction of Jaipongan dance. There and essence. Another study conducted by are two sequences in the Jaipongan dance, Saepudin (2013) explores the process of namely the main movement sequence and creating the Kendang Jaipongan tepak by the whole sequence. Jaipongan is a dance Suwanda. This research examines the ide- that has clarity and a systematic pattern. as, concepts, and methods used by a crea- Dance and music movements are harmo- tor in creating tepak kendang jaipongan. This nized in the Jaipongan dance with each ot- research is different from what has been her to complement each other so that they done by previous researchers who have become a harmonious whole. focused on the tepak kendang and a creator Names such as Gugum Gumbira Tir- but tries to generally review the relation- tasonjaya and Tati Saleh are important and ship of Kendang as a musical instrument well-known figures in Jaipongan dance. and pengendang with the Jaipongan dance Gugum Gumbira is the creator of Jaipon- art. gan and Tati Saleh is a prominent dancer. This research is essential to do, consi- However, the literature on the art of Jai- dering the central function of the Kendang 128 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134 instrument in the creation and develop- between Kendang and Jaipongan Dance is ment of the Jaipongan dance, which, un- divided into several parts, namely (1) the fortunately, has not been discussed and relationship between Kendang and Pen- reviewed much. Kendang and pengendang gendang; (2) Kendang in West Java Arts; as artists and musicians should get the and (3) Kendang and Jaipongan Dance. spotlight the same as the creators/choreo- graphers, puppeteers, sinden/singers, and Kendang and Pengendang dancers get, considering the significant Kendang is waditra percussion made contribution to the arts of West Java, inclu- of wood, which is perforated in the mid- ding the Jaipongan dance. dle, closed with dry skin, and tightened with ropes, tapped with palms and middle METHOD fingers. Rosidi (2000), Satjadibrata (2011), and Danadibrata (2009) define Kendang as This research uses qualitative re- an instrument or waditra which are equally search methods. In this case study, data defined as gendang“ ” in Indonesian. Ken- collection techniques of the relationship dang functions to regulate the rhythm of between Kendang and the Jaipongan dan- the song/gending, determine the song’s ce are interviews, observation, and docu- rhythm, and create the song characteristics ment study. This study explores the rela- or gending. Kendang can be considered as tionship between Kendang and Jaipongan an instrument that is dominant in the en- dance, and this art with the community semble/performance of Sundanese Kara- through symbolic meanings. So, a quali- witan instruments. tative research method is a method that Musical instruments are a form of art, is following the research objectives. Inter- which are created based on human taste views were conducted with three Kendang and aesthetic value. Musical instruments musicians/pengendang named Oman Roh- are divided simply into two parts, namely man, who came from Tasikmalaya, Mamat waditra tradisi, a standard instrument, and Rahmat, and Ido, who came from Soreang, waditra baru, a form of instrument deve- Bandung district.​​ Observations are made loped and reconstructed. Musical instru- through activities such as watching the ments are manifested through tenacious Jaipongan dance performance, training in thinking and a relatively long process so playing Kendang, participating as a Ken- that they become a work that contains an dang player in performances, and other accountable intellectual value. Kendang is significant and relevant activities in- col a work of art that can be classified inwadit - lecting data and information. Meanwhile, ra tradisi, which has been known for a long document study is carried out in order to time by the people of West Java. In waditra complement research data and check the Kendang, there are two circles on the top truth through literature reviews, which and bottom, nine binding holes (rarawat), can be accessed online, in public libraries, nine binders (ali-ali), resonator holes (udel), and in private data sources/sources. Data and black and white outer and inner shells. were analyzed through qualitative stages There are two types of Kendang, namely such as complete data collection, sorting Kendang Indung and Kendang Anak (Ku- out relevant and needed data to answer re- lanter). Kendang is a musical instrument search problems, matching the data found made of wood and played by tapping or with existing references/literature, and beating using a Kendang drummer. describing the research results that had Sundanese Kendang usually uses been processed into narrative sentences. the tones contained in the (pen- tatonic scale), namely ketiplak which has a RESULTS AND DISCUSSION high 5 tone (la, singgul), quotes that have a moderate 3 tone (), or that has a tone of da, The presentation of the relationship goods, and or which has 4 medium tones Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 129

(ti, bem). However, in its current develop- ment, the production of Kendang Sunda has undergone adjustments in terms of material, function, and wasp pattern. This phenomenon causes the emergence of new pengendang, who have good skills and po- tential. However, the respect and appre- ciation for Kaditra Kendang began to dec- rease, such as sitting, pulling, and striding Kendang. It is not proper to do because Figure 1. Kendang Waditra Kendang is a source of livelihood that should be affixed with negative ima- Unlike the Javanese and Balinese ges and values. The behavior that does not Kendang, the Sundanese Kendang is pla- respect and appreciate Waditra Kendang ced on the left to the right or vice versa shows the thought that this musical instru- while lying straight/parallel in Java and ment is not a valuable item. Waditra Ken- . The Sundanese Kendang is shaped dang should be treated like western mu- the same as the Javanese Kendang and sical instruments such as guitar, , is different from the Balinese Kendang, piano, bass, or cello that get special treat- which is formed straight without any in- ment from the artist. Traditional musical dentation. One similarity between the Sun- instruments should be parallel to western danese Kendang and the Jaipongan dance musical instruments because they have the lies in the tendency to seem to break tradi- potential to be recognized and compete in tional idioms. Jaipongan dance is conside- the international arena. The treatment of red to ‘violate’ the generality of the grace- the new pengendang for Waditra Kendang ful, gentle, and feminine traditional dance. is currently influenced by self-taught lear- Like the Sundanese Kendang, which is ning through audio-visual media without played more attractively and expressively. the presence of a teacher. According to Oman the Sundanese Ken- The presence of a teacher for pengen- dang was born in the Saka year during the dang is very important because it provides Tarumanegara kingdom (Sundanese King- guidance and direction on the formation of dom). potential, quality, and attitude. The teach- Kendang is made from various na- er provides an understanding of the noble tural materials; for example, to make ku- philosophical meanings and symbols of luwung (resonator material), it should use Waditra Kendang, based on the teacher’s wood to make ancak from kanan- empirical experience. It is not easy to be ga wood, and the drummer should use a good pengendang because it takes skill chrysolite wood (Oman, interview, 2011). and mastery of the material. According The use of these materials is not without to Rahmat, who is a pengendang of the reason, jackfruit wood, for example, is con- classical dance (interviewed on June 12, sidered not easily cracked and has a distin- 2011, Bandung), the correct and upright ctive golden yellow color. Munding, buf- sitting method for pengendang is a func- falo skin, is also used because it is strong tion of improving blood circulation. The and not hot for the pengendang hands. Even beating technique that is carried out must better, if the buffalo skin used is the skin of produce a round sound, pengendang must the calf that died in its mother’s womb or it adjust the power appropriately, as well is usually called handalam. Bamboo is used as understand the character of the dance, as awi tali, generally sought from a flexible song, dancer, and measure the quality of material, so it is not easily cracked. These the pengrawit. Pengendang must also have materials are ideal materials used in ma- spiritual provisions by doing tawasul, na- king/producing Kendang. mely asking permission from God who he 130 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134 believes and respects his parents, teach- a long time, and another important point ers, ancestors, and himself. A pengendang that creativity occurs in the dimensions of named Ido (interviewed on June 14, 2011) a traditional performance. stated that the clapping technique changed The formation of identity as a pen- to slapping to produce a rounder sound. gendang requires a very long stage to cul- Contemplation accompanied by remembe- tivate a sense of self-confidence Tawajuh( ). ring the ancestors and teachers is believed Tawajuh, according to Rohmat (intervie- to help pengendang and read the verses of wed on 12 June 2011) is a ripening process the Koran, which are believed to increase both physically and mentally, also known the pengendang’s self-confidence. as “nyirepkeun”. Through these stages, the According to Pranoto (2013), the pengendang will be able to release the ener- Kendang is a percussion instrument that gy that will be released through Waditra functions to provide rhythmic accompani- Kendang. Thus, the expected Kendang ment to the gamelan ensemble. Oktriadi sound will come out. Through these stages, (2017) defines pengendang as a pengrawit in the pengendang can also control the concept a gamelan ensemble which is tasked with of bodily recall - a momentary installati- playing waditra kendang. Pengendang must on in a body frame that will be written on have more musical knowledge than other Waditra Kendang. This process also affects pengrawit. The pengendang’s task is to lead the level of awareness of pengendang to be- the musical presentation course, namely, have well. to control the rhythm, tempo, and stop the performance. Knowledge of rhythm, tem- Kendang in West Java Art po, songs contained in Sundanese musi- Kendang is a musical instrument cals is the main asset for pengendang. If a that functions as a carrier of rhythm, tem- pengendang does not own the basic know- po, and embat in both musical and dance ledge, then the musical’s aesthetic perfor- arts. Kendang is very influential in the art mance will not be adequately conveyed. of dance because it accompanies dance Oktriadi (2017) provides general movements. Kendang also encourages the descriptions of pengendang subjects who dancer’s characteristics in performing a have special skills based on the locus of an type of dance so that the performance can institution in the arts, such as; Bah Rapi, be interesting and enjoyable not only for Mamat Rahmat, to Yayan Supriadi. From dancers, musicians/pengendang, but also the information presented by Oktriadi in for the audience. Kendang is played diffe- the mention of these names, there are im- rently in various dances so that the pengen- portant notes related to the dynamics of dang must understand and memorize each kendang pengendang, one of which is the type of dance’s musicality. For example, in data that shows the regeneration journey Tari Topeng Klana , there are clap- of the pengendang subject in the same pla- ping such as bango tong-tong, pring ketim- ce as well as the same specialization but pak, adu bapa, tumpak mobil Bandung, and so produces different creativity. According on. Kendang is played to accompany and to Martopo (2006), creativity is a person’s create the nuances of Tari Topeng Klana Ci- ability to change the old order into a new rebon, a dance art depicting a Klana cha- order. The three names above represent racter who is known as a figure with bad dynamic time, namely; 1960s, 1970s, until character. The Kendang used in Tayub art the pengendang subject representing the is different, namely Kendang Kendor. The 1990s to the present, all of which show Kendang has to adapt to the various cha- the dynamics of changing creativity in racters and different movements in Tayub the play of Kendang, even though it is in art. Tayuban was started by using gending a function of traditional art, such as; tayub tataluan, which was in the form of instru- and keurseus. There is an important point mental songs; the music presented inclu- that pengendang creativity has occurred for ded: Gending Kebo Jiro, Bajeman, Watangan, Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 131

Jipang Walik, Sarangan, Kaloran, Panglima, by filling in the dance movements. Gendu, Senggot and so on (Ramlan, 2003). The Kendang played in accompanying Tari Kendang and Jaipongan Dance Gatot Kaca also distinguishes it from other Gugum Gumbira as the creator of the dance arts. In Tari Gatot Kaca, the technique Jaipongan dance is a composer and cho- used is bobot tepak , depicting the character reographer who often explores several arts of Ponggawa Lungguh, which is characteri- types. Arts such as Amen, Topeng zed by a dance that fluctuates. Pendul, Ronggeng Gunung, Bajidoran, Ban- The arts in West Java (Sunda) cannot greng, , and Ketuk Tilu. This af- be separated from Waditra Kendang, such fects the dynamic rhythm and complexity as , Prian- of Jaipongan dance art. Jaipongan became gan, , Ketuk Tilu, Ronggeng known and became very popular. Accor- Gunung, Ronggeng Amen, and Jaipongan. ding to Durban (2010), Jaipong reached its Kendang serves as accentuation in musi- peak of popularity in 1980, so that both ru- cality towards the movements of people ral and urban communities favor this dan- and puppets. Kendang also functions as ce art. Jaipongan is favored by all groups, a rhythm in channeling harmonization in from the young to the older generation, the music performance. Moreover, Ken- from the lower middle class to the upper- dang provides aesthetic value and mar- middle class. The existence of Jaipongan kers to the audience and communicates a causes this dance art to be known in the type of art performance. In a traditional country and in the international arena. Jai- performance setting, the pengendang has pongan is a popular dance art that is a bre- fans or followers (related to the kendang akthrough form of the development of per- performance pattern). The local communi- forming arts. Jaipongan’s popularity has ty likes pengendang who are considered to made this dance as performance material have the ability, understanding of the Ken- for most art groups (Nuriawati & Nalan, dang Tepak treasury, as well as the pen- 2018), and even some art groups/commu- gendang relationship with the community. nities that previously worked in other po- Kendang is closely related to the Priangan pular arts have switched to Jaipongan. community and their arts. Kendang Sunda However, besides the popularity, is found in almost all dance works ranging existence, and progressiveness of Jaipon- from puppet dances, folk dances, mask gan, history has recorded that the role of dances, New Creation Dances, and Con- musicality is only a small part of the dance temporary Dances. Kendang is found in art. There is even a stereotype that karawi- Sundanese arts, such as Renteng or tan (music) is only an accompaniment to Kromong. the Jaipongan dance art. This affects the Kendang has a symbolization of existence and role of the underrated mu- sound in an art performance, which is sic in Jaipongan. This causes Kendang, as a interwoven as oral communication. For musical instrument, to be not well known example, the sound tertektek in Bangreng art and favored by art connoisseurs or audi- from Sumedang and pengendang sounds ences. Kendang’s appreciation and popu- kuluwung (the resonator part of the Ken- larity follow from what the audience gives dang) indicates that the dancer must tip to to dance/performance because this instru- the pengendang. Another example is what ment is known only as an accompaniment happened in Ciamis Regency in the art of to song and dance. This situation changed Ronggeng Amen, when the clapping pattern with the times and technology so that there became mincid , the dancer’s position beca- was a collaboration between genres such me a big circle. The dancers follow the tem- as Jaz, , and Pop. Kendang, as a po performed by the Kendang instrument musical instrument, was previously only so that it can be said that the pengendang known and focused on traditional space gives accentuation, so the dancer follows and installation [genre]. 132 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134

The fact is that there is an inherent ments of the arms and legs that are wider attachment between Jaipongan dance and and alive are the advantages and differen- musical instruments that cannot be se- ces that are found in the Jaipongan dance. parated. Kendang is the most influential According to Ratih (2001), the birth of re- musical instrument in the Jaipongan dan- latively new dances has become a reality ce because the tempo and dynamics are and demands of the soul who want the completely controlled in every Jaipongan freedom of character, soul, and rhythm dance movement by the Pengendang. There and escape from all forms of tradition. Jai- is a conception that the naming of Jaipon- pongan, which was born in the modern gan is an onomatopoeia of the Kendang era, is an expression of the desire for free- sound. In this context, sound and Kendang dom and releases the performing arts from as an instrument represent music elements the traditional standards and idioms that in Jaipongan (Aziz, 2007). It can be said have long existed in people’s lives. that Kendang is the inspiration for the for- In creating dance compositions, mation of Jaipongan art. The emergence of there is often a stagnation or deadlock in the Jaipongan dance by Gugum Gumbira, practice, so it is necessary to find an inspi- which was created in the city of Bandung ration that can be drawn from the musical inspired and influenced the performan- aspect. This confirms that there is a depen- ce of Kliningan Bajidoran in the Pantura dence on dance composition with a musi- area. The erotic movements of the Jaipon- cal system and composition. Kendang and gan dance and the attractive tepak Kendang pengendang have a central position in the have dominated the Kliningan Bajidoran Jaipongan dance, for example the pengen- show for up to ten years (Caturwati, 2011). dang named Suanda creates many varia- This shows the attachment of the Kendang tions of the tepuk Kendang patterns and instrument, which has high progressivity, is elaborated with the Gugum Gumbira balanced and harmonious development dance movements. Tepak Kendang, such in every development with the Jaipongan as Bongbang, Oray Welang, Galeong, Mincid art itself. Jaipongan is the birth of a “new” Keureup, and so on which are then widely dance movement that emerges from creati- used by other pengendang. Tepak is a term vity, thus giving rise to new tepak Kendang used in analogizing the Kendang punch musically. According to Saepudin and in Sundanese musicals (Soepandi, 1995). Haryono (2010), the creation of a variety Tepak can also be interpreted as a charac- of tepak Kendang Jaipongan that is new, teristic of a musician (pengendang) in play- original, and acceptable to West Java peop- ing Kendang, which is influenced by the le shows the creativity and ability to play ability and experience of the pengendang. Kendang that is owned by the artist. Tepak Kendang was popular and used as a Durban (2010) explains that creating barometer in the development of other Te- Jaipongan began when Gugum Gumbira pak Kendang in around 1978, even today. discovered another type of Ketuk Tilu, with According to Mamat Rahmat (interviewed simple dance movements and energetic on June 8, 2019), the naming/terminology music. The attractive music, the voice of of the developing tepak Kendang name is the singer, and the spontaneous rhythm of a process of creativity in work. The name the gamelan player, as well as the joy and tepak Kendang becomes a communication determination of the dancers, inspired him sentence or symbol of meaning to preserve in creating the Jaipongan dance. It can be tepak Kendang Sunda. said that every element, including music in The relationship between Ken- which there is Kendang, has an equal and dang/Pengendang and Jaipongan is exp- central role in the creation of the Jaipongan lained by Saepudin (2007) that the elements dance art. The Jaipongan dance was then of improvisation of the tepak Kendang in created into an art that was more dynamic the Jaipongan dance are very high. Jaipon- and attractive than Ketuk Tilu. The move- gan dancers, especially those who are pro- Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 133 ficient and experienced, tend not to follow sic and spiritual acuity. the tempo, movement, or variety of taps to Second, Kendang is a musical instru- communicate and sensitivity from a pen- ment that plays a major role in the perfor- gendang must occur. This reason also causes ming arts of West Java (Priangan). Arts Jaipongan dancers to prefer to be accompa- such as Wayang Golek, Wayang Wong nied by music and direct musicians, rather Priangan, Sandiwara, Ketuk Tilu, Rong- than only by audio/recording media. As a geng Gunung, Ronggeng Amen, or Jaipon- means of appreciation and entertainment, gan use Kendang as a carrier of rhythm and improvisation is an interesting side of Jai- tempo. Kendang is an important element pongan dance. Kendang, who controls the in both the traditional and contemporary musical instruments in the Jaipongan dan- realms, serving to provide a musicality ce, then needs a pengendang who is obser- and identity for each art type. Kendang is vant of the dancers’ improvisations so that played differently in each performing art, the performance is successfully delivered. adapting to various characters and dance What is unique is that, through improvisa- movements. This marks the third conclusi- tion in the Jaipongan dance, new patterns on from the above discussion. or motifs in the Kendang Sundanese also Third, Kendang has a relationship in emerge. The relationship between the two the process of creating the Jaipongan dance is a dynamic relationship that brings toget- and the development of the art. During the her the creation of new works in the per- process of creating the Jaipongan dance, forming arts. Creativity and development Gugum Gumbira as the creator, communi- of the Jaipongan dance have occurred to cated and discussed both with dancers and date, affecting elements of music, choreo- pengendang, marking the importance of graphy, clothing, and make-up (Nuriawati dance movements and Kendang musicali- & Nalan, 2018). ty in the art. Jaipongan dance is known as a new breakthrough in the traditional arts CONCLUSION of West Java, which presents energetic and sensual female dance movements. The te- From the explanation above, it can pak Kendang Sunda that accompanies the be concluded three points about Kendang Jaipongan dance is considered out of the and Jaipongan dance. First, there have traditional idiom, played with an attracti- been several Kendang changes in terms ve and expressive tepak pattern. Kendang of function, manufacturing materials, and has complete control over the tempo and pengendang ethics. Traditionally, Kendang rhythm of every movement in the Jaipon- is made with selected materials such as gan dance. On the other hand, the Jaipon- jackfruit wood and calfskin that died in its gan dance gives rise to creativity and the mother’s womb (handalam) to create good creation of a variety of new, dynamic, ac- musical instruments and produce quali- ceptable, and even popular tepak Kendang ty sound. Pengendang as a player of this by the people of West Java. instrument, is required to have good ethics towards Kendang, such as not sitting and REFERENCES striding, and showing respect for Kendang as a musical instrument and a source of li- Aziz, A. (2007). Pencugan Merupakan velihood. Changes in Kendang production Kreativitas Tari Jaipongan, in En- that do not meet the material requirements dang Caturwati, ed., Gugum Gumbi- of choice have also reduced pengendang ra Dari ChaCha ke Jaipongan. Band- ethics for this instrument. The absence of ung: Sunan Ambu Press. the teacher for the pengendang also affects Caturwati, E. (2007). Tari di Tatar Sunda. the attitude of the musicians towards Ken- Bandung: STSI Bandung. dang. Meanwhile, the requirement to be a Caturwati, E. (2011). Kajian Seni Pertunju- pengendang requires the ability to play mu- kan. Bandung: STSI Bandung. 134 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134

Herdiani, E. (2012). Ronggeng, Ketuk Tilu Generasi ke Tiga dalam Perkemban- dan Jaipongan; Studi Tentang Tari gan Seni Pertunjukan Tari Sunda. Rakyat di Priangan (Abad ke-19 Sampai Resital Seni Pertunjukan, 14(1). Awal Abad ke-21). Bandung: Univer- Rosidi, A. (2000). Ensiklopedia Sunda. Jakar- sitas Padjajaran. ta: Pustaka Jaya. Martopo, H. (2006). Paradigma Baru Pene- Ratih, E. (2001). Fungsi Tari Sebagai Seni litian Seni (The New Paradigm of Art Pertunjukan (The Function of Dance Research). Harmonia Jurnal Pengeta- as A Performing Art). Harmonia Ju- huan dan Pemikiran Seni, 7(3), 125-132 rnal Pengetahuan dan Pemikiran Seni, Nalan, A. S. (2007). Gugum Gumbira: dari 2(2) cha cha ke Jaipongan. Bandung: Sunan Saepudin, A. (2013). Garap Tepak Kendang Ambu Press. Jaipongan dalam Karawitan Sunda. Yo- Nuriawati, R., & Nalan, A. S. (2018). Kreati- gyakarta: ISI Yogyakarta. vitas Gondo dalam Tari Jaipongan. Saepudin, A. (2013). Konsep dan Metode Ga- Makalangan, 5(2). rap dalam Penciptaan Tepak Kendang Oktriyadi, R. (2019). Pengendang dalam Jaipongan. Panggung, 23(1). Garap Karawitan Tari Sunda. Maka- Saepudin, A. & Haryono, T. (2010). Kreati- langan, 6(1), 29-36. vitas Suwanda dalam Tepak Kendang Pranoto, H. S. (2013). Sacrilegious Aspect Jaipongan di Jawa Barat. Yogyakarta: of Javanese Gamelan: Past and Fu- Universitas Gadjah Mada. ture. Harmonia: Journal of Arts Re- Tirwana, D. T. (2017). Kemprung Jaipong search and Education, 13(1). Penyajian Kendang dalam Jaipongan. Ramlan, L. (2013). Jaipongan: Genre Tari Bandung: ISBI.