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Kosmologis Tetabuhan Dalam Upacara Ngaben

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Kosmologis Tetabuhan Dalam Upacara Ngaben Vol. 15 No. 2, Desember 2014: 107-125 Kosmologis Tetabuhan dalam Upacara Ngaben I Nyoman Cau Arsana 1 Jurusan Etnomusikologi, Institut Seni Indonesia Yogyakarta G.R. Lono L. Simatupang, R.M. Soedarsono, dan I Wayan Dibia Pengkajian Seni Pertunjukan dan Seni Rupa, Universitas Gadjah Mada Yogyakarta ABSTRAK Penelitian ini difokuskan pada dua hal, yaitu: (1) mendeskripsikan hubungan musik dan ritual melalui penggunaan tetabuhan dalam upacara ngaben dan (2) menemukan aspek-aspek kosmologis tetabuhan dalam upacara ngaben. Penelitian ini menggunakan perspektif etnomusikologis dipadukan dengan konsep agama dan "lsafat bunyi yang tertuang dalam lontar Prakempa. Hasil penelitian ini menunjukkan bahwa ada hubungan yang sangat erat antara tetabuhan dan upacara ngaben yang teraplikasi lewat penggunaan tetabuhan dalam prosesi upacara ngaben. Penggunaan tetabuhan dalam upacara ngaben berkaitan erat dengan aspek-aspek kosmologis. Suara yang dijadikan dasar dari nada-nada gamelan Bali adalah suara (bunyi) yang keluar dari alam. Suara tersebut digabungkan menjadi sepuluh suara yaitu panca suara patut pelog dan panca suara patut slendro yang menyebar ke seluruh penjuru alam. Tetabuhan dalam upacara ngaben, melalui jalinan nada-nada merupakan manifestasi dari pemujaan kepada ista dewata sebagai cermin konsep keseimbangan mikrokosmos, makrokosmos, dan metakosmos. Kata kunci: tetabuhan, ngaben, musik Bali ABSTRACT "e Cosmology of Tetabuhan in Ngaben Ritual Ceremony. "is study focuses on two objectives: (1) to describe the relation of music and ritual through the use of tetabuhan in Ngaben ritual ceremony, and (2) to reveal the aspects of cosmology of tetabuhan in Ngaben ritual ceremony. "is study is conducted by employing the perspective of ethnomusicology which is combined with the concept of religion and the philosophy of sound of Lontar Prakempa. "e result of the study shows that there is a signi#cant relation of tetabuhan and Ngaben ritual ceremony that is revealed through the application of tetabuhan in the procession of Ngaben ritual ceremony. "e use of tetabuhan in Ngaben ritual ceremony is closely related with the aspects of cosmology. "rough the perspective of cosmology, the sounds or tones of Balinese gamelan are the re$ection of the sounds of nature/universe. "ose sounds are composed in ten sounds known as panca suara patut pelog and panca suara patut slendro. "e composition of tones of tetabuhan in Ngaben ritual ceremony, thus, is indeed a manifestation of devotion to Ista Dewata that re$ects the balance of the microcosmic, macrocosmic, and meta-cosmic spheres. Keywords: tetabuhan, ngaben, Balinese music Pendahuluan orang yang telah meninggal. Proses peleburannya menggunakan api sebagai sarana utamanya, baik api Ngaben merupakan upacara penyucian roh konkret sebagai sarana untuk membakar jenazah, fase pertama dan peleburan jenazah dari unsur- maupun api abstrak yang berasal dari weda sang unsur panca mahabhuta pembentuk tubuh manusia sulinggih lewat sarana air suci tirtha pamralina dan dengan cara ngeseng sawa atau membakar jenazah tirtha pangentas. Oleh karena itu, ngaben sering 1 Alamat korespondensi: Jurusan Etnomusikologi Fakultas Seni Pertunjukan ISI Yogyakarta, Jln. Parangtritis km. 6,5 Yogyakarta. Hp: 08122709841. Email: [email protected] 107 I Nyoman Cau Arsana, dkk. Tetabuhan dalam Upacara Ngaben diartikan menuju api Brahma, dengan harapan upacara yang berlangsung seperti nista, madya, atau arwah dari orang yang diupacarai dapat menuju utama. Brahma-loka, tempat bersemayamnya dewa Kehadiran tetabuhan dalam ritual kematian Brahma sebagai dewa pencipta setelah terlebih ngaben dirasa sangat penting, mengingat dahulu mengalami proses penyucian (Purwita, keberadaannya masih dapat ditemukan dalam 1989/1990: 4). pelaksanaan ritual kematian di Bali sampai saat Bagi masyarakat Bali yang mayoritas beragama ini. Jika ada prosesi upacara ngaben, bunyi-bunyian Hindu, melaksanakan upacara ngaben adalah suatu tetabuhan terdengar menghiasi, menyemarakkan, kewajiban. Ritual ini dilakukan dengan penuh dan ikut berperan menyukseskan prosesi yang ketulusan sebagai penghormatan kepada leluhur. sedang berlangsung. Berdasarkan pengamatan Memperlakukan jasad orang yang telah meninggal di lapangan, belum pernah ditemui pelaksanaan dan mempersiapkan arwahnya untuk perjalanan upacara ngaben tanpa adanya bunyi-bunyian menuju surga, dan kemudian untuk menitis tetabuhan dalam prosesinya. Bahkan, jika tidak kembali ke dunia, adalah bagian paling penting dari ada gamelan secara langsung ( live), bunyi-bunyian hubungan manusia dengan leluhur (Dibia, 2012a: tetabuhan diputar melalui CD ( Compact Disk) atau 11-12). Secara nyata ( sekala), ngaben adalah upacara laptop. Hal ini menimbulkan dugaan bahwa umat yang esensinya bertujuan untuk mengembalikan Hindu Bali memandang tetabuhan dalam konteks lima unsur mikrokosmos dari tubuh manusia(panca ritual ngaben bukan sekedar sebagai bunyi-bunyian mahabhuta) ke makrokosmos, alam semesta pelengkap prosesi, tetapi mengemban peran yang (Dibia, 2012a: 13). Secara niskala, upacara ngaben sangat penting dalam rangkaian prosesi ritual. bertujuan untuk mengembalikan atman pada Tetabuhan dalam ritual ngaben menjadi sumbernya yaitu Sang Hyang Wisesa , Tuhan Yang penting diungkap agar dapat diketahui konsep Maha Esa, yang merupakan asal dari semua ciptaan hidup umat Hindu Bali yang tercermin dalam (Wikarman, 1998:10). Secara sosial, pelaksanaan penggunaan bunyi-bunyian dalam ritual ngaben. prosesi upacara ngaben selalu melibatkan sanak Penelitian terdahulu memberikan gambaran bahwa keluarga dan masyarakat sekitar. Selain itu, unsur- orang Bali, dimana pun ia berada dan apa pun unsur yang terkait di dalamnya mengandung nilai yang ia perbuat, konsep keseimbangan hidup artistik yang tinggi. Dengan demikian, ngaben dapat dalam dimensi tunggal sampai dimensi sepuluh dipandang sebagai peristiwa multidimensional yang menjadi dasar perbuatannya (Bandem, 1986: 11). di dalamnya terkandung aspek ritual, sosial, dan Konsep tri hita karana , yaitu melakukan hubungan artistik. Hal yang menarik dalam pelaksanaan yang harmonis dengan Tuhan, dengan sesama upacara ngaben adalah dilibatkannya tetabuhan manusia, dan dengan lingkungan alam sekitar juga dalam rangkaian prosesi upacara. Istilah tetabuhan menjadi landasan hidup orang Bali (Wiana, 2007: yang digunakan dalam tulisan ini menunjuk pada 3). Konsep keseimbangan hidup lainnya adalah bunyi-bunyian yang dihasilkan dari alat-alat musik/ keseimbangan dalam dimensi lima yang tercermin gamelan. Secara bentuk, bunyi-bunyian yang dalam pelaksanaan ngaben sebagai ritual peleburan dihasilkan dapat digolongkan ke dalam bentuk jenazah lewat kremasi untuk mengembalikan musik instrumental. Oleh karena itu, dalam tulisan unsur-unsur panca mahabhuta pembentuk tubuh ini istilah tetabuhan dipakai untuk menyebutkan manusia (mikrokosmos) ke asalnya yaitu alam musik-musik instrumental yang digunakan dalam semesta (makrokosmos). Proses ini menunjukkan upacara ngaben. adanya kesadaran bahwa tubuh manusia ( bhuwana Ada beberapa ansambel gamelan yang biasa alit) yang bersumber dari alam ketika meninggal dipakai untuk memainkan tetabuhan dalam harus dikembalikan kepada sumbernya yaitu alam rangkaian upacara ngaben antara lain: balaganjur, semesta (bhuwana agung). Hal ini menunjukkan gender wayang, angklung, gambang, selonding, gong adanya konsep kosmologis yang sangat kental kebyar, dan gong gede. Penggunaannya dalam ritual teraplikasi lewat ritual ngaben. ngaben disesuaikan dengan pelaksanaan tingkatan Penggunaan tetabuhan dalam upacara ngaben 108 Vol. 15 No. 2, Desember 2014 khususnya ditinjau dari aspek-aspek kosmologis instrumen-instrumen penggarap ritme/irama belum pernah diungkap dalam penelitian-peneli- terdiri dari sepasang kendang ageng ( lanang- tian terdahulu, padahal tetabuhan selalu menyertai wadon), sepasang gong ageng ( lanang-wadon), pelaksanaan prosesi ritual ngaben. Hal ini diduga sebuah kempur, sebuah kempli, sebuah babende , terkait dengan aspek-aspek kosmologis sebagai cer- dan beberapa pasang cengceng kopyak (Sukerta, min dari konsep hidup orang Bali. Oleh karena itu, 1998: 72). penelitian ini dipandang penting untuk dilakukan. Balaganjur peponggangan adalah ansambel Berdasarkan paparan di atas, ada dua perma- balaganjur yang tidak memakai instrumen salahan yang diajukan dalam tulisan ini yaitu: (1) reyong . Keseluruhan ansambel ini terdiri atas Bagaimana penggunaan tetabuhan dalam upacara sepasang kendang cedugan ( lanang-wadon), ngaben dan (2) Bagaimana aspek-aspek kosmologis dua buah ponggang nada ndung (5) dan ndang tetabuhan dalam upacara ngaben. (6), satu buah tawa-tawa, satu buah kempli, beberapa cakep cengceng kopyak, sepasang Tetabuhan dalam Upacara Ngaben gong (lanang-wadon), satu buah kempur, dan satu buah babende. Balaganjur babonangan Ada beberapa tetabuhan yang biasa dimainkan terdiri atas sepasang kendang cedugan (lanang- dalam upacara ngaben yaitu: balaganjur, gender wadon), dua buah ponggang nada ndung (5) wayang, angklung, gambang, selonding, gong kebyar , dan ndang (6), empat pencon reyong nada dan gong gede. Gambaran ketujuh ansambel gamelan ndong (2), ndeng (3), ndung (5), dan ndang tersebut dapat dilihat dalam uraian berikut. (6), sepasang gong ageng lanang-wadon, sebuah 1. Balaganjur kempur, sebuah babende, sebuah kajar, sebuah Balaganjur adalah seperangkat gamelan kempli, dan beberapa pasang cengceng kopyak yang terdiri atas instrumen-instrumen perkusi (Sukerta, 1998: 72; Bakan, 1999: 44). Gending berlaras pelog. Barungan (ansambel) yang sangat yang dimainkan adalah
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