2nd International Conference on History Education 2018

INDONESIAN HEROIC SONGS IN HISTORY LEARNING

M. Maman Sumaludin, Didin Saripudin, Erlina Wiyanarti Post-Graduate Program of History Education, University of Education, West Java, Indonesia [email protected]

Abstract During the national movement until the revolutionary period in Indonesia, Indonesian heroic songs were created and became an important media in arousing the spirit of nationalism and patriotism in seizing and defending Indonesia's independence. However, recently, most of the students are not very familiar with it, and they have a lack of understanding of heroic songs that have historical values and the struggle of national values. The rise of contemporary songs that continue to erode the values of nationalism and patriotism, only prioritizing entertainment compared than the educational values. History learning has an important role in passing down the values of nationalism and patriotism, in this case, the use of Indonesian heroic songs in history learning. Thus, this research is descriptive qualitative research through literature study. It was conducted to develop history learning media. Also, it is hoped that it can be used as a material in implementing historical learning based on character/value so that the values of nationalism and patriotism can be embedded by singing and living the songs of heroic at every opportunity. Keywords: Indonesian heroic song, history learning, nationalism and patriotism Introduction should be passed down and embedded in every Nationalism and patriotism have been nation generation. However, as the times opened since the National movement period, changed, the sense of nationalism and around the beginning of the 20th century. patriotism is started to erode by the Sense of regionalism started to be put aside, globalization. Such as the less solemn student and the sense of national unity is started to be in participating in the flag ceremony every twined. Inspired by the aspiration of National Monday morning, particularly when the Resurrection in 1908, on 28th October 1928 the was being sung together, some Indonesian youth pledged the Sumpah Pemuda students did not sing solemnly. Moreover, in (Youth Oath), as one homeland, one nation, history class, students do not know the and one language. Melayu language which was Indonesian heroic songs that usually used by a admitted as National language were a defeat for history teacher in some learning material. Most the Dutch. As pledge symbol, Sumpah Pemuda students do not know and understand the heroic text and the national anthem of Indonesia, songs well. In the other hand, students tend to Indonesia Raya used and interested in contemporary songs which only diatonic music was accepted. Therefore, to prioritizing entertainment than the educational neutralize the Indonesia Youth diversity, the values. role of national music no longer took side to As an effort to maintain the social Java ethnicity or one of the values and to filter the incoming values, ethnicities, yet it had to be universal as the educational institution, a social institution, has position of diatonic music [1]. a function as media of the society values Nationalism and Patriotism that had inheritance to their generations and transferring been formed since the struggle period in the latest values so that they can adapt to their seizing and defending Indonesia Independence environment in the future. Through education, the widespread system of belief and value, [1] Soedarsono, R.M. (1998). Seni Pertunjukkan di Era knowledge, norms, customs, and various Globalisasi. : Departemen Pendidikan dan traditional attitude are passed down by one Kebudayaan. generation to the other following generations.

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[2]. The value formulation used by society bring the environment of history learning felt tends to pass down through the educational like we are in the past events. It will encourage process, either formal or nonformal education. the student to imagine and understand the Therefore, education is an attempt to prepare historical fact and value in it. For instance, the somebody entering the future that might be event of Bandung Lautan Api in 1946 is emerging new values, but since the old values pictured by the 'Halo-halo Bandung' song established as a historical representative that composed by Ismail Marzuki, which was possibly keep continuing along with written in that time. It became media of generations as the cultural supports. propaganda and encouragement in defending History is the past experiences of the independence of Indonesia. It has a people, so the people that lived after them can message about the meaning of the struggle, so learn from it to be wise people. History is past nationalism and patriotism have to be human experiences, so the people that live in implanted to students as on Permendikbud of the same or the next era can learn from those 2016 No. 21 about the standard of History experiences to be a wise person. Human has to material. Unfortunately, it is rarely found in the be able to take values of the lesson in history as learning material. their guidance and inspiration for their actions One treatment used to form student in the future [3]. Because history is the teacher character in history learning is by listening to of life (historia vitae magistra), means history heroic songs, which have positive and moral has functions of education which teach us that values in the class [5]. Lately, there is a few human should act based on the lesson of people sing heroic songs, even they do not previous events. know it. Unlike the people in the era before the Learning history has important role in Indonesia reformation, Indonesia National education value. It is part of character anthem, Indonesia Raya was played as the education, a media to pass down the good opening of the national TV, TVRI and the value of the past to be presented today so that closing song played was 'Rayuan Kelapa'. it become investation for the future. As well as Those heroic songs are no longer be played and the value of nation spirit written in known. For students, the heroic song is only Permendikbud 2016 No. 21 about the content one of learning material, or they hear it in standard, one of the competencies in history certain events, such a flag ceremony. The material is building the national spirit, and knowledge about the song is limited to the unity [4]. Thus, the value of nationalism dan music, not the understanding of the meaning. patriotism; sacrifice, responsible, leadership, So, this condition should be the concern of the love for the homeland, firm, resilient, and education practices, especially history teacher unyielding is the main modal to solve the that in implementing heroic song in the learning problem if life. History learning should be process is not only on the stage of literal and presenting those values in the process. One of inferential but also appreciation. Students not the elements is the use of learning media in only memorize the lyrics but also understand it. supporting the learning objective. Media of Therefore, there should be any innovation and learning has important role in transferring the discourse in implementing a heroic song on value. In this case, the writer observes the every learning material. learning process using audio media such as The heroic song is the songs that calling Indonesia patriotic songs adjusted by the for nationalism and patriotism attitude, and it learning material and events. Audio media, has to be memorized by the students. The especially heroic songs, is a media that can heroic song is the product or creation of Indonesian music that unites with the [2] Saripudin, D. dan Ahmad, A.R. (2008). Masyarakat Indonesian spirit, and it has a complex function dan Pendidikan: Prespektif Sosiologis. Pahang: in the cultural activity of society. Indonesian Yayasan Istana Abdul Aziz. heroic is called function music due to it is- [3] Sjamsuddin, H. (2007). Metodologi Sejarah. Yogyakarta: Penerbit Ombak. [4] , (2016). Peraturan Menteri Pendidikan Dan [5] Printina, B.I. (2017). Strategi Pembelajaran Sejarah Kebudayaan Nomor 21 Tahun 2016 Tentang Standar Berbasis Lagu-Lagu Perjuangan Dalam Konteks Isi Pendidikan Dasar Dan Menengah. Jakarta: Kesadaran Nasionalisme. Jurnal Agastya Vol. 7, No. Menteri Pendidikan dan Kebudayaan. 1, Januari 2017.

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2nd International Conference on History Education 2018 created for a national purpose. The Primary research is more meaningful than generalized functions are ceremonial and other national [7]. This study used the case of study method, events, yet so far it is as learning media. case of study method is a deep study on an In conclusion, the importance of song event, environment, and certain circumstances (lyric and tone) either as a source or learning which possibly reveal or understand media in learning history as a system. something. The case of study is used since the However, to understand the heroic song, the study discuss a phenomenon such as the teacher also has to have the ability in explaining decrease of the patriotism and nationalism it in the class so student's knowledge on the value among youth generation on awareness of struggle will be recent history learning. understood completely, so the identity of the The Indonesia heroic song in history Indonesian heroic song has a clear position. learning was studied using the descriptive Teacher in applying strategy and media of qualitative method. The collected data are the learning should be prioritizing the heroic song collection of the heroic song development from in order to arouse the awareness of nationalism time to time as researcher observation. The and patriotism. This study is aimed to develop researcher emphasized notes with detailed, the strategy and media of learning in every completed, and deep descriptive sentence [8]. educational institution to be more dynamic and The report of the research will show data from meaningful. Hopefully, through the heroic some sources where the result will be used to song, the student does not choose a foreign answer the issues of the research. song with no quality or only entertaining anymore but appreciate the heroic song as life Result and Discussion guidance. Thus, this history of learning media 1. Indonesian Heroic Songs and Its Function can be a media for history learner to arise the in Historic Learning. nationalism and patriotism of the nation Heroic songs are part of historic generation. learning media in audio. According to Sanjaya in Hamid, Media of Learning is any kind of Research Methodology & Design tools, environment, and activity adjusted to This research is descriptive research increase either knowledge or attitude and skill with a qualitative approach, and it used a study to whom using it [9]. The heroic song is skill case method. Qualitative research is research and effort of art, and it has a role in the that aimed to describe and analyze the Indonesia Independence History, as a phenomenon, event, social activity, belief nationalism expression of Indonesia citizen in attitude, perception, human thought the form of the song [10]. The types of individually, or group [6]. Descriptive research Indonesian Heroic song are hymns, mars, love, is aimed to gain answer relate to somebody and satire. Furthermore, According to argumentation, response, or perception, so it is Mintargo, the types of heroic song are as follow discussed qualitatively. Thus, the descriptive [10]: and qualitative research is a series of activities First, Hymn. In Indonesia, this type of to gain data as it is, without any certain song mostly written in the Japanese colonialism circumstances where the result has to be era, as a media in building the homeland love meaningful. moral to keep strong and struggle. In the era of Qualitative research has several forms, Indonesia revolution, 1945-1959, this kind of they are naturalistic, case of study, and songs were sung by the youth in Yogyakarta as ethnography. Those qualitative methods based the center of the struggle. It is usually on positivistic philosophy used to study the performed by the choir at Presidential Palace, condition of the scientific object, where the researcher is as the key instrument; the data [7] Sugiyono. (2016). Metode Penelitian Kuantitatif, collected used the triangulation method, and Kualitatif dan R&D. Bandung: Alfabeta. the data is analyzed inductively or [8] H.B. Sutopo. (2006). Metodologi Penelitian qualitatively, and the result of qualitative Kulitatif. Surakarta: Universitas Sebelas Maret. [9] Hamid, A.H. (2014). Pembelajaran Sejarah. Yogyakarta: Ombak. [6] Sukmadinata, N.S. (2005). Metode Penelitian [10] Mintargo, W. (2009). Revolusi Musik Indonesia. Pendidikan. Bandung: Remaja Rosdakarya. Yogyakarta: Ombak.

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2nd International Conference on History Education 2018 national reception, art performance, and radio Rayuan Pulau Kelapa (1944) by Ismail event. The songs categorized as hymns are Marzuki, and so on. Meanwhile, songs written 'Bagimu Negeri' By Kusbini, 'Satu Nusa Satu inspired by defending independence in the era Bangsa' by L. Manik and 'Mengheningkan of revolution are ‘Halo-halo Bandung’(1945) Cipta' by T. Prawit. and ‘Sepasang Mata Bola’ (1946) by Ismail Second, Mars. Mars of Patriotic songs, Marzuki, ‘Maju Tak Gentar’ (1945) by Cornel in the era of Independence War, is used to Simanjuntak, ‘Berkibarlah Benderaku’ (1945) accompany the insurgents sent to the front line by Bintang Sudibyo (Ibu Sud), ‘Satu Nusa Satu walked gallantly along with the rhythm Bangsa’ by Liberty Manik, ‘Syukur’ (1946) by energetically, but this spirit is in contrast with Husein Mutahar and so on. the songs written in the era of Japanese Following are some of the heroic songs Propaganda (sendenbu) which is set for the inspired by some historical events in the era of importance of Keimin Bunka Shidoso. Those a national movement, Japanese colonialism, mars are written to raise the spirit of national and revolution in Indonesia. solidarity. The songs are 'Hari ' by H. Mutahar, 'Berkibarlah Benderaku' by Bintang a. Indonesia Raya Sudibyo, 'Dari Barat sampai ke Timur' by R. (1903-1938) is Sunaryo, 'Maju tak Gentar' by C. Simanjuntak the writer of Indonesia National Anthem, and 'Halo-Halo Bandung' by Ismail Marzuki. ‘Indonesia Raya’ who touched by Fajar Asia Third, Love songs. In the era of newspaper. In the article, it said that there is no Indonesia revolution, there is also a heroic song national composer able to write Indonesia with the nuance that strongly related to the National Anthem that can move citizen spirit romanticly touching between the youth that [11]. Then, after consulting with the head of day. The song mostly told a story of struggle Indonesia Student Association, A. Sigit, and love of the youth for their loved ones, such Sugondo Djoyo Puspito, and Monomutu, he as girlfriend, friend, and family. This kind of wrote ‘Indonesia Raya’. After getting songs become memories and entertainment in permission from Chief of Youth Congress on good or bad time for the insurgents. The most 28 October 1928, his monumental masterpiece well-known songs are written by Ismail was played for the first time at Indonesische Marzuki, entitled 'Selendang Sutera', 'Sepasang Club Building, 106, Kramat street, Jakarta after Mata bola', 'Gugur Bunga', 'Selamat tinggal the oath of Sumpah Pemuda. How great it was Ibunda', 'Halo bu di sini garis depan', 'Antara so the Congress participant gave great Karawang-Bekasi', 'Saputangan dari Bandung appreciation to the song. Supratman was Selatan', and others. congratulated and hugged by his friends. Fourth, Satire. This kind of song was As the monumental masterpiece of the written to illustrate the bad-side of the society national symbol, on 17 August 1945 after at that time. It is generally popular for a while proclamation text was read, ‘Indonesia Raya’ due to the satire is for certain of events such as was played accompanying the ‘Sang Saka the social activity that is disrupting the nation Merah Putih’ raised at Pegangsaan Timur, struggle, criticism for government and so on. Jakarta, on Indonesia Independence Day. For This kind of song is rarely known who the his masterpiece, on 28 October 1953, he got an writer is, one of them is ‘Sepanjang award as Bintang Maha Putra Kelas III from Malioboro’. Republic of Indonesia government. Thus, to Each time heroic song written was memorize it, his born date, 9th of March is caused or inspired by a historical recent event. celebrated as National Music Day. According to According to its written time, it is categorized Wisnu Mintargo, ‘Indonesia Raya’ has a based on the historical timeline. In the era of different function in a different era, they are: National Movement, the songs were mostly inspired by the spirit of seizing Independence, First, in the era of Sumpah Pemuda, on for instance, Indonesia Raya (1928) by Wage 28 October 1928, it has a function in Rudolf Supratman,’Bangun Pemudi-Pemuda’ collecting the feeling of national- (1943) by HC. Alfred Simanjuntak a so on. Moreover, Songs are written at Japanese [11] Sularto, B. (1992). Lagu Kebangsaan Indonesia colonialism, such as Bagimu Negeri (1943), Raya. Jakarta: Dirjen Kebudayaan Depdikbud.

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belonging. In this time, nation nation identity is built on nationalism that recognition grew naturally because of sticks to the roots of inherited traditional social togetherness such as culture, culture. In contrast, the ultranationalist led by history, and fighting aspiration that Sutan Takdir Alisjahbana and Armijn Pane have to be maintained until today as wanted a discourse of new Indonesia, which is Nationalism spirit. Second, in the era of built on the local culture ruins. The idea of Netherland and Japanese colonialism, it Indonesia identity in the future should be a became the aspiration of national spirit historical discontinuity by deeply burying and true determination to protecting and ethnicity chauvinism and its local symbols. sacrifice for the nation. This legacy of Almost all phrases in the national patriotic spirit has to be maintained by anthem, 'Indonesia Raya' is a reflection of all Indonesian today to fight for national historical form of Indonesian. It is a guide for sovereignty from any threat. Third, in every Republic of Indonesia people to start the era of containing the independence, understanding the preamble Of UUD 1945 and there was politics dynamics since old as a national foundation. Even more orde, new orde and reformation practical, 'Indonesia Raya' is a guide for recently, it gives a feeling Trisakti that emphasize political sovereignty, implementation of spirit and economy independency, and characterized nationalism, rational thoughts on culture. Because of it, 'Indonesia Raya' is a substance, the ambition of life and guide for the sound of Independency, Mother struggle of the past [12]. nature guide [13].

Furthermore, Wisnu Mintargo in b. Bagimu Negri Printina’s journal entitled Historic Learning 'Bagimu Negri' was written by Kusbini strategy with heroic songs basis in the context (1910-1991) is the symbolic form of the oath of Nationalism recognition stated that signing by the president and official to devote ‘Indonesia Raya’ has two big functions in and serve the country. According to Soerya in historic learning, as unity media and national National News on May 20th, 1984, as stated in identity [5]. Its united different background a journal written by Mintargo that this song youth as an independence pioneer. It was written in 1942 as requested by Soekarno acknowledges language for unity, so Bahasa for kindergarten education broadcast to Indonesia becomes essential communication equalize the Japanese propaganda songs that tools for diplomacy includes its lyrics. Bahasa time [10]. Kusbini worked as violinist along Indonesia unites any ethnicity was a lost for the with Ibu Sud in Houso Kanri Kyoku radio. Ki Dutch language which was established as a Suratman stated that in 1943-1944, the medium language since the 1st Youth Congress Japanese government did not allow the national in 1962. anthem, Indonesia Raya to be played. So, The function of 'Indonesia Raya' as 'Bagimu Negeri was played as a temporary nation identity became controversy between substitution [5]. local intelligence. Cultural polemic in the 'Bagimu Negri' means for you, my 1930s between traditional nationalist and country. Negri is a secret code of 'Negara ultranationalist is an important highlighted Republik Indonesia'. It was started by- fact. The polemic shows the commitment of local intelligence to Indonesian's future. The traditional nationalist with their figure, Ki [5] Printina, B.I. (2017). Strategi Pembelajaran Sejarah Hajar Dewantara, and Ali Boediardjo wanted Berbasis Lagu-Lagu Perjuangan Dalam Konteks Kesadaran Nasionalisme. Jurnal Agastya Vol. 7, No. 1, Januari 2017. [5] Printina, B.I. (2017). Strategi Pembelajaran Sejarah [10] Mintargo, W. (2009). Revolusi Musik Indonesia. Berbasis Lagu-Lagu Perjuangan Dalam Konteks Yogyakarta: Ombak. Kesadaran Nasionalisme. Jurnal Agastya Vol. 7, No. [13] Adithyo, D. dan Atika, I.G.A.A. (2017). Bunyi 1, Januari 2017. Merdeka: Sejarah Sosial dan Tinjauan Musikologi [12] Mintargo, W. (2012). Kontinuitas Dan Perubahan Lagu Kebangsaan Indonesia Raya. Jakarta: Makna Lagu Kebangsaan Indonesia Raya. Jurnal Kementerian Pendidikan dan Kebudayaan Kawistara Pascasrajana UGM, Vol 2, No. 3, Direktorat Jenderal Kebudayaan Direktorat Desember 2012. Kesenian.

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Kusbini's view that the heart of the Indonesian prosperity, and maintain the sovereignty of the leader who cooperates with the Japanese still country heartfeltly without expecting anything keeping their Independence spirit, yet this in return. Fourth lines express that the first, spirit is hidden only for Indonesian struggle. second, and third lines are the guidelines for That is why it was inspired Kusbini to hide the every citizen outward and inward as a noble spirit in his sentimental song, expressed deeply view and life of simplicity. Thus, ‘Bagimu and solemnly in the word of Negri [14]. Negri’ is a song that invites and suggest all In Japan colonialism, Kusbini worked Indonesian act sincerely and selflessly. for Cultural Center Association (Keimin Therefore, the sincerity comes into the final Buinka Shidoso), tried to express patriotism lines ‘Bagimu Negri’ as the final statement, softly through this song. To the writer, Bagimu which has philosophy value as the song title. Negri had its impression. It was written when he worked in Hoso Kanri Kyoku radio, directed c. Hallo-Hallo Bandung orchestra with Ismail Marzuki and M. Sagi. ‘Hallo-hallo Bandung’ written by They were a member of Indonesia cultural Ismail Marzuki in 1945, speaks of the beauty association center formed in 1942. of Bandung city of Parahangan. Surprisingly 'Bagimu Negri' was written as the the romantic side of him turned into expression of the love to the country to revolutionary. He raised the fighting spirit equalize the Japanese song [15]. This song was against allies in Bandung Lautan Api scene considered as covert Indonesian songs March 4th, 1946 [10]. ‘Hallo-hallo Bandung’ expressed solemnly and carefully. It was kind was written after he heard his wife was of short song, and it was attractive to the evacuated from south Bandung, exact on listener because the meaning of the song only March 24th, 1946, Bandung had to be burnt by understood by the student and organized the youth [16]. Without meaning to break their movement such as Putera. Bagimu Negri also defense, but it was a strategy to prevent always be played in Sumpah Pemuda Bandung from Colonialism. (Burnt Homeland celebration, October 28th. Politics). According to Constructive idea analysis Role of code language on Republic of by Mintargo on 'Bagimu Negri' meaning. The Indonesia soldier’s (TRI) attacking operation is song is consisting of a stanza of 4 specific lines known as ‘Bandung Rebut Kembali’, as the as elaborated below [10]: edited lyric at the end of the song [17]. However, the song was edited by W. Panosun Padamu Negri kami berjanji Sitompul, Timbul Simatupang, Bastian Padamu Negri kami berbakti Hutagalung, and Gombald Silitonga, who were Padamu Negri kami mengabdi the ex- member of the special team invited by Bagimu Negri jiwa raga kami Pak Kasur (Suryono) to sing in a theatre performance in Majalaya on May 1946 for First line, it expresses that it is a civic reminiscing Bandung Lautan Api [18]. obligation to hold a promise, a deal, an Therefore, the lyric was changed in order to be agreement and no to avoid it. The second line, it more illustrating the Bandung Lautan Api expresses for you Indonesia, the obligation of scene; previously it was ‘Slagi Hayat dan every citizen to devote their only God by hasrat Masih dikandung Badan Kita kanjumpa loving their homeland and nation to do pula’ then it changed to ‘Sekarang telah anything useful for Indonesia. Third lines menjadi lautan api mari bung rebut kembali’. express for you Indonesia, it is an obligation for every citizen to respect and obedient to the country to support national purpose, welfare, [10] Mintargo, W. (2009). Revolusi Musik Indonesia. Yogyakarta: Ombak. [16] Baedlawie, A. dan Moersid, A. (1997). Ismail [10] Mintargo, W. (2009). Revolusi Musik Indonesia. Marzuki: Komponis Pejuang. Jakarta: Dinas Yogyakarta: Ombak. Kebudayaan DKI Jakarta. [14] Kamajaya. (1979). Sejarah Bagimu Neg’ri Lagu [17] Nasution, A.H. (1981). Memenuhi Panggilan Tugas: Nasional. Yogyakarta: U.P. Nasional. Jilid Jakarta: Gunung Agung. [15] Usman, K. (1979). Komponis Indonesia yang Kita [18] Esa, T. dkk. (2005). Isamil Marzuki: Musik Tanah Kenal. Jakarta. Aries Lima. Air dan Cinta. Jakarta: LP3ES.

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As well as the slogan of the Fighting spirit of generation. Hence every Indonesian youth, West Java people, this song becomes popular either student or others are the reliable actors in and it is considered as part of national historic. making the dream of our founding father come Until now, it is played on every March 24 true in the future. They have put national accompany the youth long-march in principal and purpose as written in UUD 1945. reminiscing Bandung Lautan Api [19]. In the recent globalization era, some Hallo-hallo Bandung is a Marche song. issues emerge such as demoralization, faded In Bahasa Indonesia called Mars and in French nation character, disintegrate, horizontal called Marcia. Marche is high tempo music to conflicts, bribe, anarchism, cheating culture raise the spirit as the march of troops walking and so on. Even recently the national spirit, synchronized. In Indonesia, the Marche of heroism spirit, sacrifice, and collaboration patriotic songs in the Independence war era among society are decreasing, we as well as constructively used by the front-line troop, losing our characteristic that built in centuries. walk and sing enthusiastically. The Due these facts, nationalism spirit is characteristic of heroic songs is raising the needed as well as our heroes who sacrifice his spirit of homeland love against the colonial. It wealth, body even soul to defend the nation. has agitation meaning called rhetoric song, and The sacrifice attitude is hardly found one of them is Hallo-hallo Bandung. nowadays, due to the recent issues are The meaning of Hallo-hallo Bandung, different. So, the nationalism attitude the according to a constructive analysis by Wisnu youth should have been how to contain this Mintargo, which consist of 2 stanzas are: independence with positive and useful activities for themselves and nation. Stanza I Hallo-hallo Bandung In this case, historic learning has a high Ibukota Periangan role. It can raise the nationalism spirit through Hallo-hallo Bandung several methods, such as singing heroic songs Kota kenang-kenangan in any occasions or teacher’s various learning Stanza II Sudah lama beta strategy [5]. Its main duty to cast national Tidak berjumpa dengan kau Sekarang telah menjadi Lautan api spirit. It raises student’s empathy realization, Mari bung rebut kembali for instance being tolerance, imaginative and creative. A skill in self-identifying towards First, Stanza expresses an attracting other emphatically. greeting expression for Bandung city which These acts are the red scarlet that can has evergreen beauty. This tourism city help the student learn about solidarity. strategically lies around a mountain with cool Tolerance teaches the student to be democratic, air and it is the capital city of Priangan respective, responsible and commit to pursuing residence as well as the capital city of West national dreams. The introductive process as Java. The second stanza is an illustration of the beginning of having self-esteem, solidarity, Bandung situation as elaborated above which and commitment. And a sense of belonging is a become Ismail Marzuki’s motivation in sense of attachment and belonging, sense of expressing to defend beloved Bandung as an pride is a sense to be proud to nation and effort against colonialism [10]. homeland. As stated by Kartodirdjo that in historical knowledge, heroism is history full of 2. The Urgency of Heroic Song in Historic leadership, heroism, fighting ethos and noble Learning values comprehension have a big role in casting The young generation is the successor nationalism if the young generation. of the national fight; therefore, the continuity of The heroic song is one of the media in people is based on the quality of its young casting nationalism and patriotism value in historic learning. Because it is part of national- history in seizing and defending the- [10] Mintargo, W. (2009). Revolusi Musik Indonesia. Yogyakarta: Ombak. [19] Mintargo,W. (2003). Perjalanan Sejarah Lagu-lagu [5] Printina, B.I. (2017). Strategi Pembelajaran Sejarah Perjuangan Indonesia dalam Konteks Persatuan Berbasis Lagu-Lagu Perjuangan Dalam Konteks Bangsa. Jurnal Seni Pengetahuan dan Penciptaan Kesadaran Nasionalisme. Jurnal Agastya Vol. 7, No. Seni ISI Yogyakarta, Vol.9, No. 04, Juli, 2003. 1, Januari 2017.

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Independency. It becomes a national Hindia-Dutch colonialism era to revolution era characteristic. There 7 heroic songs that are and it is backgrounded by the fighting spirit of required to be learned at school since Indonesia people in seizing and defending elementary to university. Those songs are independence. So, automatically, the value in known as National Mandatory Songs (Lagu the songs are different from the recent songs. Wajib Nasional). Those national composers So, these values have to be maintained because composed songs are aimed to raise the fighting they are part of Indonesia's struggle. spirit and the heroic attitude, nationalism, and b. Educational Value patriotism. National Mandatory song is the heroic Several meaning and message in those songs that should be taught in every elementary National Mandatory songs are (1) Nationalism, school to University as the instruction of it includes the sense of pride of nation and Ministry of Youth, Education and Culture No. homeland and prioritizes the sense of unity. (2) 1 dated August 17th, 1959 established by Balai Patriotism includes character of sacrifice, Pustaka in 1963, the songs must be taught in struggle, unyielding, and reformative. If these school well, so students do not only know the messages of the songs were implemented in lyrics and melody but also its history and characterized education, it would create and message. Thus, it will create and develop develop student’s nationalism and patristics’ student’s character to have nationalism and characteristic. Therefore, it will produce patriotism, knows their people history better. superior national generation successor for c. The Heroic song's composer Indonesia. The composer of the mandatory In wide understanding, heroic songs national songs created the songs. Sincerely, do said as mandatory national songs that have to be not expect anything in return, such as material, learned since elementary and have to be known award, or fame. They did it for nationalism and by all Indonesian. In its history, it is patriotism. These attitudes are a good example emphasized in government rule, Ministry of for society. So, it would be better if these songs Youth, Education and Culture No. 1 dated are taught since elementary, in order to develop August 17th 1959 established by nationalism and patriotism, to create a in 1963 that 7 heroic songs, ‘Indonesia Raya’ generation who loves their homeland, and by Wage Rudolf Supratman; ‘Bagimu Negeri’ appreciates their heroes. As they said, “A big by Kusbini; ‘Maju Tak Gentar’ by Cornel nation is who appreciate their heroes”. Simanjuntak; ‘Halo-halo Bandung’ by Ismail Marzuki; ‘Rayuan Pulau Kelapa’ by Ismail Conclusion Marzuki; ‘Berkibarlah Benderaku’ by Ibu Soed Heroic songs, composed by the national (Saridjah Niung Bintang Soedibjo); and ‘Satu movement era composer at the beginning of the Nusa Satu Bangsa’ by Liberty Manik are 20th century illustrates the Indonesian situation established as National Mandatory songs. This and condition in that time. The struggle in government rule in 1959 is the beginning of seizing and defending Indonesia independence where the heroic song is part of character is written on melody and lyrics which give a education. message about the spirit of nationalism and However, in fact, those heroic songs are patriotism. That spirit should be brought forgotten. Because generally it is only recently in order to strengthen young understood recently either the lyric or melody generation identity in this globalization era and except for historical and writer background, the become future provision. Education has a role purpose of the song and the meaning of the in forwarding the values, especially in historic song. Hence, the teacher has important role in learning, as it has relation to character building giving the understanding by elaborating the or value education. Hence, the learning media, historical background of the songs to students. such as song (melody and lyric) is important to Besides, heroic songs have other excellences, be media or historical source in historical they are: learning as a system. a. Historical Value Each era when the heroic songs were Compared to other recent heroic songs, composed, it is inspired by happening historical National Mandatory songs have superior scene. According to its timeline, heroic songs historic, because they are written at the end of are categorized into its historical timeline.

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In Indonesia movement era, most of the songs References are inspired by the spirit in seizing , (2016). Peraturan Menteri Pendidikan independence, for instance ‘Indonesia Raya; Dan Kebudayaan Nomor 21 Tahun (1928) by Wage Rudolf Supratman, ‘Bangun 2016 Tentang Standar Isi Pendidikan Pemudi Pemuda’ (1943) by DR. HC. Alfred Dasar Dan Menengah. Jakarta: Menteri Simanjuntak and others. Moreover, in Japan Pendidikan dan Kebudayaan. colonialism era, there are ‘Bagimu Negri’ Adithyo, D. dan Atika, I.G.A.A. (2017). Bunyi (1943) by Kusbini, ‘Rayuan Pulau Kelapa’ Merdeka: Sejarah Sosial dan Tinjauan (1944) by Ismail Marzuki, ‘Gagah Perwira’ Musikologi Lagu Kebangsaan (1944) by Ismail Marzuki, and so on. Indonesia Raya. Jakarta: Kementerian Meanwhile the songs that inspired by the spirit Pendidikan dan Kebudayaan Direktorat in defending the independence in revolution- Jenderal Kebudayaan Direktorat era are ‘Hallo-hallo Bandung’ (1945) by Ismail Kesenian. Marzuki, ‘Sepasang Mata Bola’ (1946) by Baedlawie, A. dan Moersid, A. (1997). Ismail Ismail Marzuki, ‘Maju Tak Gentar’ (1945) by Marzuki: Komponis Pejuang. Jakarta: Cornel Simanjuntak, ‘Berkibarlah Benderaku’ Dinas Kebudayaan DKI Jakarta. (1945) by Bintang Sudibyo (Ibu Sud), ‘Satu Esa, T. dkk. (2005). Isamil Marzuki: Musik Nusa Satu Bangsa’ (1946) by Liberty Manik, Tanah Air dan Cinta. Jakarta: LP3ES. ‘Syukur’ (1946) by Husein Mutahar, and H.B. Sutopo. (2006). Metodologi Penelitian others. Kulitatif. Surakarta: Universitas Those heroic songs apply to historic Sebelas Maret. learning in the material of the National move- Hamid, A.H. (2014). Pembelajaran Sejarah. ment era, Sumpah Pemuda, Japan colonialism Yogyakarta: Ombak. era, around Republic of Indonesia proclama- Kamajaya. (1979). Sejarah Bagimu Neg’ri tion era and after proclamation era. For Lagu Nasional. Yogyakarta: U.P. Instance, ‘Indonesia Raya’ (1928) by Wage Nasional. Rudolf Supratman was written in the scene of Kartodirdjo, S. (1999). Pengantar Sejarah Sumpah Pemuda in 1928 as an aspiration of na- Indonesia Baru: Sejarah Pergerakan tional spirit to seize independence and in the In- Nasional. Jakarta: PT Gramedia dependence era as a spirit in containing the Pustaka Utama. independence. ‘Bagimu Negri’ (1943) by Mintargo, W. (2009). Revolusi Musik Kusbini which composed in Japan colonialism Indonesia. Yogyakarta: Ombak. is played to substitute ‘Indonesia Raya’ tempo- Mintargo, W. (2012). Kontinuitas Dan rarily where it was prohibited. ‘Bagimu Negri’ Perubahan Makna Lagu Kebangsaan is a secret national spirit expression, expressed Indonesia Raya. Jurnal Kawistara solemnly and deeply where ‘Negri’ stands for Pascasrajana UGM, Vol 2, No. 3, ‘Negara Republik Indonesia’. ‘Hallo- hallo Desember 2012. Bandung’ (1945) by Ismail Marzuki which Mintargo,W. (2003). Perjalanan Sejarah was composed in the revolution era is an Lagu-lagu Perjuangan Indonesia illustration of Bandung’s citizen in defending dalam Konteks Persatuan Bangsa. Bandung from allies in the scene of Bandung Jurnal Seni Pengetahuan dan Lautan Api on 24 March 1946. Penciptaan Seni ISI Yogyakarta, Vol.9, Therefore, the analysis of heroic songs No. 04, Juli, 2003. can contribute and be implemented in historic Nasution, A.H. (1981). Memenuhi Panggilan learning to develop historic learning strategy Tugas: Jilid Jakarta: Gunung Agung. and media in every educational institution in Printina, B.I. (2017). Strategi Pembelajaran historic order learning can be more dynamic Sejarah Berbasis Lagu-Lagu and meaningful. Hopefully, through the heroic Perjuangan Dalam Konteks Kesadaran song media, students can understand the Nasionalisme. Jurnal Agastya Vol. 7, national struggle and also implementing the No. 1, Januari 2017. values of heroic songs as life guidance. Hence, Saripudin, D. dan Ahmad, A.R. (2008). this historic learning media can be a platform Masyarakat dan Pendidikan: Prespektif to cast nationalism and patriotism of young Sosiologis. Pahang: Yayasan Istana generation. Abdul Aziz.

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Sjamsuddin, H. (2007). Metodologi Sejarah. Yogyakarta: Penerbit Ombak. Soedarsono, R.M. (1998). Seni Pertunjukkan di Era Globalisasi. Jakarta: De- partemen Pendidikan dan Kebudayaan. Sugiyono. (2016). Metode Penelitian Ku- antitatif, Kualitatif dan R&D. Bandung: Alfabeta. Sukmadinata, N.S. (2005). Metode Penelitian Pendidikan. Bandung: Remaja Ros- dakarya. Sularto, B. (1992). Lagu Kebangsaan Indonesia Raya. Jakarta: Dirjen Ke- budayaan Depdikbud Usman, K. (1979). Komponis Indonesia yang Kita Kenal. Jakarta. Aries Lima.

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