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Banyumasan Songs As Banyumas People's Character Reflection

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Banyumasan Songs As Banyumas People's Character Reflection HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 49-56 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6460 Banyumasan Songs As Banyumas People’s Character Reflection Suharto Music Education Department, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java E-mail: [email protected] Received: April 21, 2016. Revised: May 18, 2016. Accepted: June 24, 2016 Abstract This study aims to identify a number of legendary Banyumasan songs. The fact that a large num- ber of the songs exist and people sing the songs all the time shows that the songs have their own uniqueness. This study takes place in Banyumas regency. By doing performance study and com- position, this study identifies the form and the structure of Banyumasan songs, and the moral value of Banyumasan music, especially the songs in Banyumasan music. The result of the study shows that the songs in the art performances in Banyumas commonly use classic immutable songs. The lyrics in the classic Banyumasan songs use Ngoko Javanese in Banyumasan dialect. The rhyme of the lyrics is usually in the form of wangsalan, parikan, and Essen-Essen. The rhyme contains funny and entertaining riddles. The lyrics of Banyumasan songs reflect Banyumas peo- ple’s character and the dream/utopia of the people’s ideology. The character is shown in the use of ngoko Javanese in Banyumas dialect which shows that the society is blakasuta or egalitarian who considers all people in the world has the same level and must be honest. Keywords: reflection; social culture;blakasuta; senggakan; Banyumasan songs How to Cite: Suharto, S. (2016). Banyumasan Songs As Banyumas People’s Character Reflection.Harmonia: Journal of Arts Research And Education, 16(1), 49-56. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6460 INTRODUCTION can feel the plainness in the song lyrics. It is very contrast to the fine art of the palace. There are many values we can dig Does this reflect the people’s character or is from the art performances in Banyumas, it the type of musical instrument material especially lengger art (a traditional dan- which forces the people to play the instru- ce) and ebeg (horse braid), starting from ment that way? On the level value, the va- the game patterns, the kind of the music lue developed by Banyumasan songs is not used, the song type, and when and where quite different from high-leveled culture. the performances are held. The songs sung With its own special characteristics, in lengger performance are different from Banyumasan songs do not seem to under- the songs used in rituals, like earth alms go any changes on its characters, especial- and sea alms. Similarly, the songs used as ly on the language used in the lyrics. How background music in ebeg are also diffe- the songs follow the Banyumas people’s rent. condition can be seen on the song structu- The way calung played and the lyrics re, lyric character (the language style), and of the songs in Banyumas language creates the way they are performed. These are in- its uniqueness. There is a rough feel of the teresting things to be investigated. game reflected the character of the peop- In the context of Javanese cultural de- le on the way they speak and act, but we velopment, Banyumas is often considered 49 50 HARMONIA : Journal of Arts Research and Education 16 (1) (2016): 49-56 to be a marginal area (Koentjaraningrat, sical instruments. The musical instruments 1984) which connotes to being rude, left made of bamboo but played like bronze behind, and uncivilized if we compare it to musical instruments create different sound more developed culture in the negarigung character; this means the way people play area (where the power of palace authority the bamboo musical instruments are diffe- exists) which is inspired by the adiluhung rent so they can have similar sound as the concept. Banyumas culture or Banyuma- bronze one. It shows people’s modest and san appears as folk culture developed in practical way of thinking. the proletariat, away from the hegemony Behind the modesty of the musical of palace life. instruments played, the songs, the langu- Basically, Banyumas culture cannot age, and the way it is performed, lengger be separated from Javanese culture. Ho- has the value of local wisdom which needs wever, because of its condition, the geo- special attention. Meliono (2012) states that graphical location which is away from the the local wisdom in Banyumas lengger in- palace authority, and the life background cludes religiosity, harmony, togetherness, and Banyumas people’s view of life which and aesthetics. In his study, he describes shows the spirit of citizenship, Banyumas that the local wisdom exists on the perfor- culture is different from its root culture. mance elements, like belief, art, language, Banyumas culture was a product of knowledge, organization, economic sys- old Javanese culture combined with the tem, and technology. local culture. On its development, Ba- The lyrics of Banyumasan songs are nyumas culture was affected by new Ja- in Javanese and use Banyumasan dialect vanese culture, Sundanese culture, Islamic reflects the Banyumas people’s charac- culture, and western culture. The elements ters which can be their local wisdom. It of old Javanese culture (ancient Javanese is proven by the fact that the songs have and middle-aged Javanese culture) were existed for years. Banyumas people never affected by Indian culture (Hindu and get bored to listen to the songs by liste- Buddha) had been long spread away by ning, singing, and dancing when the songs a pastor named Aji Saka. The cultural tre- are performed in music performances like asures had been developed in villages as a lengger, ebeg, or other arts in Banyumas. form of local genius and an integral part of Banyumasan gendhing has three uni- an underprivileged community. que forms: wetanan (Surakarta and Yo- Priyadi’s study (2007) shows that gyakarta style), Banyumasan, and Kulonan Banyumas people has a special character (Sudarso, 1999, p.120). Those three forms called cablaka. Cablaka is the main character can be seen from the form of the gendhing, of Banyumas people. Blakasuta, thongme- the way people beat the instrumens (garap log, or cablaka express same meanings, that ricikan or instruments) and garap gendhing is being frank when speaking. Banyumas (Darno, 2006). Darno (2006) states that it people with its Banyumasan dialect have is important to revitalize the unique Ba- built an egalitarian culture which recogni- nyumas music, so he reconstructed Ba- zes the equality between citizens. It affects nyumasan garap gendhing which is usu- the way they speak. The song lyrics in Ba- ally performed in music performance in nyumas calung also shows the egaliterian Banyumas, like Ricik-ricik, Sekar Gadung, culture. Blendrong Manis, Senggot, etc. His study The song lyrics and the way they was inspired by the academicians’ worries sing the Banyumasan songs in Lengger on the disappearance of the genuine Ba- performance cannot be separated from the nyumasan style because of the strong ef- characteristics. The language used which fect of Sundanese music. is considered rude reflects the way people Another study on Banyumasan mu- live their life. The same thing is shown in sic was done by Yusmanto (2006). In line the way people sing the songs and the mu- with Darno, Yusmanto tried to find the Suharto, Banyumasan Songs As Banyumas People’s Character Reflection 51 identity of Banyumas culture through which has not undergone changes like the calung music in his research entitled new Javanese. The new Javanese is used Calung (Kajian Identitas Kebudayaan Ba- by the Javanese people in the east part, nyumas). Yusmanto reveals how the iden- used by people who live in the palace and tity is represented in calung music perfor- its neighborhood, like in Yogyakarta or mance and its relation to the social life of Surakarta. The society is called Nagarigung Banyumas people. Javanese. On the other hand, Banyumas This paper will present some ele- people is called Mancanagari Kulon society. ments of songs that reflects Banyumas The language used by the people people’s character. The elements include who live near the palace have some levels, the song presentation on art performances, depending on their position in the society. like lengger, ebeg and other Banyumas arts. It was created to differ the people’s posi- tion in the society. While Mancanagari Ku- METHOD lon society does not recognize levels in the society. Therefore, the language used in This study takes place in Banyumas the society is considered rude. regency. By using performance study and Generally, for Banyumas people, composition, this study identifies forms one will feel more respected if s/he calls and the structure of Banyumasan songs, her/his interlocutor by name. It can be the moral values of Banyumasan music, seen in their daily life. They call themsel- especially songs in Banyumasan music ves inyong and ko, kono, and kowe, or rika and its relation with Banyumas people’s to call others. Campaigns of standard Ja- character. vanese were done intensively by the kings The data were taken by doing obser- of south Central Java kingdoms to the elite vation, interview, and document study. traditional people. However, Banyumas Content analysis of the songs available on people still use Banyumas accent called performance videos and audios to analyze Ngapak language in their daily life. Soegi- the music, form, and the song lyrics. Inter- to, a Banyumas cultural figure, states that active analysis by Miles and Huberman is although Banyumas people speak Ngapak also done to analyze the relationship bet- language, it does not mean that they do ween the songs, the music performed, and not know undak-usuk (levels of language Banyumasan music and songs.
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