CATHARSIS 8 (4) 2019 444-452
Catharsis: Journal of Arts Education
http://journal.unnes.ac.id/sju/index.php/catharsis Keroncong : The Creativity Process of Pesona Gabuse Music Group in Pati Regency
Hanur Wismandanu, Wadiyo, Udi Utomo
Universitas Negeri Semarang, Indonesia
Article Info Abstract ______Article History: The Keroncong Pesona Gabuse Group is one group that uses the Keroncong genre in Received 26 May 2019 every performance. To maintain its existence, Pesona Gabuse always presents new and Accepted 15 contemporary works in every performance. This research analyzes the process of September 2019 creativity in realizing new works as an effort to preserve keroncong music in the Published 23 country. Thus the purpose of this study is to analyze how the processes of artists in Decemberr 2019 creativity, especially the personnel of the Pesona Gabuse group, using qualitative ______research methods. Data collection techniques using observation techniques, interviews, Keywords: and document studies. The data validity technique is by using data and source Creativity, triangulation, while the data analysis procedure is by data reduction, data presentation, keroncong, Pesona and drawing conclusions. The theory used to analyze the data that is the theory of Creativity according to Utami Munandar. It is defined into four types of dimensions as Gabuse "four points creativity" namely (1) personal dimensions (person), (2) dimensions of the process (process), (3) dimensions of pressure (press), and product dimensions. The general result found is that there is a culture which is the result of a form of community gratitude because of the abundant of natural resources, or art that is only intended as mere entertainment. The art and culture tours in general are the Gong Theater, Widyas Budoyo dance studio, shadow puppet shows, puppet shows, barongsai pagoda, alms earth, and the Gabus market festival. One of them is music tour, there are 2 music tours in the village of Gabus namely Gagego music village and Pesona Gabuse. The Pesona Gabuse Keroncong Group is one of the existing keroncong groups in Pati Regency. Specific research results found relating to the creativity process are the result of the creative process of the Keroncong Pesona Gabuse music group. Keroncong Pesona Gabuse group makes the keroncong music sound different from the original keroncong music that has been legendary since the Indonesian colonial era, such as the original keroncong and extra keroncong which are almost all rhythmic 4/4 music. The new genre created by the Pesona Gabuse group is pop keroncong, congdut (dangdut keroncong), congrock (rock keroncong, congska (ska keroncong), reggae keroncong, and congjazz (jazz keroncong).
Correspondence Address: p-ISSN 2252-6900 Kelud Utara 3 kampus pascasarjana UNNES, Sampangan, e-ISSN 2502-4531 Semarang, Indonesia, Indonesia E-mail: [email protected]
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INTRODUCTION performance "Pesona Gabuse" all members of the musician group use some typical musical Gabus Village is a cultural village in Pati instruments and grips that are commonly Regency. There are many cultural products that performed by almost all keroncong music group are derived from the culture of the community in musicians in general namely cak (okulele), cuk the past. Gabus Village is located in the south of (banjo), cons Bass (substitute gong ), cello (drum Pati city, there is a culture which is the result of replacement), accompaniment guitar, flute, and a form of gratitude for the community because violin (violin). In fact, in every performance, of abundant agricultural products, or art that is there are additional other musical instruments only intended as mere entertainment. The that are different from the keroncong in general, cultural arts tourism in the village of Gabus is namely "cajon" musical instruments, electric the Gong Theater, Widyas Budoyo dance drums, and keyboards. This is in accordance studio, shadow puppet shows, puppet shows, with the opinion of Abdul Rahman (2017) that barongsai pagoda, alms earth, and the Gabus the innovation carried out in the show "Sing market festival. One of them is music tour, there Penting Keroncong" is in the performance "Sing are 2 music tours in the village of Gabus namely Penting Keroncong" uses a representative stage Gagego music village and Pesona Gabuse. The layout and is supported with decoration, Pesona Gabuse Keroncong Group is one of the lighting, spectacular sound system and the existing keroncong groups in Pati Regency. addition of musical instruments modern. The Keroncong genre music group started from the form of performance shown is not a keroncong birth of a keroncong music group around the 70s grip instrument which only consists of seven in Gabus called the keroncong orchestra PGRI. main musical instruments namely Bass, Cello, The keroncong orchestra was once famous in Cuk, Cak, Flute, and Violin, but there are the 70s until it became increasingly dim again several forms of performance, namely until the 80s. In 1996 the idea of the founders of Keroncong Jazz (Cong Jazz). Keroncong Rock the keroncong music of Gabus village was to (Cong Rock), and Keroncong Orchestra revive the keroncong music in his village until (Congkestra) where there are the addition of the Puspo Laras keroncong music was born. The several other instruments such as Drum, Puspo Laras music group was famous in the Keyboard, Percussion, Brass section (Trombone, world of Gabus village entertainment until the Trumpet, saxophone), and Chamber string 2000s. Because the players are elderly (the (Violin, Viola, Cello, Contra Bass). elderly), then Puspo Laras music group fades. Creativity can also be interpreted as a Until 2011 was born Keroncong Pesona Gabuse mindset or idea that arises spontaneously and music group, and from this group the creativity imaginatively, which details the artistic results of of the players began to develop. The keroncong a new invention and creation. In order to genre is selling well in all events in the village of examine the two core issues of the creativity of Gabus. the keroncong music group "Pesona Gabuse" Specific issues related to group creativity and its preservation processes, researchers used Pesona Gabuse is a creative product that gets the disciplines of musicology, psychology, and quite a good enthusiasm from the community social science as an interdisciplinary approach. although it is still limited to certain Creativity is the ability that reflects communities, namely the old society group aged fluency, flexibility (flexibility and authenticity in 40 years and over who join the keroncong music thinking), as well as the ability to think and lovers community. Gabuse Pesona Group elaborate (develop, enrich, detail) an idea or nowadays is not only liked by the elderly, but point of thought. (Munandar: 1999) also the young people because the young people Rhodes stated in Munandar (1999) that he are interested in the creativity of the players in had analyzed more than 40 definitions of their new products. In the keroncong group creativity and concluded that in general 445
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creativity was formulated in terms of personal, The purpose of this study is to provide driving, process, and product. According to motivation and knowledge for young people Rhodes in Munandar (1999) creativity can also about the importance of the creativity process, be viewed from the position of personal and especially in the arts. Keroncong music which is environmental conditions (social) that encourage part of the archipelago culture must be (pressing) an individual behaves creatively, so preserved, so updates must be made so that the that Rhodes calls these four types of creativity art of keroncong music does not disappear in "Four Point's of Creativity" namely Person time. This research also aims to make keroncong (individual), Press (push), Process, and Product. art not only performed with original keroncong In the theory of Rhodes in Munandar (1999) music, style, stambul, but can also be elaborated states that the four processes are interrelated with other music genres such as rock, dangdut, namely in a creative person who must involve pop, campursari, and others. himself in the creative process, and with the support and encouragement (pressing) of the METHODS social environment to produce creative products. According to Supriyadi (1994) by using This study uses a qualitative method. the creative process as a criterion for creativity, According to Romadhon (2013: 10) the all products produced from that process are qualitative method was carried out by considered as creative products, and the person observation or survey to determine field is called a creative person. This opinion from conditions. The approach used by researchers is Supriyadi (1994) reinforces the Torrance the interdisciplinary approach. Data collection definition of creativity as cited in Munandar techniques used were interviews, document (1988), that creativity is the process by which a studies, and observations. person becomes sensitive to a problem, Data collection techniques using deficiency, gap in knowledge, loss of elements, observation techniques, interviews, document disharmony, etc. studies. Widiyanti (2016: 108) explains that Creativity activities are also closely interviews are that in-depth interviews are related to innovation, which is novelty that can usually more flexible, the arrangement of be accepted by society. The city of Semarang, for questions is made comfortable and the example, Keroncong grows and develops very atmosphere is familiar, this type of interview is well in Semarang, it can be demonstrated by the also more humanistic and flexible. Interview live Keroncong music performances which are conducted with Mr. Iin as the vocalist of the routinely held once a week by several Pesona Gabuse group to obtain data on creative Keroncong communities, one of which is "Sing ideas that emerged from a vocalist to illustrate Penting Keroncong" organized by the creative products produced from the vocalist's community " De Waunk ". This article describes ideas. Interviews were also conducted with the innovation of the "Sing Penting Keroncong" Pesona Gabuse musicians including Mr. Henu performance in Semarang. Based on the results who was a cak (cang) player, Mr. Supardi who of the study, innovations carried out in the show was a keyboard player, and Mr. M. Rosyid who "Sing Penting Keroncong" is in the performance was a bass player. Interviews with the players "Sing Penting Keroncong" uses a representative aim to find out how creative ideas emerge to stage layout and is supported by decorations, produce new, fresh and creative arrangements of lighting, spectacular sound system. This music so that many people, both the elderly and program is broadcast live by RRI Semarang and the younger generation, have an interest in interactively, the listener can request the desired merely being appreciators or in learning them. song and live streaming via YouTube (Abdul Observation activities carried out by Rachman: 2017). researchers to find out what phenomena that arise in the field associated with the research 446
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objectives. Observation activities are carried out Indonesian colonial era, such as the original during performances and exercises to get data keroncong, style, stambul, and extra keroncong about the form of performances, costumes used which are almost all rhythmic 4/4 music. in the show, as well as what songs are often Therefore artists who in fact as musicians and presented in each performance in accordance keroncong singers compose original keroncong with the creativity of the music group Pesona strains with keroncong music combined or Gabuse. By observing the activities of the elaborated with other music genres to make Pesona Gabuse group, we can retrieve data that them more familiar to the public. The new the Keroncong Pesona Gabuse group performs genres created by the Gabuse Enchantment routine training activities, stage activities, and group are pop keroncong, congdut (dangdut trainings to teach students to play keroncong keroncong), congrock (rock keroncong, congska music. The purpose of this observation is to get (ska keroncong), reggae keroncong, congjazz data as accurate as possible by making (jazz keroncong), etc. Therefore, the community observations directly to the location of the study in the Pati Regency especially Gabus village site or object that will be used as research. prefers the elaboration because there are some of Documentation activities are also carried out the Pati people who are coastal people who were using voice recorders for interview sessions, first familiar with the pop and dangdut genres, video recorders, and cameras to obtain accurate and the presence of the Pesona Gabuse group data about group personnel, training venues, that elaborated the familiar genres with venues, as well as documentation of all activities keroncong music. carried out by group personnel in their work. This is true related to the notion of Data validity techniques using creativity and the theory of the emergence of triangulation of data sources, and triangulation creativity according to Utami Munandar (1995: of theories or concepts about creativity. While 25) which states that creativity is a general the data analysis procedure is using data ability to create something new, as the ability to reduction, data presentation, and conclusion provide new ideas that can be applied in drawing techniques. As well as analysis with problem solving, or as the ability to see new creativity theory with data collection procedures, relationships between pre-existing elements. data analysis and data verification. The basic theory of creativity, it can be defined into four types of dimensions as "four RESULTS AND DISCUSSION points creativity", namely (1) Personal dimensions (person), namely skills within a The Creativity of Pesona Gabuse Keroncong person that are closely related to talent, (2) Music dimensions of the process (process), which is a Creative is defined as the ability to create dimensions related to thought processes so as to or process new ideas. In essence, the notion of bring up creative or unique ideas, (3) dimensions creativity is a person's ability to create something of pressure (press), which is an approach that new in the form of ideas and real work, in new emphasizes either internal or internal push works or in combination with things that already factors to create something new, or external to exist and all are relatively different from those the social and psychological environment, and that already existed before. the dimensions of the product which is an The location of novelty which is the approach that focuses on the product or what is result of the creative process of the Keroncong produced by individuals either something really Pesona Gabuse music group is the type of new or an innovative merger that is originality. keroncong song produced. The Pesona Gabuse Keroncong group makes the keroncong music Personal Dimension (person) sound different from the original keroncong Based on the theory from Utami music that has been legendary since the Munandar (1995: 25), herein lies the novelty of 447
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the Pesona Gabuse Keroncong group, the first is song, the giving of a different melody must be from the personal dimension (person). This done, as in the intro melodies of the Bengawan personal or personal dimension starts from his solo song, which originally only 4 bars extended motivation to become a keroncong music artist to 8 bars with improvised reffrain melodies. The because the initial motivation that drives an addition of major 7 chords that are commonly artist to decide to work and live the profession used in jazz music also adds a different becomes an integral part of his creative process atmosphere in the strains of Bengawan Solo from the beginning of his work to the present. songs. An interview with Mr. Henu as a cak This also affects when the artist discovers player also resulted in other creative ideas such matters related to his artistic life, and this can as changing the tempo which becomes more affect both the artist and his work, so that the harmonious on the bengawan solo song but great theme of the artist's motivation is deemed using a tempo that is still lilting at the beginning necessary to present in this study to provide an of the song until the first chorus. Creative ideas initial description of how a person begins the arise because the players also feel bored with the artist finally decides and lives his life as an artist strains of bengawan solo songs that are just like in this case keroncong music artists. In this sub- that. theme, the first thing that underlies the Other ideas emerged from M. Rosyid who motivation of Pesona Gabuse Keroncong music was a bass player. He saw that the original artists to further explore and process creatively keroncong used bass and cello bass as variations in the world of discussion is the interest of all of bass playing. However, with his experience members or personnel of the Pesona Gabuse playing bass, he began to use an electric bass group in the Keroncong music genre and all that uses 1 bass with a technical game that is as aspects of it, and trying to learn about the ins similar as possible to the original keroncong that and outs of the keroncong both original or uses bass and cello bass. The electric bass used is popular keroncong. This interest or preference 5 strings of which 1,2, and 3 strings are cello makes artists want to become music artists with replacement strings, and strings 4 and 5 are bass the Keroncong genre and to work in the playing strings. keroncong music field. Interviews conducted with group personnel produced a conclusion Dimension of Process (process) that creative ideas to produce creative products According to Utami Munandar (1995: not only come from one person, but from the 25), the dimension of the process (process) is a whole ideas of the personnel so that a creative dimension that is related to the thought process work is realized. so as to bring up creative or unique ideas. This is Short interview with Mr. Iin, who is one closely related to the artistic process of the of the vocalists of Pesona Gabuse, he got the Pesona Gabuse artists. These ideas or ideas do idea that in singing keroncong is not only how to not necessarily come out of thinking without the sing seductively like keroncong in general, but process and experience of the artists. also improvise with the words "du..du..du" or The experience or process gained by "na. .na..na ”in the same tone as the violin researchers from interviews with several group melody so that there are 2 melodies that members begins when the music player plays collaborate with each other or merge melodies, from the stage to the stage by playing a song or namely vocal melodies and violin melodies. Mr. song song that is pop genre. After they listened Iin also often invites the audience to participate to the old keroncong song for the first time, the in singing in the refference and chorus sections personnel of the Pesona gabuse group were to give the impression of not being boring in interested in learning it. As a first step they every song that is sung. The second interview bought the original keroncong musical was with Mr. Henu who is a keyboard player. instrument in the form of cak, cuk, ciello, cello To give a different impression from the original bass, flute, and violin. By holding exercises that 448
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are almost routinely about once a week, they can others. Appreciation for a work of art is also a hone the ability to be able to play more original form of human social interaction with human art keroncong songs and song memories that are objects even though social interaction may still chanted. As time went by, they began to try to be at the level of social contact. In connection collaborate pop and dangdut songs with with that, to achieve the level of perfect social keroncong music accompaniment with interaction, two stages of non-negotiable additional ketipung as a regulator of the tempo conditions are needed, namely the stage of social and dynamics of the song. The group personnel contact and communication. If appreciating an feel there is something different with the results art is still considered a social contact, then to be of the song being played, and they feel like the improved into a form of social interaction there results of the elaboration of the dangdut and must be communication between the appreciator keroncong (congdut) genre that they play. After and the creator of its art. If the art creator is trying with the congdut, they then tried to aware that his art is appreciated by others and / elaborate it with other genres such as rock, or there has been an action and reaction between reggae, classical, pop, koplo, even reggae-ska. the creator and his appreciator, then social The role of people who also like the results of interaction has taken place. Likewise between their music elaboration also makes the personnel the art viewer or the art presenter and the always exist until now. audience. If there has been an action and reaction between the art performer and the Dimension of Pressure (Press) audience, the social interaction has taken place. According to Utami Munandar (1995: Some of the social interactions mentioned above 25), the dimension of pressure (press) is an give rise to a variety of creative ideas so as to approach that emphasizes the factors of bring up a new model of keroncong music that is encouragement or pressure both internal from more in demand by the community around Pati oneself to create something new, and external to District both young and old. the social and psychological environment. In The results of social interaction and this case the personnel of the Pesona Gabuse creative ideas from the personnel of Pesona group gained enlightenment through internal Gabuse group manifest a creative product in the and external factors. Some internal factors (self) form of keroncong music that is elaborated into that cause creative behavior are the desire to other music genres such as pop, rock, preserve keroncong art and revive keroncong art campursari, even dangdut which are more with new colors that are familiar to the public familiar to the public and get more appreciation and can be accepted by the wider community in the community around the life of the artist. not only in the old but also young people who This statement was also reinforced by Wadiyo tend not to be interested in the arts keroncong (2012) that a new work of art created by artists either because of not knowing, never heard or to be accepted by the public must go through not at all interested. While the external factor three components, namely organizers of music arising from the creativity of the Keroncong production, distribution of musical works of art, Pesona Gabuse group personnel is the and community needs. The role of mass media encouragement of the Gabus community itself. also influences the socialization of art. Study of Art as a Means of Social Interaction (Wadiyo: 2006) which explains that social Dimension of Product (product) interaction is a human need as a creature who by Utami munandar (2005: 25) states that the nature can only live if related to others. In art, dimensions of the product (product) is an humans also need other people. Art was created approach that focuses on the product or what is by humans as a form of cultural expression and produced by individuals either something really social expression. In this sense art was created new or an innovative original merger. Human by humans not solely for themselves but also for creativity products including art products are 449
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divided into 2 things, namely "truly new in the song arrangements. At first glance products" and "products that are combined / modulation is almost the same as "overtone" but elaborated from existing products”. Researcher's actually different. Modulation means the observation through observation at the music displacement of the basic tone of a song. The player training place of the Pesona Gabuse result of the song arranged in this modulation group states that the artistic product of the produces the chorus of a song suddenly the creativity of the Gabuse Pesona group is a chorus becomes higher than before in repeating product that is a combination / elaboration and the chorus. Usually this modulation occurs after even collaboration of existing art products. The the chorus and is accompanied by a bridge to the first art product is the merging of two or more end so that it doesn't sound out of place. In the music genres combined in one type of musical ending, a note uses only musical instruments or work, such as congrock (keroncong and rock), without poetry. The tones, sometimes, are used congdut (keroncong and dangdut), congska differently from the previous tone, or they are (keroncong and ska), congpop (keroncong pop), merely modified from the previous tones to end congsari (keroncong campursari), and the songs smoothly. incorporation of other music genres. Those variations have changed the people The second art product is the result of mindset about “old keroncong” or the left- modifying chords such as the use of adding behind music. The result of the creativity of diminis chords and major 7 chords in his music Pesona Gabuse keroncong group proves that the play or what is often called a musical combination of keroncong can arouse the arrangement. For old memory songs and interest of young artists to be more diligent in campursari songs that usually use the intro learning keroncong music and how to sing lilting (interlude) which is standard from the moment keroncong song. With some variations and the song was formed, the group personnel are novelty created by this Keroncong Pesona changed to be more varied, using different Gabuse group, it is hoped that the keroncong chords and melodies with interlude songs that music art will not be extinct and can continue to are often heard. As an example of the work of be preserved as one of the nation's cultures, the song "Sewu Kutho" by Didi Kempot whose especially for the younger generation. composition was composed intro using melodic The above is in accordance with the violin and flute in harmony and with melodic opinion of Wadiyo (2007) in his journal entitled notation that is not exactly the same as the "Campursari in Social Stratification in original song. The next change besides intro / Semarang" which states that the results of data interlude lies in the melody in the middle of the analysis to find out the magnitude of interest song or called "brigde" which uses improvised category in art, which shows interest in players such as solo violins, guitar solos, bass campursari music between the upper class solos, and keyboard solos of at least 4 bars in 1 teenagers and the community lower class bar even up to 8 bars. For the refference (reff) teenagers. The magnitude of interest category is part of a song called "Bengawan Solo", there is a known, the upper class teenagers are in the variation in the reff part, namely the faster adequate category, while the lower class tempo song "rancak", which is the bass / cello teenagers are in the big category. It is player who determines the tempo and the recommended that campursari as a local cultural dominant cak / cuk playing than the first part art receive serious attention from all parties so (chorus). that its existence does not disappear in the era. Not all songs have the same pattern for In this case, it is necessary to grow new creators, the arrangement process. From the researcher's especially from adolescents as the next observations, there are a few songs that were generation. arranged by the Pesona Gabuse group that were slightly modified, namely the use of modulation 450
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CONCLUSION Konteks Perubahan Budaya”. Catharsis Jurnal of Education 2(2), 2013. 7-13. As we know that creativity is a general Semarang: Program Studi Pendidikan ability to create something new, as the ability to Seni S2 UNNES. provide new ideas that can be applied in http://journal.unnes.ac.id/sju/index.php problem solving, or as the ability to see new /chatarsis relationships between elements that already exist Salim.2015.”Perkembangan dan Eksistensi before. The process of creativity which includes Musik Tarling Cirebon”. Catharsis Jurnal personal, pressure, process, and products are of Education 4 (2). 2015. 27-32. Semarang: stages that must exist in creative individuals. Program Studi Pendidikan Seni S2 Like personal and motivating, the process of UNNES.http://journal.unnes.ac.id/sju/i creativity is also found in every individual. ndex.php/catharsis Through the process of creativity, a creative Utami, Munandar. 1995. Pengembangan product is created which gives a new nuance, Kreatifitas Anak Berbakat. Jakarta: new products, new ideas and new ideas that are Rineka Cipta. preferred by the community. Wadiyo.2006. Seni sebagai Sarana Interaksi Sosial (Art as a Tool of Social ACKNWOWLEDGMENTS Interactions). Catharsis Jurnal of Education 7(2). 2016. 111-112. Semarang. Program Praise the authors always pray the Studi Pendidikan Seni S2 presence of Allah SWT who with all his grace UNNES.https://media.neliti.com/media and guidance, so that the writing of this article /publications/66168-EN-seni-sebagai- can be completed. sarana-interaksi-sosial-art On this occasion the authors express their deepest gratitude to all the musicians of the Wadiyo. Haryono. Timbul. 2012. Campursari Keroncong Pesona Gabuse group, Mr. Anto Karya Manthous: Kreativitas Industri Hendro Winarno, Mr. Henu Yuli, Mr. Iin, Mr. Musik Jawa dalam Ruang Budaya Massa. Supardi, Mr. M. Rosyid, and Mr. Triyono. Catharsis Jurnal of Education 22(4). 2012. Acknowledgments also the researchers 77-90. Semarang. Program Studi convey to Mr. Wadiyo and Mr. Udi Utomo as Pendidikan Seni S2 thesis advisor who are always patient in guiding UNNES.https://jurnal.isbi.ac.id/index.p researchers as students, friends and who always hp/panggung/article/download help in the research process, as well as lecturers Wadiyo. 2007. Campursari Dalam Stratifikasi at postgraduate who always help in writing Sosial Di Semarang (Social Statification articles this. of Campursari in Semarang). Catharsis Jurnal of Education 8 (1). 2007. 85-110. REFFERENCES Semarang. Program Studi Pendidikan Seni S2 UNNES. Rachman. Abdul. 2017. “Sing Penting http://media.neliti.com/media/publicati Keroncong” Sebuah Inovasi ons/65378-ID-campursari-dalam- Pertunjukkan Musik Keroncong di stratifikasi-sosial-di/index.php/catharsis Semarang. Jurnal Pendidikan dan Kajian Wadiyo. 2001. Musik Jawa campursari: kajian Seni 3 (1). 2017. Semarang. tentang komposisi dan pembawaannya: http://scholar.google.co.id/scholar?oi=bi laporan penelitian. Catharsis Jurnal of bs&cluster=10500549142249455889&btnl Education 17(4). 2001. 95-113. Semarang. =1&hl=id Program Studi Pendidikan Seni S2 Romadhon, Ali. 2013. “Musik Dangdut Koplo UNNES.http://scholar.google.co.id/sch di Grup Bhaladika Semarang dalam 451
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