Harmonia: Journal of Arts Research and Education 21 (1) (2021), 43-59 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.v21i1.28206

The Drumming Strokes in Lagu Gedé in Sundanese

Asep Saepudin, Ela Yulaeliah

Institut Seni Yogyakarta, Indonesia

Submitted: 2021-01-02. Revised: 2021-03-18. Accepted: 2021-04-26

Abstract

This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrange- ment of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kilinin- gan genre has a specific punch motif name for Gede’s song. The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan . When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs. The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.

Keywords: tepak, Lagu Gedé, drumming, Jaipongan

How to Cite: Saepudin, A. & Yulaeliah, E. (2021). The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan. Harmonia: Journal of Arts Research And Education, 21(1), 43-59

INTRODUCTION Suwanda was encouraged by , who made several drumming Tepak Jaipongan or Jaipongan styles for Jaipongan dance movements. Gu- drumming strokes are an arrangement/ gum acts as the innovator, conception, and technique of playing Sundanese drums to director. At the same time, Suwanda and accompany Jaipongan . Kendang are Gugum Gumbira made Jaipongan music in symbols or cultural representations used collaboration with other artists such as En- in Jaipongan dances (Wiresna et al., 2020, dang Barmaya, Dali, Bao Samin Batu, Su- p. 1). Suwanda, an artist from Karawang, wanda, Namin (Herdini, 2014, p. 196). The created the Jaipongan drumming strokes. collaboration of creative minds, especially

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

43 44 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59 between Suwanda and Gugum with the dynamics, drumming motifs, song melo- help of other pangrawit, was the decisive dies, musical roles, and instrument beats. factor in the success of Jaipongan. This dan- Equally important, the drum’s musical ce art reached its peak of popularity in the function, which initially serves to accom- 1980s (Saepudin, 2013, pp. 224–234). Like- pany the vocals, has changed to fulfill the wise, karawitan is also known as gamelan dance needs (Irawan, 2014, pp. 391–398). music (Widodo, 2015, p. 36), grows and Kiliningan, golek, Tembang develops to achieve its stability thanks to Sunda, and Degung Classical performan- the community’s support as the collective ces usually present Gedé songs. These four owners of karawitan (Supanggah, 2009, p. genres present Gedé songs in a soft and 298). slow arrangement, except in Wayang Go- The artists working on Jaipongan lek performance characters’ dance accom- drums never run out of artistic creativity. paniment. Particularly in Kiliningan, the Creativity is meant, among other forms of drum arrangement is called tepak Melem, experience, encounters, and slimness, with i.e., drumming in the subtle character. Te- something beyond itself, especially nature pak kendang or drumming serves to sup- and social circles (Darmasti, 2012, p. 110). port the vocal of the pesinden so that the The number of drummers in each genera- song character is following the aesthetic tion, the more Jaipongan work is produced, value contained in the Sundanese music and Jaipongan’s broader range of inventions ensemble. is a testament to his imagination. Jaipongan Lagu Gedé, as the source of Jaipongan drumming strokes result from changes of creativity, is the result of artistic innovati- various types of art living in West , on to interpret Lagu Gedé in different gen- such as Ketuk Tilu, Topeng Banjét, Wayang res. Artists yearned for the golden days of Golék, and Kiliningan Bajidoran, Penca Silat, Lagu Gedé in the past. Encouraged by the and Tarling (Saepudin, 2013, pp. 27–112). diminishing popularity of Lagu Gedé, artists Ketuk Tilu and Topeng Banjét are two essen- adopted Lagu Gedé to be the creative sour- tial arts underlying the Jaipongan karawitan ce in Jaipongan performance art. Equipped arrangement (Ruchimat, 2015, pp. 1–521). with years of experience and vast know- At the turn of the 21st Century, the- ledge, strong sensitivity to various karawi- re was a striking change in the Jaipongan tan phenomena to various phenomena in arrangement with the emergence of Lagu karawitan, some artists could describe and Gedé entitled Karatagan (Irawan, 2014, p. explain karawitan arrangement in a comp- 392). In the “Jaipongan Award 2004,” a cre- lete, sharp, and exciting way (Waridi in ator composed a Gedé song called Kawitan Supanggah, 2009, p. ix). The artists revita- written in the Jaipongan version (Suratno, lized Lagu Gedé with a new arrangement 2007, pp. 129–131). It was an innovation in and technique in the Jaipongan version. the development of Sundanese karawitan. This arrangement reflects creative artists’ Jaipongan drumming strokes, once used notion with attitudes, perspectives, new to accompany songs in embat dua wilet, concepts, sensitivity, and responsiveness were used to accompany songs in embat to their environment, cultural traditions, opat wilet at the turn of the 21st Century. and their environment’s factual reality Therefore, Gedé’s piece’s arrangement is (Sumardjo, 2000a, pp. 81–85). Some of the an innovation because it is outside the tra- emerging works of Jaipongan come from ditional Sundanese tradition. The novelty Lagu Gedé such as Tablo, Kastawa, Karata- in the creation includes the changes in va- gan, Kulu-Kulu Bem, Jalak Ngejat, Rawayan, rious aspects, such as the tempo, rhythm, and Raspati (see Figure 1). Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 45

Accordingly, working on the Jaipon- gan drumming strokes in Lagu Gedé is a se- ries of creative works carried out by artists to produce a good quality of Jaipongan per- formance that meets the purpose, needs, or goal. Lagu Gedé in Jaipongan aims to ac- company the dance instead of performing independently as in the Kiliningan art. The- refore, an understanding of embat (rhythm) is needed by a drummer. Embat plays a significant role in the character formation Figure 1. Jaipongan drumming performance art of gendhing. Moreover, embat is conside- in Lagu Gedé by Jugala Raya Group, Bandung, red as the heart of gendhing. The drummer entitled “Rawayan.” (Doc: Adjie Dunston I, plays a crucial role in shaping the charac- 2015). ter of gendhing compositions through the interpretation of embat. Jaipongan art pro- According to the writer, the revita- vides artists with an opportunity to beha- lization of Lagu Gedé as the source of Jai- ve, create, and socialize in the community pongan creation is impressive. First, the to develop gamelan ensemble works. The player does not readily present Gede’s song artists work on Jaipongan art in folk art so because this song is immense. Second, the that it is easy to adjust to the time. Flexible drummer’s mastery of the character of rules, norms, and laws in Lagu Gedé are the Lagu Gedé is at stake because the drum assets for artists to innovate to create new functions as the mungkus of a piece or to arts based on traditions. bind the song. Therefore, playing Jaipongan This paper aims to describe the jai- drumming strokes in Lagu Gedé requires pongan drumming strokes in Lagu Gedé. an accumulation of the drummer’s expe- The writer discussed the birth of creativi- riences, knowledge, and skill in arranging ty in the Jaipongan drumming of Lagu Gedé the music ensemble elements to support due to the Sundanese artists’ freedom of the song’s character and dance. artistic expression arts to meet various The arrangement of Jaipongan drum- demands and interests. This article’s final ming in Lagu Gedé is the result of the ar- stages compare Jaipongan drumming or te- tists’ creativity Supanggah states that: pakan kendang Jaipongan using embat dua “Artistic production is a series of creati- wilet, and embat opat wilet of Lagu Gedé was ve work from a person or group of per- analyzed. The analysis result found that formers in presenting a musical ensemb- le or karawitan composition to produce the various motifs of drumming in Lagu a sound with a certain quality or result Gedé did not have common names. This by the purpose, needs, or goal of a work fact shows that Gedé songs are composed presentation of karawitan. Artistic pro- based on improvisation and the high de- duction is creativity in traditional arts” gree of artists’ freedom in expressing their (Supanggah, 2009, p. 4). ... musicality. ... “The freedom to behave, have an at- Improvisation, according to the wri- titude in artistic expression and social ter, does not refer to spontaneous irregular interaction in society, as well as the de- characteristics. Instead, it refers to the stan- mands to fulfill various needs and in- dardized traditions shared among the ar- terests are the determining and driving factors for artistic innovation, including tists and the competent artists’ accumula- encouraging the development of fine ted history, experiences, knowledge, skills, arts ...” (Supanggah, 2009, p. 242). and ability to respond to the movement and music spontaneously on a performan- ce stage. 46 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59

METHODS musically in terms of its embat and tepak kendang. This research used observation and interview methods using the ethnomusico- RESULT AND DISCUSSION logical approach. The author conducts ob- servations to uncover images of art events, The Jaipongan Drumming Strokes behaviors, and instruments used in a stu- Tepak kendang Jaipongan or the Jai- dy, taking into account places and spaces, pongan drumming strokes are the arran- actors, activities, times, events, and ob- gement/variant/pattern and drumming jectives (Tjetjep, 2011, pp. 181–194). Data technique used to accompany the Jaipon- search through Jaipongan performance gan dance. The word tepak means that the observations in various circumstances. Si- drumming is done by the hands’ palms, multaneously, the author conducted inter- either using one hand or two hands (Soe- views with several key informants directly pandi, 1995, p. 205). Sunarto classifies the involved in the Jaipongan arrangement, tepak into six categories, namely: tepak as such as Gugum Gumbira, Suwanda, Caca a technique to sound the drum, the style Sopandi, Ismet Ruchimat, Asep Mulyana, of presentation, the level of rhythm, as a Ayi Mulyadi, Yaya Suryadi, and musicians variety of drum composition in one phrase from Jugala Group in Bandung. or line of a song, as a unity of variants of Researchers discard their judgment a particular dance, and as the distinctive to understand the culture from the owners’ markers of a specific drummer’s quality in perspective (Nakagawa, 2000, p. 5). The drumming. Sunarto concludes that the de- principle is to process and interpret data finition of tepak includes three categories, through the cultural and habitual lenses of namely tepak, as art production, variety, the owners of the culture, be they physical and motifs of drums (Sunarto, 2009, pp. objects, musical events, or human feelings, 113–116). which have something to do with music The drumming strokes are the unique (Hastanto, 2009, p. 5). Therefore, any data characteristics that give the nuances, sense, relevant to the Jaipongan drumming gathe- and style so that upon hearing the strokes, red from interviews with the informants is we will associate it with Jaipongan (Surat- considered the primary data used as wri- no, 2007, p. 124). Unique characteristics ting and analysis materials. are seen in the techniques, patterns, embat, The study used video cameras and and motifs of gamelan play. The Jaipongan photo cameras (Soedarsono, 1999, p. 57) drumming strokes are played using the di- to obtain more accurate data. Data collec- teunggeul method, namely by hard, power- tion through library studies in ISBI Ban- ful, and energetic strokes. The difference dung library and ISI library in Yogyakarta between this stroke from the other drum- to find references, originality, and related ming strokes can be felt when the karawitan theories. The research data is then compi- production presentation is changed. For led and selected to see the validity of the example, in the Kiliningan art production, data from the informant. The author uses the drumming strokes are suddenly alte- approach emic to categorize phenomena red by the drummer with strong strokes, based on cultural owners (Endraswara, then the display is automatically categori- 2006, pp. 33–36). zed in the Jaipongan drumming strokes. The next step is to analyze and inter- Besides, the drumming strokes are pret the relationship between the Jaipongan found in the golėk puppet show. Even drumming strokes phenomena to conclude though the embat or tempo used to accom- (Nazir, 2005, p. 346). The analysis was also pany a puppet show performance is embat done on the Jaipongan composition in Lagu sawilet, the Jaipongan drumming strokes Gedé to transcribe it in musical notation. can be practiced when attending the puna- The notation is essential to see Lagu Gedé kawan or four comical companions’ main Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 47 heroes, the puppet characters. For examp- dance. The syllables spoken by the mouth le, when the drummer accompanies the drumming mimick the drumming sound, music for the scene with the knights in the and the drumming imitates the dance. The puppet dance, the drumming strokes alter dancers and the drummers do the same the Jaipongan drumming strokes when the choreographic unit in two different senso- punakawan characters enter the stage. The- ry media, namely aural/audio (sonic) and re can be identified from the strong drum- gestural/tactile. There is an interdepen- ming strokes played by the drummer. The dence between the sonic aspect and the fact above shows that the Jaipongan drum- gestural aspect. In his conclusion, Spiller ming strokes are created from the close re- states that the use of mouth drumming/ lationship between the drumming strokes syllables in the music and dance proves ar- and the dance requirement. In this regard, tists’ roles in developing the ritual, social, Trustho states that: and performance . “Kendang and dance are partners in a Hood (2016) highlights the relation- show. The success of both parties de- ship pattern between the drum and Bali pends heavily on the manners of com- dance. He states that the interdependent munication. Reciprocity occurs when relationship between the drummer and both have a balanced consequence. The the Balinese dancers is defined as ngunda relationship goes from the dance to the drummer or the other way around. Such bayu. Ngunda means the use or distributi- a process happens naturally in a show, on, while bayu means power or energy. both conventionally and incidentally Ngunda bayu is transference and a system (Trustho, 2005, p. 92). of channeling musical sounds’ power ente- ring the dancer’s body. The dancer and the According to Trustho, drums and drummer are involved and learn the distri- dance have a close relationship. Drums bution of energy when interpreting and and dance have nonverbal communica- communicating in performance. Ngunda tion. Trustho defines the drumming as a Bayu is a communication system where miraga or the drumming piece that mo- many gestures, responses, warnings, and tivates dance movement for expression signs are explicitly traded to interact when (Trustho, 2005, pp. 94–98). The drummer the drummer reads the dancer’s power. should carefully follow the tempo of the The dancer projects her energy (bayu) and dancers because if delayed a knock, it all experiences a direct presence (taksu) vi- becomes different (Wahyu, 2013, p. 102). sible for the drummer to adjust the show. The connection between drum and dance Ngunda bayu is a transference of energy in Jaipongan is called drumming ngigelan (bayu), where there is an interdependence for dance and dance ngigelan drumming between the sound of drums (ka-pak) and (Saepudin, 2013, pp. 201–202). It means the dance movement (ki-pek). (Trimillos, that there is a close connection between the 2016, pp. 6–8) concludes that the relation- drum and the dance. ship between the dance and the music is There are times when drums have to the result of the role of the body as a set of follow the dance and vice versa; there are unity, namely as a medium to bring about times when the dance follows the drums. the aesthetic impression to the audience, The relationship between dance and drum musicians, dancers, musician-dancers, and also occurs in the Sundanese dance cour- the dancer-musicians. ses or keurseus (Spiller, 2016, pp. 13–30). According to Gugum, generally, the There are three media in the dance courses Jaipongan variety of movements includes where the choreographic unit is expressed bukaan, pencugan, besotan, and nibakeun in the dancer’s body movement, drum- (Gugum, May 21, 2015). The structure of ming patterns, and mouth drumming. The the Jaipongan drumming strokes consist of drummer and the dancer both use a mne- pangkat (initial), pangjadi (transition), bu- monic vocal system to learn the parts of the kaan (accompaniment), mincid (walking), 48 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59 and the repetition of bukaan and mincid, developing innovation to fulfill various and ngeureunkeun (stop). The variety of needs, especially in meeting market de- structure, repetition, and motif depends mands. The results show in the Jaipongan on the song being accompanied. Every drumming strokes structure, which blends frame has a different motif. For example, the Bandung style and Pantura style due to a pangkat could be initiated with a drum- reciprocal borrowing of a kind. ming stroke without using the rebab or a The Jaipongan drumming strokes are stringed instrument. Another example is in the embat dua wilet, which means that that repetition can happen in the bukaan the embat group consists of eight bars and part or the mincid part. It implies flexibility thirty-two beats. The kenong stroke is soun- in the Jaipongan drumming strokes. Every ded on the 8th, 16th, 24th, and 32nd beats, structure has many motifs and variations followed by the kempul stroke on the 4th, in the drumming strokes of pangkat, pang- 12th, 20th, 24th, and 28th beats. Embat dua jadi, bukaan, mincid, and ngeureunkeun. wilet in the Sundanese karawitan is usually The wide variety of drumming stro- used in the Kiliningan genre. However, in kes and the flexibility of structure are its development, embat dua wilet is a steady the innovative results for artists’ creative embat used to accompany the Jaipongan, genius. The Sundanese artists generally characterized by the typical drumming have a folk music background and have strokes. freedom for action and self-expression Saepudin (2012) explains that in according to their full potentials (Supang- the Jaipongan drumming strokes, the ga- gah, 2009, p. 242). The binding handbook melan piece’s signature characteristic is rules do not burden Their innovations as the use of bonang, kempul, and kecrek in the palace court arts. instruments (Saepudin, 2012, pp. 133–135). The norms of handbooks in Sun- In this piece, bonang is not only played in danese karawitan are not left as is but in- a particular method, i.e., digembyang or terpreted by artists. Artists use the rule tapping two notes using both right hands as a reference for creativity by modifying and left hand simultaneously in one stro- pakem into other forms or deviating from ke. It is also played as a melody. Likewise, existing norms.The deviation from the re- kempul, which is usually played only five quirements is called “pamijen” or creativi- or six strokes in one , is hit many ti- ty (Supanggah, 2009, p. 298). mes, sometimes 50 strokes, in the Jaipongan According to Herdini, the birth of drumming strokes. Kecrek in the Jaipongan the innovative Sundanese karawitan is not also adds a distinctive character because merely the result of artists’ expressions but the strokes are not as steady as a rule. It also influenced by the times and circums- is played in a rhythmic and varied when tances (Herdini, 2014, p. 119). The situation it is hit to follow the drumming strokes. and circumstances of the times are chan- The Jaipongan karawitan to accompany the ging, altering the mode of communication dance is usually much more straightfor- among artists in to become freer. ward, open, innovative, and daring than In short, communication is getting more karawitan in an independent composition comfortable between artists in Bandung (Suratno, 2007, p. 131). and artists in Pantura (Karawang and Sa- bang). The freedom of associating provi- Lagu Gedé in Sundanese Traditional Mu- des a chance to grow the zeal of innovati- sic Ensemble on and the Jaipongan production blending. Lagu Gedé is one of the types of songs Jaipongan production is getting more va- in the Tembang Sunda, Classical Degung, rious, attractive, and dynamic. The show is Golek shadow puppet, and Kiliningan arts. more complex, the drumming motif is inc- The function of Lagu Gedé (besides the reasing in numbers, and the gamelan pro- accompaniment of a specific puppet -cha duction is getting more active. Artists keep racter in the Golek shadow puppet) is ge- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 49 nerally not to accompany a dance. Still, as Lagu Gedé during the entertainment inter- an independent music ensemble, namely lude, melem’s gending accentuates the song melem gending accentuates the vocal aspect. arrangement as the main focus of the work. In its development, the song Gedé entered Musically, Lagu Gedé in the puppet into melem gending and dance accompani- show dance is different from the Jaipongan ment. Some dancers demanded to present dance in terms of structure, motif, tempo, Gedé songs in the art of Kiliningan. and dynamics. The patterns, structures, Automatically, the style of Jaipongan and drum motifs for the puppet show ac- drumming strokes, which were initially companiment have the standard to match tepak melem, changed into tepak diteung- the puppet characters. geul. Even though the traditional artists In contrast, in the Jaipongan dance, initially protested, the community gra- the pattern, structure, and motif can chan- dually accepted the change (Saepudin, ge according to the drummer’s style. The 2013, pp. 116–118). Gedé presents the same tempo in the puppet show accompaniment character’s vocals accompanied by music can be slow, medium, or quick, whereas barrel pelog saléndro and using an en- the Jaipongan dance’s tempo is medium semble of degung music. in general. Therefore, the golék puppet According to Irawan (2014, p. 24), show’s tempo varies, making the dyna- Lagu Gedé in kawih kepesindenan is a Sun- mics of the drumming strokes very distin- danese song containing literature and ctively obvious when accompanying the songs. Lagu Gedé is the type of kawih vocal golék puppet show. presentation accompanied by traditional Lagu Gedé in the Kiliningan art first ap- music ensemble or other instruments, mu- peared in the 20th Century and gained po- sically characterized by tone, tuning, suru- pularity between the 1930s and 1960s (Sal- pan, embat, and gending. Lagu Gedé is a type mun, 1961, p. 211). Kiliningan is a form of of song bound by a tapping rule called karawitan accentuating the female vocalist’s Sekar tandak, or it can be called free met- voice. The main characteristics of drum- rical songs with a freestyled rhythm. This ming strokes were tepak melem and sentug. song has the characteristics of a slow tem- Tepak melem or a florid, subtle style of Sun- po, embat opat wilet, tepak kendang melem danese hand drumming for instrumental or florid, subtle style of Sundanese hand music or vocal accompaniment supports drumming for instrumental music or vocal the song’s characters so that the audience accompaniment, a similar number of lyrics can feel the aesthetic value. Tepak sentug is or words as in other songs. It means that it a technique to play the drum by tapping does not determine the shape of the song. the fingers on the skin of the gedug, or the Salmun (as quoted on Irawan (2014, surface of the big drum, without touching p. 92) states that the song Gedé began to the drum’s skin. Gamelan functions to exist in Wayang golék performances at the support the vocal presentation’s success, end of the 20th Century. Gedé’s song serves instead of accompanying the dance as in as the show’s opening act, accompaniment Jaipongan. When Jaipongan used Lagu Gedé, to Wayang dance, murwa, and interests in the reference is no longer to the song but performing the play and Sabet. An examp- the dance. The function of Lagu Gedé has le is a kawitan song presented at the begin- changed from being an independent ka- ning of the performance, accompanied by rawitan to being a dance accompaniment. puppeteer dance and puppeteer murwa. The changed leads to the change of roles Female vocalists sing Kawitan to support and position of the gamelan as a whole, the puppet dance movement. namely the change of dynamics, musical However, during the puppeteer’s color, drum arrangement, and playing the murwa, Kawitan functions as titincakan or- instruments. These changes will, in turn, cue for the puppeteer to sing a song in a distinguish the characteristics of the Lagu puppeteer’s distinctive voice. As for the Gedé arranged for Jaipongan from those of 50 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59 the Lagu Gedé arranged for other genres. as the drummer can provide dance pat- terns or improvise dancers. Therefore, the The Origin Of Jaipongan Drumming drummers and dancers are the most critical Strokes In Lagu Gedé and central in Jaipongan, symbolizing mo- The Sundanese karawitan occurred dern Sundanese autonomy. Williams also because of artists’ creative efforts who concluded that Jaipongan was a Sundanese have had the practical experience, both art art in response to the Javanese’s dominant experience and symptoms outside of art role in regional and national politics. Thus, that shape their attitudes, mentality, spirit, Jaipongan affirms the Sundanese identity, and views (Herdini, 2014, p. 9). Knowled- utterly different from the Javanese identity ge is the result of contact, association, and (Williams, 2016, pp. 335–355). even the struggle between awareness and Suwanda said the following: symptoms or reality processed by artists to “Lagu Gedé diantawisna Lagu Tablo, Ki- become the main material of the artwork dung, sareng Kembang Gadung tos digarap (Saini KM, 2001, pp. 21–30). tibaheula, tapi ditarima ku masyarakat, pa- Similarly, the development of the dahal kedahnamah ngalagena (gelenyu), tapi kendangna diteunggeul.” (Lagu Gedé such Jaipongan piece in Lagu Gedé is inseparab- as Tablo, Kidung, and Kembang Gadung le from the artist, Suwanda, who mol- have been used for a long time and have ded the creative experiences and efforts. been accepted by the public. It should According to Suwanda, the diteunggeul have been played softly, but the drum drumming stroke in Lagu Gedé was alrea- was hit hard) (Suwanda, May 21 2015). dy present during the glorious days of the topéng banjét art in Karawang. In 1966, Suwanda boldly played the drum to Suwanda watched Lagu Gedé, the song in accompany Lagu Gedé using the diteung- the Tablo, played by Kang Mulud with the geul method in the 1980s even though he diteunggeul technique in the Topéng Banjét received traditional artists’ protests. As art group Wadas, Panyadapan (Saepu- time goes by, people gradually accepted din, 2010, pp. 194–195). Lagu Gedé in the the arrangement of Lagu Gedé using the diteunggeul stroke was not yet common in diteunggeul drumming strokes, especially the Sundanese karawitan. Besides, dan- after the 2000s, when artists produced in- cers’ demand that Suwanda follow their novations of Lagu Gedé. dance movements in the soft arrangement The innovation in Lagu Gedé is so of Lagu Gedé was the starting point for Su- flexible and easily accepted by the peop- wanda to work on Lagu Gedé by playing le with various dynamics of change as one diteunggeul drumming strokes (Saepudin, of the typical folk art that has flourished 2013, pp. 116–118). outside the palace. The flexibility of rules, Suwanda’s statement above proves norms, ethics, and folk art standards al- that the birth of the Jaipongan drumming lows artists to create the freedom to create strokes is closely related to dance. This is in each creativity stage. The standards do reasonable because Karawang and Subang not restrain and burden the artists from areas are famous for their improvised dan- fulfilling their needs for expression. This ces performed by bajidor artists in the Jai- results in many new innovative works of pongan Kiliningan. In this regard, Williams Lagu Gedé produced in the Jaipongan versi- argues that the core relationship in Jaipon- on to fulfill the ’s musi- gan is between drummers and dancers, not cal needs. Although the new creation has between musicians and dancers. The male the same song or musical taste, the embo- drummers who are exclusively masculine diment, appearance, and taste are different occupy the highest position in the Jaipongan (regional taste, local flavor, group taste, show. The drummer holds the key to the even individual taste (Supanggah, 2009, p. entire Jaipongan ensemble. Jaipongan can be 5). performed anywhere and anytime as long The starting point for the production Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 51 of Lagu Gedé cannot be separated from the between each strike of the gong) the ga- forerunner to the emergence of Jaipongan. melan. This is because the musical taste is According to Gugum, in Sundanese kara- satisfied only by ending it with the sound witan, there are two types of arts represen- of kempul. The number of kempul stro- ting freedom of expression: Tembang Sunda kes in one bar is not determined because (Sundanese song) and Penca Silat (martial it follows the cues from the pengibing Pen- art). Both of these arts have freedom of ex- ca (dancer). The length and the number of pression, which inspires the origin of Lagu kempul blows and the drumming strokes Gedé production. The liberty in question depend on the pengibing Penca dancing refers to the presentation that is not bound (makalangan). Thus, the drum and other by the standard rules that can restrain the instruments function to accompany the moving space, for example, by the number dance. The drumming strokes, the number of kenongan, kempul, or gongan. Although of beats, the tempo, and the performance both art types are still in the concept of tra- course, depending on the dancers. Espe- dition, they allow artists to develop their cially in padungdung kendor, the dancers creativity. In this case, creativity is rooted have the freedom when to stop and when in the rules that live in a society (Sumard- to start moving. Dancers have the power to jo, 2000b, p. 84). The principle of creativity move because there is a free rhythm, even is the same as innovation, namely adding though the movement pattern is standard value to objects, ways of operating, ways (Herdiani, 2012, p. 370). of life so that new products are always cre- Based on the statement above, dan- ated. Creating a work of art means reali- cers have an essential role in the develop- zing a work of art with new meaning and ment of Jaipongan drumming strokes. The value (Bahari, 2014, p. 23). Thus, creativity Jaipongan drumming strokes’ idioms emer- results must have better, more beautiful, ged from the improvised dances perfor- more true, more useful, more memorable med by Gugum and the bajidors (Saepudin, values to satisfy those who need it (Rusya- 2013, pp. 30–33). The improvised dance in na, 2008, p. 5). Sunda is called an erotic triangle by Spiller, According to Gugum, Tembang Sun- which reflects a Sundanese gender identity da has a free-spirited rhythm in the main through three interrelated elements, name- song called mamaos. In this song, each bar’s ly , drumming strokes, and male number of beats is not steady because the dancers. instrument, kacapi indung, is played to ac- The erotic triangle model is patriar- company the theme presented by the ma- chal and involves women in the division maos expert, juru mamaos (Hermawati et of labor and status. The implication is that al., 2011, p. 14). It means that the music women are the object of desire of the ot- becomes the basis for processing rhyth- her more substantial group (male). Men mic and melodic kacapi players. Mamaos are the subject, ronggeng is the object of songs are offered with free rhythms from desire, and the drummer is the middle the beginning to the end of the song. Even man or mediator. Drums are masculine, though freedom of expression is freedom, exoticizing the object of desire (ronggeng) this freedom does not reduce the musical as feminism. The male participant dances aesthetics in tembang Sunda. This can be gender identity and his contradiction into applied in the production of Lagu Gedé to immortality. The drummer has the power accompany the Jaipongan dance. to influence and change the course of each According to Gugum, the Jaipongan body’s movements. So, the drummer rep- drumming strokes can be traced from Pen- resents the power that men want to attain ca Silat (Gugum, May 21, 2015). The pa- (Spiller, 2001, pp. 173–174). dungdung kendor and padungdung gancang Setyobudi and Alkaf review the same parts in Penca Silat are not bound by the thing: the dancer’s body in the Jaipongan number of wiletan and gongan (the space dance is related to power/knowledge, le- 52 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59 gitimizing male power. The Jaipongan dan- produce the Jaipongan version of Lagu Gedé. ce is the result of a ‘male gaze’ towards wo- The embat opat wilet of Lagu Gedé, having men. Every tiniest part of a female body is 64 beats, can demonstrate the element of carefully scrutinized. Men see women who freedom in dance and music even though are watching themselves to become objects it is not as free as PencaSilat. So it is not of the male gaze. The man is the subject, surprising, Gugum’s works use Lagu Gedé and the woman is the object. But the wo- in Jaipongan, such as Rawayan dance with man looks at her body vaguely. The vagu- Gending Tablo, Paksi Tuwung. Even the new eness occurs because women do not treat dance Jalak Ngejat, which was performed their bodies independently/autonomous- on May 22, 2015, uses the Lagu Gedé motif ly. The Jaipongan movement is constructed (see Figure 2). to follow the values and norms that men bias. Likewise, women consider the Jaipon- gan dance’s actions erotic and disturbing because they are trapped in the bias cre- ated by men. The female body is entang- led in the formation of patriarchal culture so that the male body always guides and escorts the female body (Setyobudi, I, and Alkaf, 2011, pp. 37–48). Based on the opinions above, it can be concluded that in Sundanese impro- vised dances, there is a close power re- Figure 2. The Jaipongan Drumming Strokes lation between drummers and dancers. Performance by Jugala Raya Group in Lagu The male power to reflect the freedom of Gedé entitled “Jalak Ngejat.” (Doc: Adjie Dun- expression is also reflected in Jaipongan. ston I., 2015). Gugum hopes that Jaipongan can express freedom of expression for dancers and mu- Embat Opat Wilet Of Lagu Gedé In sicians as in the Lagu Gedé because it has Jaipongan Dances a long embat/rhythm to improvise. Dyna- The embat in Sundanese karawitan mic Sundanese improvised dances have refers to the term rhythm, which is related stimulated people to move with drums as to the technical aspect. The technical ele- the main focus in dance while the implica- ments that can affect the different levels of tions of drums’ sound manifest in physical embat are aspects of the pattern of strokes, movements (Spiller, 2001, pp. 119–120). principles of presentation, and aspects of According to the Author, improvisa- tempo (Suparli, 2010, pp. 77–80). Rhythm tion in the Sundanese dance is not sponta- is related to two elements, namely space neous without rules but is a tradition that and time. Rhythm is associated with the artists must follow. Improvisation is a skill area, giving space to some ricikan or vocal of competent artists willing to respond to elements to fill the space specified or rela- motion and music spontaneously on an ted to rhythm. Cadence relating to time is open stage. Improv provides their free- the tempo or grace period required for the dom to behave and conduct themselves in presentation or movement of a balungan or the face of various needs and goals. The note, a song or tetabuhan from a ricikan, a existence of improvisation can foster the ricikan from one to the next following ba- zeal of innovation to promote Sundanese lungan, strokes, tones, or songs/songs (Su- music’s growth and development. Artists panggah, 2009, p. 262). interpret the rules, norms, and laws that Lagu Gedé has a big rhythm / embat, apply in freestyle dances to make inno- namely embat opat wilet. Embat opat wilet vations. This freedom to improvise is one provides the freedom of movement for reason for Gugum to make innovations to dancers to explore activities because of the Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 53 length of space and time in one stroke of a The Production Of Jaipongan Drumming gong or gongan. However, Jaipongan dan- Strokes In Lagu Gedé cers’ movement is not as free as the ngibing According to Suryadi, to produce movement in Penca Silat because the game- a work that suits the song’s character, all lan play rules restrict the Jaipongan dance. parties involved in the production, i.e., In addition to the dancers, embat opat wilet drummers, dancers, and karawitan arran- also provides freedom for the drummers gers, must understand the song’s character to manage the drumming strokes. The before producing Jaipongan in Lagu Gedé. drummer has a huge role in shaping music After the piece is composed, the drumming by selecting rhythmic interpretations (Su- motif is created to match the drumming panggah, 2009, p. 268). The ample room strokes and the song’s character. The next for embat production allows drummers to stage involves producing the music used demonstrate various drumming strokes to to accompany the piece before making the accompany the dance. dance choreography (Suryadi, November Based on the results of interviews 20, 2015). Such a process is considered with artists, they explained that Lagu Gedé more memorable to produce a Jaipongan had the flexibility to modify for dancers production that matches the character of and pengrawit or players of the musical Lagu Gedé. instruments. Suwanda said that Lagu Gedé In contrast, another artist, Asep Mu- provided ample room for flexibility to exp- lyana, stated that: “lagu ageung digarap Jai- lore, especially drums (Suwanda, May 21, pongan teu sawios, asal ulah ngarobah, mung- 2015). The results of interviews with other kin karuhun urang teu nanaon asal kaangge, sources also show that in Lagu Gedé, there gendingna dikemas asal teu dirobah cengkok- was a high degree of flexibility/uncharted cengkokna.” It means that “it’s all right to territory to provide freedom for dancers recreate Jaipongan as long as it’s not altered. and drummers to explore their move- The masters may not object to the modifi- ments or their drumming strokes (Gugum, cation, as long as it is useful and the gen- Mulyana, Mulyadi, 21-22 May 2015). More ding is rearranged, and the vocal twists are explicitly, according to Caca Sopandi, in retained) (Asep Mulyana, May 22, 2015). Lagu Gedé, there is an ample opportunity Asep Mulyana’s opinion affirms that pro- for artists to explore/innovate (Sopandi, ducing Lagu Gedé in the Jaipongan version is May 22, 2015). acceptable. It is legal and lawful as long as Yaya Suryadi, a Jaipongan drum- it pays attention to the whole presentation, mer from Bandung, stated that some of especially the song ornaments. Although the advantages of recreating Lagu Gedé in Lagu Gedé is used to accompany the dan- Jaipongan include: First, Lagu Gedé has a ce, the gamelan’s musical tradition should clear structure and framework of songs be maintained. Drummers guarantee that so that artists need to understand a little the song is presented intact to be enjoyed more. Secondly, the space for modification by the listeners, and the drumming strokes in Lagu Gedé is vast, especially when vie- can accompany the dance movement. This wed from the position of kenongan, pancer, is the test/challenge for drummers. On the and gongan. Third, it takes a high degree of one hand, they must think of the dance. creativity to produce Lagu Gedé. After all, On the other hand, they should also think it has a high level of difficulty, including about the song’s character to maintain the Alok, kenongan, and gongan, which cannot musical aesthetics by the rules in the Sun- be played anywhere because it has a cer- danese karawitan. tain standard. Fourth, Lagu Gedé provides If the production of Lagu Gedé does a higher level of complexity for drummers not pay attention to the character of the because they have to think about the song’s song, it often happens that the song does dance and character (Suryadi, November not have its soul. This kind of thing often 20, 2015). happens so that the Jaipongan song in Lagu 54 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59

Gedé seems too dense (the term Asep Mu- enabled by independent karawitan, but rat- lyana uses is “Bala teuing”/too crowded) her as an accompaniment that prioritizes (Mulyana, May 22, 2015). According to the dance. Suwanda, “garapan nu ayeuna, terampil nan- As a result, the production of Lagu ging teu aya ruhna/teu aya mamanisna” (the Gedé does not match with the actual aest- current production is skillful but lacking hetics. Besides, there is also a change in the in the spirit of sweetness) (Suwanda, May tone of the gongan at the end of the song. 21, 2015). Therefore, working on Lagu Gedé The contributing factors are: first, the song needs to consider various things, namely is cut in the middle of the performance to dance, drumming, song characters, and adjust to the dance. This results in a diffe- gending creations so that the results of his rent gongan at the end of the song. Second, work can satisfy multiple parties. when there is a transition from emba topat The explanation above confirms wilet to embat dua wilet (naėkeun), the last that the drummer has an essential role in stroke of the kenongan is adjusted to the working on Lagu Gedé. Therefore, being kenongan stroke of the next song in the em- a drummer is not an easy task because it bat dua wilet without following the rules has a level of complexity. According to of the song. It means that the standard of Suryadi, the artist’s background will give Lagu Gedé is no longer used. Those are the an impression of the drummer’s motif or various phenomena that occur when mo- style in producing his drumming strokes. difying Lagu Gedé in the Jaipongan version. This can be seen from the drum composi- tion, such as tepak pangkat, pangjadi, bukaan, The Variety of Jaipongan Drumming mincid, even tepak ngeureunkeun (Suryadi, Strokes In Lagu Gedé’s Embat Dua Wilet 20-11- 2015). Aspects to consider in com- and Embat Opat Wilet posing Lagu Gedé include: first, the embat Suparli (2010) says that changes in of Lagu Gedé is different from the embat in embat result in narrowing and widening Jaipongan. Lagu Gedé uses embat opat wi- the bar obtained from doubling the num- let, while the Jaipongan song uses embat ber of beats, both twice fold and fewer. For dua wilet. The different embat requires the example, when viewed from the number drummer’s hard work to understand the of seconds in one period, the embat opat wi- concept of composing the music in the let consists of 64 beats (16 bars). Therefore, Sundanese karawitan. embat dua wilet consists of 32 beats (8 bars), Second, the difference between em- while embat opat wilet consists of 64 se- bat lagu-lagu Jalan and Lagu Gedé gives an conds (16 bars). Therefore, embat opat wilet impression of the widening bar and the in- is understood to have twice a slower embat crease in the number of beats twice than or rhythm than embat dua wilet. Changes usual. Embat dua wilet contains 32 seconds, in embat/rhythm mean a difference in the while embat opat wilet the number of beats vocal twist. Changes in rhythm can indica- increases to 64 seconds. Likewise, in em- te the level of capacity, ability, and creati- bat dua wilet, the bar’s number is 16, while vity of a musician in supporting character, in embat opat wilet, the number is 32. This nature, and sense of gendhing (Supanggah, requires the drummer to understand the 2009b: 268). concept of working on both drums and One of the differences between Lagu their gending composition. Gedé and other songs lies in the rhythm/ Facts show that often inevitable embat motif. According to Irawan (2014, things, for example, Lagu Gedé, are some- p. 83), the wiletan motif of Lagu Gedé gene- times not present in the full version. In rally uses a large or long wiletan, namely one part of the openings, Lagu Gedé may embat opat wilet or more, while the other only be shown in one gongan, immediate- Sundanese songs use embat sawilet or dua ly followed by naėk tepak mincid or increa- wilet. The opat wilet motif is the size of one sing drumming strokes. Gedé’s song is not drumming cycle in one large gong consis- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 55 ting of 16 bars, 64 beats, and in the follo- wing the 16th, 32nd, 48th, 64th beats, the kenong stroke hits identified with the letter (N). The kempul stroke hits the 8th, 24th, 40th, 56th, and 60th beats, respectively. To describe an idea of the difference between the Jaipongan drumming strokes Figure 4. Tepak pencugan. (Notation: Asep S., in Lagu Gedé’s embat dua wilet and opat wi- 2020). let, the notation of the Jaipongan drumming strokes as an overture is presented. In the openings, different ways of Jaipongan drumming strokes are widely presented. The way to read the notation is as follows: the symbol above the line shows the upper drum notation (kumpyang for the big drum Figure 5. Tepak seredan. (Notation: Asep S., kutiplak and for the small drum), while the 2020). sign below the bar shows the lower drum (gedug or big drum for large and katipung for small drums.

The Jaipongan drumming strokes in the opening/overture in Embat Dua Wilet Embat dua wilet consists of 32 beats while embat opat wilet consists of 64 seconds Figure 6. Tepak ngagooongkeun. (Notation: in Lagu Gedé. There is a widening bar from Asep S., 2020). four to eight, which affects the difference when the gong is sounded. The gong in Transition/Transfer From opening drum- embat dua wilet is displayed at the 32nd ming strokes to tepak mincid beat, while in embat opat wilet, the gong is The transition stroke occurs in both displayed at the 64th beat. embats. The transition stroke in embat dua The kempul in embat dua wilet is wilet is called tepak ngala, while the transi- sounded at the 4th, 12th, 20th, 24th, 28th tion stroke in embat opat wilet is called te- beats, while in embat opat wilet, the kem- pak naékeun. Although both types of stro- pul is displayed at the 8th, 24th, 40th, 56th, kes have different functions, the transition 60th beats (Suparli, 2010). In embat dua stroke of tepak ngala in embat dua wilet fun- wilet, kenong is displayed at the 8th, 16th, ctions as the transition of various strokes, 24th, 32nd beats, whereas in embat opat wi- i.e., from the opening strokes to the mincid let, the kenong is sounded at the 16th, 32nd, stroke in the same embat, i.e., embat dua wi- 48th, 64th beats. In brief, the kenong blows let. On the other hand, the switching stroke are twice more in embat opat wilet than that of tepak naėkeun functions as the transition in embat dua wilet (see Figure 3-6). stroke from bukaan to mincid. It also func- tions as the transition from embat opat wilet to embat dua wilet. Thus, even though both are transition types of strokes, the motifs are different (see Figure 7-10).

Figure 3. Tepak buka payung. (Notation: Asep S., 2020). 56 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59

kes in Lagu Gedé are characterized by the bukaan or opening pencugan, cindek, dan ngagoongkeun/nibakeun drumming stro- kes, which have widely various motifs (see Figure 11-22).

Figure 7. Tepak ngala. (Notation: Asep S., 2020).

Figure 11. Tepak besotan 1. (Notation: Asep S., 2020). Figure 8. Tepak mincid 1. (Notation: Asep S., 2020).

Figure 12. Tepak besotan 2. (Notation: Asep S., 2020). Figure 9. Tepak mincid 2. (Notation: Asep S., 2020).

Figure 13. Tepak pencugan. (Notation: Asep S., 2020). Figure 10. Tepak ngagoongkeun. (Notation: Asep S., 2020).

The Jaipongan Drumming Strokes in the opening or Bukaan part in Embat Opat Wilet Embat opat wilet in Lagu Gedé has more beats and bar, giving the impression Figure 14. Tepak besotan 2. (Notation: Asep S., that various motifs of drumming strokes 2020). can be explored. The drummers can pro- duce new motifs different from the pre- vious drumming motifs to add the styles’ variation and richness. The names of the drum motifs in Gedé’s Song have been well organized from the saggy wait, open um- brellas, wait for saggy, pencugan, seredan, Figure 15. Tepak besotan 3. (Notation: Asep S., cindek, and ngagoongkeun. As for Gedé’s 2020). song opatwilet, the motive is not organized explicitly depending on the drummer’s creativity. Therefore, the drumming stro- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 57

Figure 16. Tepak besotan 4. (Notation: Asep S., Figure 22. Tepak ngagoongkeun. (Notation: 2020). Asep S., 2020).

The Jaipongan drumming strokes in Lagu Gedé usually only works on the bu- kaan drumming strokes. Up until today, there has been no evidence of Lagu Gedé produced entirely from the beginning (te- Figure 17. Tepak besotan 5. (Notation: Asep S., pak pangkat) to the end (tepak ngeureunkeun). 2020). At the opening or bukaan, the pencugan drumming strokes dominate the gongan (space between each strike of the gong). Tepak openings are a motif to accompany the early movements of the dance. Pencu- gan is a fixed movement, whilenibakeun to complete the action or ngagoongkeun. As for the most widely used song in the song Figure 18. Tepak ngagoongkeun. (Notation: Gedé. Asep S., 2020). The musical sense in embat opat wilet of Lagu Gedé seems to be left hanging or unresolved, and it is the issue that must be answered in embat dua wilet. Why is it so? There is no evidence of the Jaipongan per- formance until today, which presents the whole Lagu Gedé using emba topat wilet en- tirely. Each Lagu Gedé’s embat opat wilet is Figure 19. Tepak Naékeun. (Notation: Asep S., usually continued with songs arranged in 2020). embat dua wilet, namely the steadiest embat in the Jaipongan karawitan (Jaipongan musi- cal ensemble).

CONCLUSIONS

Lagu Gedé in Jaipongan is flexible to work on. There is still ample room to exp- Figure 20. Tepak mincid 1. (Notation: Asep S., lore. It happens because the space for mo- 2020). dification in Lagu Gedé is vast, especially when it is arranged in an embat opat wilet, which affects the widening of the number of bars, beats, kenongan, pancer, and gongan. However, various motifs of drumming in Lagu Gedé did not have any familiar na- mes. It then shows that Lagu Gedé is ar- Figure 21. Tepak mincid 2. (Notation: Asep S., ranged based on improvisation and the 2020). high degree of the artist’s freedom in ex- 58 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-59 pressing their musicality. The presentation The Music: Choreomusicological Per- of the Jaipongan version of Lagu Gedé was spectives on Maritime Southeast Asian made possible because the Sundanese ar- Performing Arts. London: Routledge tists have the freedom to behave and act in Press, 42-56. expressing themselves artistically, need to Irawan, E. (2014). Karakter Musikal Lagu socialize in the community, and have the Gede Kepesindenan Karawitan Sun- demand to fulfill various needs and inter- da. Resital Jurnal Seni Pertunjukan, ests as well. It is mainly because Lagu Gedé 15(1), 18–31. is included in the famous art that flouri- Merriam, A. P. (1995). Meninjau Kembali shes outside the palace environment. The Disiplin Etnomusikologi dalam Rahayu Jaipongan drumming strokes in Lagu Gedé Supanggah (ed.) Etnomusikologi. Yog- gives artists the freedom to create creati- yakarta: Yayasan Bentang Budaya, vity. The flexible regulations, norms, and 65-88). laws imposed on Jaipongan karawitan en- Nakagawa, S. (2000). Musik dan Kosmos couraged the artists to produce it into an Sebuah Pengantar Etnomusikologi. Ja- art performance different from their origin. karta: Yayasan Obor. Nazir, M. (2005). Metode Penelitian. Bogor: REFERENCES Penerbit Ghalia Indonesia. Ruchimat, I. (2015). KetukTilu, Topeng Ban- Bahari, N. (2014). Kritik Seni Wacana Apr- jet dalam Pertumbuhan Garap Karawi- esiasi dan Kreasi. Yogyakara: Pustaka tan Jaipongan. Disertasi S-3 Fakultas Pelajar. Seni Pertunjukan dan Seni Rupa, Darmasti. (2012). Tari Sesaji Pangentas Bi- UGM Yogyakarta. lahi Sudra Tingal. Harmonia Journal Rusyana. (2008). Menjadikan Tradisi sebagai of Arts Research and Education, 12(2), Tumpuan Kreativitas dalam Endang 108–115. Caturwati (ed) Tradisi Sebagai Tum- Endraswara, S. (2006). Metodologi Peneli- puan Kreativitas. Bandung: Sunan tian Kebudayaan. Yogyakarta: Gadjah Ambu Press, 1-9. Mada University Press. Saepudin, A. (2010). Kreativitas Suwanda Hastanto, S. (2009). Konsep Pathet Dalam dalam Tepak Kendang Jaipongan di Karawitan Jawa. Surakarta: Program Jawa Barat. Tesis S-2 pada Program Pascasarjana bekerjasama dengan Pengkajan Seni Pertunjukan dan ISI Press, Surakarta. Seni Rupa UGM Yogyakarta. Herdiani, E. (2012). Ronggeng, KetukTilu, Saepudin, A. (2012). Karawitan Jaipongan dan Jaipongan Studi Tentang Tari Sebagai Genre Baru dalam Karawitan Rakyat Priangan (Abad Ke-19 Sampai Sunda Karawitan Jaipongan as a New Awal Abad Ke-21). Disertasi, Univer- Genre in Sundanese Kerawitan. 27, sitas Padjadjaran Bandung. 3461. Herdini, H. (2014). Perkembangan Karya Saepudin, A. (2013). Garap Tepak Kendang Inovasi Karawitan Sunda Tahun 1920- Jaipongan dalam Karawaitan Sunda. 2008. Bandung: Sunan Ambu Press. Yogyakarta: BP ISI Yogyakarta. Hermawati, S., Arini, D., & Supriadi, D. Saini KM. (2001). Taksonomi Seni. Bandung: (2011). Kacapi Suling Instrumentalia STSI Press. Sebagai Salah Satu Kesenian Khas Salmun, M. A. (1961). Padalangan. Jakarta: Sunda. Harmonia: Journal of Arts Re- Balai Pustaka. search and Education, 11(1), 10–16. Setyobudi, I, & Alkaf, M. (2011). Antrop- Hood, M. M. (2016). Persistent Mutualisms: ologi Feminisme dan Polemik Seputar Energizing The Symbiotic Relationship Tubuh Penari Perempuan Jaipongan Between Balinese Dancer and Drum- Menurut Perspectives Faoucaot. Yog- mer, Dalam Nor, Mhd Anis, and Step- yakarta: Universitas Gadjah Mada. putat, K. Sounding The Dance, Moving Soedarsono, R. M. (1999). Metodologi Pene- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 59

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