Gamelan Angklung Banyuwangi (Organology Study)

GAMELAN ANGKLUNG BANYUWANGI (ORGANOLOGY STUDY)

HARI WIRAWAN, M.Sn. (Sekolah Tinggi Kesenian Wilwatikta/Indonesia/[email protected]) SURIPNO, M.Sn. (Sekolah Tinggi Kesenian Wilwatikta/Indonesia)

ABSTRACT The Gamelan angklung which is the object of this study is the artwork produced by the Osing society in Banyuwangi. The production of Gamelan angklung is not only concerns for the people of Banyuwangi, but it has expanded to outside area even the order is at the foreign level. art groups, art dance studios can also be found in several schools, institutions, art colleges, and art training centers, this is a form of introduction to the culture of the archipelago. The purpose of this research is to describe the process of making Gamelan angklung whose main material is collaboration of Bamboo and steel. All types of work are still doing traditionally from generation to generation. The steps of making include the selection of materials, making tones, tuning, assembling angklung, and finishing. While the gamelan is made from iron through iron melting and marketability until the making of “rancak” and finishing. Through this research objective, it is expected that this research can build a theory in the making of gamelan as new knowledge, a source of information and learning resources that is very useful for the society. Some problems in this study are formulated as follows: (1) how is the method to make (angklung) from bamboo material and gamelan is from steel material; (2) how is the management and marketing; (3) how is the economy impact will affect the crafters.

The method of this study is used a qualitative approach by prioritizing in-depth interviews and participatory observation.The source of data related to this research are some gamelan angklung crafters and several artists, from their experience will be the main source of this research. The Observation will be done at the gamelan angklung crafters in the village of Wonosobo, Srono sub-district, Banyuwangi District and several others crafters as comparison.

Keywords: Osing, Gamelan, Angklung.

PREFACE Banyuwangi district is located on the border between the islands of Bali and Java, it is not surprising that the art form has its own distinctive characteristics. Especially in the performing arts, it seems that a combination of Javanese and Balinese. Osing people as indigenous people in Banyuwangi often have various types of performing arts with local styles such as dialeg, tradition, and their religious behavior. Various types of regional dances, regional songs and Osing people traditions are inseparable from the role of Banyuwangi gamelan angklung as the music accompaniment. The development of art types has been widely discussed both in the mass media and in scientific forums, but the crafters of Banyuwangi gamelan angklung as localindustry is still rarely discussed. The making of Banyuwangi gamelan angklung requires persistent experience and struggle, not everyone can do it. The system for making Gamelan angklung is closely related to the experience of all work that is done traditionally. The businessin making gamelan angklung is an independent business that must have fund in buying materials, It requires a long time to produce a set of gamelan so that the gamelan crafters need to be struggle and diligence. The price of gamelan is also not too high, depending on the buyer. The level of difficulty is really high and it is also need big funding, thus the number of crafter is still very limited and even some crafters are tend to stop in producing it.

The development of ordering for Banyuwangi gamelan angklung up to the present is the gamelan angklung which is not only for Banyuwangi region. However, in Banyuwangi the angklung crafter whose work is known overseas. In the hands of angklung crafter was born angklung which is used for traditional music and angklung for typical music of Banyuwanginamely Banyuwangi gamelan angklung.Traditional arts which have been born and developed as a part of the archipelago culture need to be maintained as stated by Edi Sedyawati, whatever the conditions of traditional arts it must be maintained as cultural assets. Sedyawati (2007: 22) in her understanding, she defines cultural resilience as the ability of a culture to maintain its identity, it is not by rejecting all foreign elements from the outside, but with filtering, choosing, and if it is necessary modifying cultural elements from the outside in such a way that they are still appropriate with the character and the image of our nation. There are several types of gamelan angklung that develop in Banyuwangi, those are; (1) Angklung Paglak, the performance is doneon the paglak (cottage) in the middle of the rice fields. This performance takes from the habit of farmers while waiting for rice in their fields from the attack of rice-eating birds; (2). Angklung Caruk, which is performed by two different groups on the stage to show their abilities and skills each other (song competition); (3) Angklung Tetak, the development of angklung paglak, the changes are in instrument material and tone; (4) Angklung Dwi Laras, it is a development of Anglung Tetak with the progress of two tones from two tunings namely pelog and slendro; (5) Angklung Banyuwangi, which is the last development in the Banyuwangi area. Some gending usuallyplayed in angklung of ruralareasuch as Jaran Ucul, Tetak-tetak, Gelang Alit, Mak Ucuk, Sing Duwe Rupo, Congo, Ulan Andung-danung, Mata Walangan, Ngetaki, Selendang sutera, Padhang Ulan, and so on. The music instruments in this type of art consist of at least angklung (2 sets / units) saron (4 rancak, peking (2 rancak), slenthem (2 rancak), kethuk (2 seeds), gong (2 rancak), drum (2 rancak) , violins, flutes, and trumpet. In the angklung art that is played in rural area 10 people are needed to play musical instruments, some dancers, and one parent or companion, in general, in an angklung group the number of players ranges from 20 to 25 players. This research will be done on the study of gamelan angklung in Wonosobo Village, Srono Subdistrict, Banyuwangi District with an estimated time about six months. The focus of this study is on making gamelan angklung made of bamboo and

steel.Bamboo materials are made for the form of angklung instruments, while those are made of steel for saron, kethuk, kempul and gong. All types of work are made based on traditions that have been handed down for generations. Making gamelan requires skill in various fields, especially in determining and choosing the main material from bamboo, which must be considered the quality of materials both in terms of durability and quality of sound produced. While the gamelan making from steel required a long time in the burning process until it is forging to form note tone up to the adjustment system. Considering the process of making gamelan requires a long time, in this study will describe all the steps that is done by the crafters of gamelan angklung Banyuwangi. This study can be formulated as follows;(1) how is the method to make (angklung) from bamboo material and gamelan is from steel material; (2) how is the management and marketing; (3) how is the economy impact will affect the crafters. Based on the above formula, all the problems will be discussed in this study. This is enough to prove that in the process of making Banyuwangi gamelan angklung there are several aspects those are: funding material, process, formation, finishing until the aesthetic value of art work.

Table 1 Position and Contribution of Literature Review No Previous Research Substance of Library Contribution for Topics the Study Researchers

1 Pradoko susilo (2013) Analysis of Giving conceptual about "the phenomenon of angklung art cultural values in angklung angklung art as a form of phenomena meeting for eastern cultural values to the west: local to global.”

2 Arum Purwinda Putra &, Textual study of giving a composition form of Bagus Susetyo (2012) angklung music discourse The Form of Angklung and presentation Art Show, Carang Wulung

The innovation in this study is the object of this study itself that is the crafter of Gamelan Angklung in Wonosobo Village, Srono Sub-District, Banyuwangi District.The The focus of this study is on making gamelan angklung made of bamboo and steel.Bamboo materials are made for the form of angklung instruments, while those are made of steel for saron, kethuk, kempul and gong. All types of work are made based on traditions that have been handed down for generations. Making gamelan requires skill in various fields, especially in determining and choosing the main material from bamboo, which must be considered the quality of materials both in terms of durability and quality of sound produced. While the gamelan making from steel required a long time in the burning process until it is forging to form note tone up to the adjustment system.

METHODOLOGY 1. The Research Approach The research of methodology used in this study is qualitative with a descriptive approach. According to Moleong (2006: 3) qualitative research is a research procedure that produce descriptive data in the form of written text or

orally from people and observable behavior. According to Cipto, descriptive (2010: 46) that is the research whichdescribe a phenomenon, event, event that occurs nowdays. With the descriptive qualitative approach method on this research gives an overview of the process in making Banyuwangi angklung. The research of the study in making Banyuwangi gamelan angklung requires data obtained on the spot. These data include the activities of making gamelan angklung, recording in the form of videos about the process of making gamelan angklung, making notes as the results of interviews with gamelan crafters and supporting society, written texts/ articles in mass media, and the data recorded in different contexts. This study also identifies the source of data that can support this research by grouping several categories, as follows: a) interviewee(informant), those are gamelan crafter andassistant, family, community leader, cultural observer or art observer, and related institution.

b) Event or activity, is very important as the source of data in this study such as the process of making angklung gamelan at home industry. c) Place and location can givesource of data that is information about the conditions of the location,the activities of making gamelan angklung which is part of people's live. The location is focused on Krajan Kulon Wonosobo Village, Srono Sub-District, Banyuwangi District. d) Documents that can be used as source of data on this research consist of notes, pictures and audio-visual. Audio visual documents of the actual gamelan-making process will be recorded during this research. 2. Types and Source of data a) Primary Data Source Data sources will be taken during the process of making gamelan angklung in Banyuwangi. The type of data that will be analyzed are the steps of the process in making gamelan angklung. b) Secondary Data Source Secondary data source isobtained through library studysuch as reference book, obtaining data from literature like article from the research that related to research object. Data and information also have taken through interview with competent people in supporting this research, internet media and other sources of information. 3. Data Collection The steps of data collection according to Gold (in Kutha Ratna, 2009: 220) mention four types of observers, as gradation of position and relationship between the subject of the researcher and the object of research, those are (1) observation as a full observer; (2) participant as observer; (3) observer as participant; (4) observer as full participant. In this study the data collection is done by observer as participant, which is involved in the process of making gamelan angklung in Banyuwangi. Besides being able to feel how the process of making gamelan angklung, observation is also doing holistically (thoroughly) in each step of the process of making Banyuwangi gamelan angklung. The researcher as observer of the participant, as well as doing documentation by photographing and

recording the activities of making Banyuwangi gamelan angklung. After the main data has been collected, the next step is to classify the data based on the categories that have been compiled. 4. Data Analysis All data collected in this study will be analyzed descriptively qualitative using the Milles and Huberman model, which is an interactive model consisting of (1) data reduction, (2) display data, (3) verification (Sugiyono, 2009: 246). The Explanation of the meaning on the steps with the flowchart (the image of data analysis process) in data analysis activities, as follows: a. Data reduction The data is taken on the spot is a record of the process in making Banyuwangi gamelan angklung, photographs, interviews result, documents, written and typed in the form of a detailed description or report. This report will continue to improve and it will be more difficult if it is not immediately analyzed from the beginning. Subsequent data is reduced, summarized and selected to the key points, focused on the important things, arranging more systematically so that they are easily controlled. Data that is reduced describe more information of the results on the observation,it makes also easier for researcher to search for data obtained when needed. b. Data Display a. The collection of data that has been taken on the spot certainly difficult to handle, and it’s very difficult to make the right conclusion. In order to make it easier to see the entire of data or certain parts of this study, it must be done to make the presentation of the data into a pattern. b. The step who taken by researcher in this case is to display data by entering data from the result of research in the form of a flowchart. Flowchart shows research data reduction. Thus researcher is able to master data from the research result. c. Verification

In making the conclusion is still tentative, unclear, still in doubt, but with adding the data, the conclusion becomes more clearly. So the conclusion must be verified during the research. The use of qualitative descriptive in addition to give an explanation of the object of research descriptively, it will also give understanding and meaning of the object of research. The Conclusion is written based on the processing of primary data that start from the work process on the spot until to the step of identifying data into formal themes that are equipped with secondary data that has been successfully reduced. The next step is the method of data interpretation, with careful consideration so that the data can be obtained objectivity and the validity thus it can answer the purpose of this study.’

RESULTS and DISCUSSION 1. Making Bilah Balungan Banyuwangi Gamelan angklung is a set of Banyuwangi traditional music instruments in which there are musical instruments made of steel, slab, concrete, sheet steel, bamboo and cow leather. These materials are formed in such a way that they become music instruments that have different tones. Other material that used is wood to prop steel which has been designed with a tone which is usually called “pangkon” or “blandongan”. Wood is also used as a prop oxen leather so that it becomes a music instrumentcalled a drum. Concrete iron is also formed in such a way that it becomes a music instrument called “kluncing”. Banyuwangi Gamelan as an organology study which become the object of research and produced by gamelan product house located in the village of Wonosobo, Srono Sub-District, Banyuwangi District, that is in Mr Ridwan's house including:

1. 2 rancak slentem. 2. 4 rancak saron. 3. 2 rancak peking. 4. 2 rancak angklung.

5. 1 big gong and kempul gong. 6. 2 kethuk ( bonang ). 7. 1 kluncing. 8. 2 kendang ( keplak and gedug ). a. Slenthem. It is made by selecting iron plate with a width of 15 cm and a length of 35 cm until the smallest slab is 9 cm wide and 32 cm long.

b. Saron. The iron slab which is prepared having 12 cm wide and 22 cm long until the last slab is 8 cm wide and 18 cm long.

c. Peking The plates that are prepared having 9 cm wide and 20 cm long till to the smallest size with a width of 7 cm and a length of 18 cm.

The making of balungan slab from slenthem, saron and peking is done by burning on charcoal which is in the furnace and waiting until the iron turns red. Next the iron plate that has been flushed is taken with a tool called “cupit” which

is made of iron and directed towards a tool called “Paron” or concave iron placemat thencontinuing with a forging so that the red iron plate can be shaped into a concave iron plate. And so on, the same thing is done to the other plates of iron till to the smallest peking iron plate. After forging, the iron is left for cooling process to the next action by preparing the adjustment on all of the metal plates that have been shaped concave. The adjustment or “stem” of tone is done by placing the iron that has cooled in the order to check the tone by beating using “tabuh” and it is matched with the “saron” tone which has made, or adjusted to what we wanted. If the tone produced is still not the same as the tone with the one which has made, it will be burned again and it must be forged again while checking the tone till the same with tone sample. After all the concave iron has matched the tone, the last of thestep for this iron will be burned until it is red again and taken to be dipped in water. This is intended to make compaction on iron so that the tone will not change easily if it is hit. Before being installed on “plangkan” or “blandongan”, firstly this iron will be given a hole for the position of nails in “Bandongan”. Making this nail hole, the size is by dividing the concave iron length into four parts. The hole points is in number one and three. The next processis punching with a drilling machine depend on the size of the nail on the “plangkan” or “blandongan”.

1. Burning Furnace This burning furnace is made with a red brick placemat which is arranged in a rectangular height by giving a hole for the wind channel which is blown by a blower machine and it can be set based on the wind needed. Each of these bricks is covered with mud dough or sand cement mixture so that it is not easily broken when burning process uses charcoal material into the furnace. The Charcoal is taken from burning teak wood. According to cak Ridwan, teak charcoal has very good heat and when it becomes a coals there is a burning oil that comes out of the charcoal so that it helps the heating process on the iron properly. This teak charcoal is indeed obtained through special orders.

The tools needed on this burning processthose are: - Shovel to put charcoal in the furnace. - Iron “supit” for the process of placing the iron that willbe heated and taking hot iron to be forged on the placemat that has been prepared. - “Cukil”use for the iron arrangement and arranging the charcoal that is in the furnace

a. Placemat or Paron. This tool is a mold of iron plates coming from the furnace. This tool is made of steel which has been formed into several parts. Cak Ridwan has three types of placemats, those are sunken placemat, flat mat and “sungu” placemat. It is called “sungu” placemat because of its shape like a cow's horn.

b. Plangkan or Blandongan. The language that is often spoken by people in Banyuwangi refer to the place of iron bilahan – iron that has been harmonized is Blandongan.

Probably because it used to be a place where is made of whole wood called blandong. The improvement that is now occurring is no longer from the whole wood, but it has been modified to become in parts - the parts which are later assembled into one form, called blandongan or plangkan. Blandongan is usually made from red jackfruit wood, which is the part of deep jackfruit wood and it is usually called a galih. It could be also with other wood such as mahogany or teak.

There are some blandong sizes that need to be known; - Demung. The height of the wood is approximately 80 cm with a length of 85 cm. The width of the top is 24 cm and the bottom is 20 cm. - Saron. The height is up to 50 cm and 70 cm in length. The width of the top is 17 cm and below 14 cm. - Peking. With a height of 50 cm and 58 cm in length. The width of the upper part is 15 cm and the bottom is 12 cm. - Pantus. The height is 80 cm and 85 cm long. Theupper width is 21 cm and under 18cm. For this blandongan it is formed with various kinds of carvings it depends on the taste of owner. It is also with the painting. Before it is being painted, there are some activities must be done, such as smoothing the wood with scrubbing paper, puttying for the parts that have not been flat, base paint, real paint, it’s continued by coating the golden yellow from powder and paste paint

1. THE MAKING OF ANGKLUNG Angklung Banyuwangi consists of 15 bamboo strips. Firstly with choosing the type of bamboo and the size needed from the beginning bar to the last bar.

a. The selection of old bamboo species is at least one year old. The bamboo is cut and then the bamboo is left to stand at a temperature that is not too hot and not too wet. Bamboo is waited until there is no water inside and it does not break. Bamboo that can be used for angklung is the middle part till the tip of the bamboo. From the middle to the base it cannot be used because it is too thick. The selected bamboo will be cut into pieces with a length of 72 cm to the smallest one with a length of 18 cm. whittling bamboo uses a knife that has been formed to make it easier to whittle by making a cavity on the inner bamboo stem. While being hit to find the tone that we wanted. After the bamboo has become pitched, it will be continued by making a hole which will be used for the upper rope and the below rope. The way to determine the hole is to hit the bamboo stripequally from the tip to the base. At the time of being hit there is a certain part that does not sound at the tone, so that is where the point of the hole is placed. It’salso done to the all of bamboo strips and so on.

b. The Angklung is then to be placed on a wooden mat that has been determined into a series of tones according to what has been made, that is from the low tone on the left and the highest tone on the right. After being strung together with a plastic strap with a hanging position, this angklung can be played using wooden “tabuh” which is shaped like a round plate and the center is plugged in a bamboo stick which is measured as big as a little finger as a place to hold the angklung.

1. KENDANG Parts of kendang that must be known from the Kendang Banyuwanngi instrument:

a. Klowongan. The part of wood that forms a drum from an old coconut tree trunk. It’s formed by piercing the inside to form a cavity. At the tips are formed with different size, thus for keplak parts 20 - 22 cm in diameter and 24-27 cm gallons. The length of kendang Banyuwangi is on average 54 to 57 cm. The way of making it by piercing the inside to leave the outer skin with a thickness of about 1 to 2 cm. Smoothing the outside of the wood and giving the paint with color according to our taste. These Banyuwangi kendang are often used in black or red.

b. Rattan. The intended rattanis a forest rattan with a type of Pang, which is a type of rattan plant that has small branches in its stems. This rattan is known to have strength that is not easily broken, broken and dry so that it can be last longer. Then, This rattan will be divided into 4 parts and will be crushed to form flat. The middle part of the rattan will be reduced and leave the rattan skin part. The length of this rattan is about 5 meters for the kendang rope section and it is usually called janget. Besides ropes, this rattan is also used for the upper part of kendang blengker which is a rattan stem joined in a round shape with the size of a rattan as big as a finger and is intended as a skin protector. This section is usually called cemendung. This rattan is also used as soh,it is a round small wovened whittling rattan that is used to unite the two strings attached to the kendang. This is intended to press the rope tightly so that it can be tighten to the skin of the membrane at the end of the kendang bar. Whittling Rattan rope is also used as a belt in the middle part of the kendang.

c. Blengker. This blengker is made from flat-whittled bamboo and is connected to the edges to form a circle and is used to make leather wrapping on the end of the kendang. The process of rolling the skin into a blengker is usually called a wangkis. This process is done by dipping the size of the skin that has been prepared into the water until the skin becomes soft and ready to be folded into the blengker.

d. Kempul Gong. The Kempul gong is made of iron plate which is cut into a round in measuring about 80 cm in diameter for gongs and 60 cm for kepul. Slab is added which is connected with round plate. In the middle of the round plate will be formed into a convex which is used as a place to hit the tabuh so that the gong will sound. adjustment is done by forming a part of the gong body to become concave or convex based on the color of sound as we wanted. The same as what is done to make the kempul..

e. Kethuk. This instrument is also made from a sheet of iron plates cut in the form of round sheet with a diameter of 25 to 30 cm. The manufacturing process is the same as making gongs and kempul.

f. Kluncing. This instrument is usually called a triangle. The material used is a concrete iron with a size of 6 to 8 millimeters and it is formed into a triangular size whose sides are 15 to 20 cm long.

CONCLUSION

1. The existence of Banyuwangi Gamelan angklung is a distinctive attribute from one of the traditional musical instrumentincluding in the wealth of Indonesian cultural art which is priceless. The cultural assets of this region need to be maintained so as not to become extinct by the swift of foreign culture and continue to be maintained as one of the coloring for the diversity of the Nusantara Culture. The expertise in producing this angklung gamelan is the ancestor heritage of the past who need to continue to be studied by future generations so that this intellectual wealth does not end. 2. The production management of the angklung gamelan needs an integrated and directed arrangement to improve quality and quantity to be better than the existing ones. It needs a touch from relevant agencies to contribute ideas and actions to increase production yields that have an impact on improving the welfare of crafters. 3. Required step forward thinking to make a way for the Banyuwangi gamelan angklung production results to be available in every level of society, lovers of arts and culture, both in the Banyuwangi, East Java, Indonesia and the World. The existing tourism activities are expected to be able to contribute inpromoting of gamelan products so that they can be introduced and finally owned by a new generation of Banyuwangi cultural arts.

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