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

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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) (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 Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey Asep Ganjar Wiresna1, Cece Sobarna1, Endang Caturwati2, Gugun Gunardi1 1Universitas Padjajaran, Indonesia 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 Java 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, Gugum Gumbira 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 West Java (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 silat) from West Java (Durban, ty in Jaipongan dance is different from ot- 2010). According to Durban, Jaipongan her arts such as Bajidoran, Wayang 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 Bandung, 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.
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