Creativity and Innovation of Artist in Maintaining and Developing the Songah Tradition Art

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Harmonia: Journal of Arts Research and Education 20 (2) (2020), 213-222 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i2.25169

Ridwan Ridwan, Tati Narawati, Uus Karwati, Yudi Sukmayadi

Universitas Pendidikan Indonesia, Indonesia

Submitted: June 30, 2020. Revised: September 29, 2020. Accepted: November 4, 2020

Abstract

Songah is one of the traditional arts originating from Citengah Village, Sumedang Regency. This art was formed from the creativity and innovation of the people of Citengah Village, Sumedang Regency to maintain the existence of traditional arts. Based on concern and love for their culture, the community continues to make reforms so that the existence of the songah art is maintained and can keep up with the times. This study aims to describe and analyze the creativity and innovation of society in utilizing existing natural resources as an effort to maintain and develop the songah traditional art. Through a qualitative approach and descriptive methods, the researchers reveal the creative process carried out by the people of Citengah Village in maintaining and developing the songah art. This study’s data were collected through observation, interviews, and strengthened by a literature review, which was then analyzed using descriptive qualitative techniques. The results showed that the creativity of the people of Citengah Village in maintaining and developing the songah traditional art can be seen in the aspects of natural resource management in the area. The community changed songong, which is a means of blowing fire in a furnace (Sundanese: Hawu), into an art tool called songah (songsong Citengah/songong kabungah). As a musical instrument having no tone, people who are members of the community collaborate songsong with other musical instruments to produce a unique musical composition. The development of the s art cannot be separated from the innovation of the community that collaborates songah with other musical instruments. This has a positive impact on the songah art so that it can be side by side and not less competitive with other traditional arts, including arts originating from abroad. Based on the results of existing research, the development of community’s creativity and innovation in maintaining the existence of art needs to be done continuously to anticipate being alienated and the loss of traditional arts.

Keywords: creativity; innovation; traditional art; songah

How to Cite: Ridwan, R., Narawati, T., Karwati, U., Sukmayadi, Y. (2020). Creativity and Innovation of Artist in Maintaining and Developing the Songah Tradition Art. Harmonia: Journal of Arts Research And Education, 20(2), 213-222

INTRODUCTION equipment, crafts, and even art tools as a means of fulfilling aesthetic needs. -Besi Citengah Village is one of the vil- des, the existing natural resources are also lages in Sumedang Regency which has managed by the community to support the abundant natural wealth. The local villa- activities of developing the Village into a ge community takes advantage of the na- Tourism Village. tural resources available to meet various The process of managing bamboo needs such as household utensils, kitchen plants by the community is not done in-

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

213 214 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 213-222 dividually. In fact, in life in this world, velopments and local customs. humans need each other, including in ar- The existence of the instrument son- tistic activities. Through the association gah is inseparable from the habits of the of the public with domestic and foreign people in exploiting the natural potential, people, this will impact the emergence of especially in managing bamboo plants. awareness that the traditional arts that are The proximity of local villagers to bam- owned should be preserved. boo plants is due to Indonesia’s tropical Through the awareness and concern climate so that bamboo plants thrive. The of the people of Citengah Village, efforts use of bamboo plants with the advantages to preserve culture are carried out through of their material characteristics has been community empowerment activities, na- used creatively by our society to become mely forming communities based on art household products, interiors, and musical and culture. The community is led by Ki instruments. Therefore, songah is one of the Madhari as the traditional leader of Citen- creative works of the people of Citengah gah Village. Apart from being active in the Village in exploring the use of bamboo as a arts, he is also a craftsman of art objects. musical instrument. The main purpose of the formation of this Creativity, according to (Utami, art is to build the abilities and skills pos- 1999) as a humanistic psychologist, is the sessed by Ki Madhari and the local com- experience of expressing and actualizing munity in the fields of crafts and arts. individual identities concerning oneself, One of the results of Ki Madhari and other people, and the environment. In line the local community’s artistic activities is with this, Hulbeck (1945) states that “cre- the songah art. This art had lost its existence ative action is an omposing of one’s own in the local community until finally, the si- whole personality on the environment in tuation changed again in 2008. Previously, an unique and characteristic way.” Based the songah art was not entirely a musical on Oxford Advanced Learner’s Dictionary instrument, but was a separate instrument (Setiawan, 2016; Wehmeier, 2005), creativi- and had its respective functions. Like the ty means “involving the use of skill and the songong which is a tool for blowing fire imagination to produce something new or in a furnace (Sundanese: hawu), hatong as a work of art, and having the skill and abi- a means of calling pigeons which is com- lity to produce something new, especially monly used in bird racing activities, kokop- a work of art, showing this abilityBased on rak which is a tool to repel birds which are the above statement, creativity is a unique commonly used by farmers. Through revi- action that arises because of the interaction talization activities carried out creatively of individuals both with themselves and by the art community led by Ki Madhari with their surroundings. in 2013, the songah art was born and began Creativity seen from the point of to exist again as a form of musical perfor- view of psychoanalytic theory is the result mance. of solving problems. According to Freud The songah art is currently not wide- (2011), creativity emerges as a defense ly known by the community. However, the mechanism that is part of the personality. people of Citengah Village believe that if it Creative people can easily solve various continues to be developed, the existence of problems. Based on Freud’s theory, cre- the songah art can still be sustainable. The ativity can be formed through the family same thing happened to the patrol music. environment, school environment, and Research conducted by Sari (2019) shows community environment. The three envi- that there is no doubt that traditional arts ronments are related to each other in the are weakening in this global era. However, process of developing creativity. all of that can be anticipated by the patrol From a humanistic point of view, music supporters by making continuous creativity can develop as long as a person innovation by utilizing technological de- is alive and is not limited. In line with this Ridwan Ridwan et al., Creativity and Innovation of Artist in Maintaining and Developing 215 statement, Maslow (1954) argues that cre- ter, and Indonesian dances. ativity is a basic instinct so that it becomes Subaharianto’s (2015) research that a necessity. From the process of creativity, was conducted using an ethnographic ap- changes are made for the better than befo- proach explained the importance of the re. This can also be seen in the songah tradi- creative involvement of the role of young tional art that has changed form, function, people based on local culture in the deve- and performance. lopment of existing arts. This is relevant In this regard, there are several rele- to the research results of Aswoyo & Sular- vant studies. Research conducted by Tjatur- so (2020) that explain that the concept of rini (2018) explains that innovation efforts role models in festival management resul- in an art form can be made by combining ting from the creativity of the local com- two different aspects of art. Through her munity turns out to be an important basis research, she found that there is an idiom in the preservation of traditional arts. Li- of the barongsai art originating from China kewise, in different aspects, the research in the music performance of calung lengger. conducted by Jaja (2016) explains that the In this context, it appears that the existing continuity of traditional arts in West Java art actors try to combine the two cultures is none other than due to real actions were (acculturation) in maintaining the existen- taken by the community and the govern- ce of the art of Calung Lengger. ment together. In a different context of the study, Based on existing findings and the- research conducted by Irianto (2017) exp- ories related to community phenomena in lains that changes and various innovations developing art, it is necessary to study in- in traditional arts by utilizing technological depth the creative process carried out by developments can be carried out to main- the people of Citengah Village in utilizing tain and preserve traditional arts. This is bamboo plants to become the traditional relevant to research conducted by Budi art of songah. Apart from that, how do the (2017) that explains that the modification people of Citengah Village make efforts to of angklung carried out by Sundanese ar- innovate so that the art of songah continues tists on the aspects of scales, game techni- to exist in line with the changes in the so- ques, materials, shapes, and ornaments ciety. or accessories is done as an effort to overcome various weaknesses that exist so that METHOD the angklung musical instrument becomes better than before. This modification effort This research was conducted in Ci- was also carried out to overcome the weak- tengah Village, Sumedang Regency, West nesses of bamboo as the basic material for Java. The subjects of this research are the making angklung. people of Citengah Village who are mem- Research conducted by Setiawan bers of the community of art actors led by (2016) explains that creativity and innova- Ki Madhari. The research was conducted tion in the performing arts are needed as using a descriptive analysis method in a an effort to maintain existing traditional qualitative approach. This approach was arts. For example, the cultural acculturati- chosen to provide an in-depth picture of on between the Sasak ethnic group as the the creative and innovation process car- original inhabitants of Mataram city and ried out by the people of Citengah Village the ethnic immigrants including Javanese, in maintaining and developing the songah Balinese, Bugis, Bima, Flores, Chinese, art. Arabic, and others has been able to main- The research process is carried out tain the continuity of existing arts. The per- by examining holistically the phenome- forming arts include Gamelan Gendang na that occur in the community of Citen- Beleq, Wayang Sasak, Betek Baris Lingsar, gah Village. The data collection process Cepung Theater, Cupak Gerantang Thea- was carried out using direct observation 216 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 213-222 techniques and was supported by informa- then first must destroy the bamboo tree. tion obtained from literature reviews and The habit of using bamboo as a fulfillment interviews conducted with the chairman of needs in everyday life is then passed on and members of the songah art communi- to the next generation to become a culture. ty group. Observations were made to get a Bamboo plants are used to meet various real picture of what was happening in the needs, both household needs and aesthetic field regarding the condition of the songah needs, including in artistic activities. art in Citengah Village. Interviews were The use of bamboo plants in artistic conducted to obtain information about the activities is not the first time that the com- views, perceptions, responses, and expec- munity of Citengah Village has done it. tations of the local community regarding Previously, there was the use of bamboo the songah art. plants which were made into the main The data that has been collected from material in making housing as seen in the observations and interviews are then ana- community of the Naga village, the houses lyzed and strengthened by several related of the Baduy tribe, and many more. This theories obtained from literature reviews. is done in addition to taking advantage of The data analysis technique was carried the existing natural wealth; the commu- out qualitatively by describing in detail the nity also believes that bamboo plants are results of the analysis of the research data sturdy and strong building materials. obtained during the research. Apart from being the main ingre- dient in meeting primary needs, bam- RESULT AND DISCUSSION boo plants have also been widely used in making art tools. It can be seen from the Creative Process of the Community of many arts created by people from various Citengah Village in the Songah Art regions such as angklung, calung, karinding, The village is an area that is admi- calempung from West Java, saluang from nistratively included in Sumedang Regen- Minangkabau, rindik from Bali, Sasando cy, West Java. This area has abundant na- from NTT, and many more. tural potential and cultural arts that have The Indonesian people and foreign the value of local wisdom. This is a unique people carry out the use of bamboo plants and distinctive feature that will attract the as an artistic tool. This can be seen from the area if it can be managed properly and ap- existence of the art of shakuhachi which is propriately by the local community. a bamboo musical instrument originating Bamboo plants are one of the natural from Japan, the musical instrument of khe- resources that are often found in Citengah ne from Thailand, the musical instrument Village. Plants have quite a lot of fun- of diggerido from Australia, the musical ctions and benefits in the life of the- Sun instrument of ocarina from Argentina, and danese community, including the people others (Christine, 2016) of Citengah Village. The many functions Creativity of the community of Ci- and benefits of bamboo for people’s lives, tengah Village in utilizing bamboo plants make bamboo plants have physical value in artistic activities continues to be deve- and implied a philosophical meaning that loped to create the uniqueness of the arts can be used as a guide for people’s lives, it makes. Society changes Songsong which especially the Sundanese people. The In- is one requirement that the original house- donesian Minister of Environment in the hold appliance serves as a fire in the furna- President Soeharto era (Laras & Nugra- ce blower (Sundanese: hawu) into a musi- ha, 2015; Rosyadi, 2012; I. Setiawan et al., cal instrument known as songah (songsong 2017) revealed the concept of bamboo cul- Citengah/songsong kabungah). The use of ture which states that Sundanese people songsong as a household tool in everyday are more familiar with bamboo trees, if life has decreased because people have they want to destroy Sundanese people, now switched to using modern equipment. Ridwan Ridwan et al., Creativity and Innovation of Artist in Maintaining and Developing 217

The people of Citengah Village carried out the art development effort by forming a songah art community led by Ki Madhari as pupuhu of Citengah Village. The songah art community has a positive impact and a considerable influence on the preservation and development of the songah art indirectly. Through the use of songsong, the local community has indirectly strengthened the culture in using songsong. This will also have an impact on the development of the village into a tourist village that can go global. Songah has six kinds of waditra cove- Figure 2. Big songsong (Source: Personal Documentation) ring big Songsong, small songsong, big hatong, small hatong, kokoprak, and flute. Each The sound of the big songsong as waditra has different characteristics and mentioned in the previous section, when functions. When viewed from the sound presented in the musical notation can be source, the instrument of songah belongs seen as follows: to the musical instrument of aerophone. The sound produced by the instrument of songah comes from the resonance of the air. The six waditra can be seen in the image be- low.

Figure 3. The musical notation of the big songsong

In contrast to the big songsong, the small songsong is made with a length of 75 cm and a diameter of 3 cm. However, the big songsong and the small songsong have similarities in the way they play, namely by being blown using a resonance technique through lip vibrations. Based on the sound produced, the small songsong fun- Figure 1. The Musical Instrument of Songah ctions as a drum. The shape of the small (Source: Personal Documentation) songsong can be seen as follows.

A big songsong is made with a length of 115 cm and a diameter of 5 cm. The way to play a big songsong is by blowing it using the technique of vibrating the lips so that the resulting sound resonance is unique. In this musical instrument, the function of the big songong is to act as a goong. The shape of a big songsong can be seen as follows. Figure 4. Small songsong (Source: Personal Documentation) 218 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 213-222

When presented in the notation, the sound of the small songsong can look as follows:

The notation of the small songsong Figure 5. Figure 8. The notation of the small hatong

The big hatong is made with a length Unlike other waditra, kokoprak has of 20 cm and a diameter of 5 cm, while the no size requirement. Either in length or small hatong is made with a length of 10 cm width. Kokoprak in the songah art serves as and a diameter of 3 cm. The way to play a regulator of the rhythm of a song or work hatong can be done by blowing and open- repertoire (Simon, 2016). The shape of the ing the lid of the hatong so that it produ- kokoprak can be seen as follows. ces a sound that resembles the sound of a bird. The big hatong and the small hatong have the same sound function, namely as a melody. The hatong shape can be seen as follows.

Figure 9. Kokoprak (Source: Personal Docu- mentation)

The sound of the kokoprak waditra, when presented in musical notation, can be seen as follows: Figure 6. Hatong (Source: Personal Documen- tation)

Even though they have the same Figure 10. The notation of Kokoprak function as a melody, the sound produced from the big hatong and the small hatong The songah art was initially limited has differences, so that when presented in to songsong as a cooking tool that did not a notation it can be seen as follows. have a tone in the sound. But in the end, it was collaborated with other musical instruments to form a unique musical composition. The creativity possessed by the art community in Citengah Village in utilizing bamboo plants to become a musical instrument is a form of application of cognitive flexibility that is owned by each Figure 7. The notation of the big hatong individual. This is marked by the beha- Ridwan Ridwan et al., Creativity and Innovation of Artist in Maintaining and Developing 219 vior of individuals who can adapt to the Historically the bamboo music kno- circumstances of their environment, as wn to the Sumedang people is angklung well as the ability to change their ways of buncis. Performances are usually per- thinking in dealing with a problem. This is formed in the Sumedang Larang palace in line with what Dariyo (2008) expressed on special occasions such as welcoming that cognitive flexibility is an individual’s guests, traditional ceremonies, and other ability in a thought process characterized major palace events. Therefore, songah by fluency, flexibility, originality, and ela- in Citengah village is one of the musical boration or developing ideas in solving instruments created and developed by the problems. Like when people change songs- community as an effort to adapt to envi- ong as a tool for cooking into an art that ronmental changes and the demands of the can be used to satisfy aesthetic needs. Be- need for expression and artistic creation. sides, the development carried out by the Along with the times, the people of community towards the songah art can also Citengah Village changes the songah art have an impact on cultural inheritance and performance of traditional to entertain- village development through various com- ment functions without abandoning the munity innovations that are applied to the values contained in it. The people who are songah art. members of the art community in Citengah Village have combined and collaborated Innovation in the Songah Art on the songah art using traditional musical The development of the times and instruments and modern musical instru- the dynamic characteristics of society ments such as guitars, drums, and others. transform an inevitable reality. The chan- Besides, since then this art community has ges that occur cannot be separated from started to present popular songs, especial- the role of community creativity in facing ly Sundanese pop songs. In this context, it the challenges of the dynamics of life that shows that the innovation process carried continues to develop. In the context of the out has led to the process of acculturation people of Citengah Village, the songah art in the songah art. is one proof of the people’s creativity in According to Nardy (2012) and Put- transforming the shape and function of ra (2017), acculturation is a combination of songsong (household appliances) to be- two harmonious and peaceful cultures that come songah (the musical instrument) to occur in life. This states that acculturation fulfill its aesthetic needs. is the union of two or more cultures so that Transformation is a process of chan- a new culture can be formed without eli- ging from one form to another which still minating the values contained in the old resembles or is completely different from culture. the original condition. In the field of art Until now, the songah art in Citengah and culture, changes in the transforma- village continues to be developed and up- tion process can be seen from the aspects dated, both in terms of arrangement and of function and content both horizontally the variety of songs it performs. So that and vertically, which still show the identi- when this village was chosen as one of the ty of a culture (Rosana, 2017; Parmadie, et “tourist villages” in the Sumedang Regen- al., 2018). cy, the performance of the songah art beca- According to Leprianida (2009), me one of the attractions for tourists who transformation is a scientific concept as an came from within the country and abroad. analytical tool in understanding the world. As stated by Rogers (1983) that innovation One of the supporting factors for change is an idea of new objects and practices for in culture is the development of the times. individuals who own it. Relevant to this Transformation is usually carried out to statement, what has been done by the art preserve local culture so that the next ge- community in Citengah Village is one of neration can enjoy it. the efforts to preserve the songah art so that 220 Harmonia: Journal of Arts Research and Education 20 (2) (2020): 213-222 it exists and is maintained. government programs in community empowerment activities to improve welfa- The Process of the Songah Art Preserva- re (Ridwan & Surya, 2018). This is in line tion with the mandate set out in The Law of the Efforts to preserve the songah art Republic of Indonesia Number 11 0f 2009 among the people of Citengah Village are regarding social welfare. carried out because the art contains local The songah art community in the Ci- wisdom values such as a sense of toget- tengah village formed based on Rurukan herness of “silih asah, silih asih, silih asuh”, of Nabawadatala tradition. Rurukan is the humble, and willingness to sacrifice as forum for responding to various problems relevant to the Sundanese philosophy (Si- related to ideas, thoughts, and suggestions mon, 2016). There are six strategies carried to develop the culture of Citengah Village. out by the people of Citengah Village in The activities carried out by this rurukan preserving the songah art. The six strate- tradition include (1) collaboration with the gies are an extension of the word “SON- Youth Organization of Citengah Village, GAH” which means training centers, (2) fostering the art of songah, (3) training organizations, nationalization, growing, and developing health methods, and (4) appreciation, and entertainment. In detail, practicing alternative health methods. the existing conservation strategies can be The community’s coaching activity explained as follows. towards the art of songah is not only a performance art that can be enjoyed by local Training Center people. However, it can develop more wi- The training center is one of the ef- dely because it has also been included in forts made by the art community of songah cultural tourism activities both nationally through learning. This activity is carried and internationally. out in an integrated manner as part of a tour package that provides an opportunity Nasionalization for visitors/tourists to try to play the son- Nationalization is a conservation gah art directly. Through this activity, the strategy carried out by the art communi- participants interactively and actively par- ty in Citengah Village in introducing the ticipate in learning to play the instrument songah artto a wider area. This strategy of songah in a relatively short time. has even encouraged the involvement of When learning songah, the partici- the music community in Citengah Villa- pants did not only learn the techniques ge in international scale events. On a na- and practice playing the musical instru- tional scale, the songah art has appeared at ment. However, it also teaches the aesthe- the Sumedang Regency Cultural Festival. tic and ethical aspects of the songah art and In international events, the songah art has some knowledge, skills, and values related appeared at the 2019 Paraglidding World to the norms of life that apply in society. Championship Festival with 15 other types The efforts made by the people who are of arts. members of the art community in Citen- gah Village seem relevant to the results of Growing Sukmayadi and Masunah’s (2020) research Growth is a strategy of the Citengah conducted in Kampung Naga that teach- Village community in sustainably develo- ing carried out through oral traditions and ping the songah art so that it remains sustai- demonstrations can be an effort of cultural nable. The efforts that have been made are heritage. such as making innovations in every show while maintaining its uniqueness. The uni- Organization queness becomes important because the The formation of an art community more unique an art is, the more people are in Citengah Village indirectly supports curious about it, so they will find out about Ridwan Ridwan et al., Creativity and Innovation of Artist in Maintaining and Developing 221 it (Raka, n.d.). Village and the wider community. Even as In addition to innovating, the art an effort for the welfare of the people of community in Citengah Village also stri- Citengah Village, this art is also one of the ves to utilize existing technology to deve- performers of interesting performances for lop and preserve the songah art. This effort tourists who come to Citengah Tourism is done by recording music performances Village. of songah which will then be uploaded on The songah art can survive and exist social media to be watched by the wider until now because the existing art commu- community. This effort is not only effective nity has implemented various strategies, in introducing the songah art but also as a such as: (1) establishing a training center; promotional medium for tourists. (2) providing organizational guidance; (3) spreading over a wider area; (4) cultiva- Appreciation ting and developing the songah art conti- Appreciation is a strategy of the art nuously; (5) increasing community appre- community in Citengah Village to increase ciation efforts for the songah art; and (6) public understanding of the songah art. The packaging the songah performances into strategy carried out by this art communi- interesting entertainment. ty is by increasing the number of performance activities and conducting learning REFERENCES through training activities. This includes performances and direct involvement in Abdul, M. I. (2017). Desa Citengah. Sumed- training activities for visitors who come to ang Tandang BPS Kabupaten Citengah Tourism Village. 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