The Prospect and Future of Youth Kroncong Group at Universitas Pendidikan Indonesia in Bandung

Home , Kroncong

Harmonia: Journal of Arts Research and Education 18 (1) (2018), 52-61 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.15524

Hery Supiarza1, Cece Sobarna1, Yudi Sukmayadi2, Raden Muhammad Mulyadi1

1Faculty of Cultural Sciences, Universitas Padjadjaran, Indonesia 2Department of Music Education, Faculty of Arts and Design Education, Universitas Pendidikan Indonesia, Indonesia

Received: December 13, 2017. Revised: April 23, 2018. Accepted: June 10, 2018

Abstract

This article discusses the prospect and future of youth Kroncong group at the Indonesia Univer- sity of Education or Universitas Pendidikan Indonesia in Bandung. The focus of research subject in this study is one particular Kroncong group namely Orkes Kroncong De Oemar Bakrie. By examining the society’s appreciation towards the group performances and by implementing the triangulation techniques; results show that the group can be seen as a representative of youth Kroncong group in Bandung. Based on research from 2000 until 2017, it can be concluded that University-based Kroncong group is more excelled not only in the music industry, but also in the music development and the music organization. The group is considered as a role model and parameter for other youth Kroncong group in Bandung.

Keywords: Bandung’s youth; Kroncong; Prospect; Future

How to Cite: Supiarza, H., Sobarna, C., Sukmayadi, Y., & Mulyadi, R. M. (2018). The Prospect and Future of Youth Kroncong Group at Universitas Pendidikan Indonesia in Bandung. Harmonia: Journal of Arts Research And Education, 18(1), 52-61. doi:http://dx.doi.org/10.15294/harmonia.v18i1.15524

INTRODUCTION man, 1979), the term diKroncongkan or playing all genres of music outside Kroncong The development of Kroncong as the in the Kroncong way, has started to emer- nation’s cultural product cannot be separa- ge. At that time, it was a pride for young ted from the interference of the youth (Bu- Kroncong musician to be able to play wes- diman, 1979). Its relationship with the con- tern songs in Kroncong way (Widjajadi, cept of repertoire was influenced both by 2007). local and western music culture. Within Similar with the existence of Kron- Kroncong, there are two different kinds cong in other urban areas in Indonesia, of genre. One is the genre which has set Kroncong in Bandung is still considered as of strict rules or what local people called folk music. Therefore, it is not as popular as pakem. Meanwhile, the later is is a kind as other musical genres, (Widjajadi, 2007). of genre outside the pakem which known This situation encourages youth in Ban- as diKroncongkan, or genre that allows all dung, especially at Indonesia University genre of music to be played in the Kroncong of Education (UPI), to create a space for way. In 1923, in the era of Lief Java (Budi- Kroncong through regular exercise activi-

 Corresponding author: Jl. Raya Bandung Sumedang KM.21, Hegarmanah, Jatinangor, Jawa Barat 45363 E-mail: [email protected]

52 Hery Supiarza et al., The Prospect and Future of Youth Kroncong Group ... 53 ties and organization. These activities are cal study of Kroncong. However, none of acknowledged as prospects for groups of their studies had specifically examined youth at UPI Bandung to create a future the youth attempt in seeking for identity for Kroncong, so that it can have an oppor- through Kroncong. The search of identi- tunity to grow in today’s music industry. ty through Kroncong by youth in the cam- In Krugman (2003), it is defined that ‘pros- pus, where modernism has fallen into the pect’ means an opportunity that occurs as realm of the aesthetic and commercializa- a consequence of one’s effort in order to fill tion as well as contextual, will be an inte- his needs and to get profit or advantage. resting and important object of study. In Starting in the early 2000s, some ef- addition, this study will also increase the forts to revive Kroncong at UPI, especial- repertoire of Kroncong music, so that we ly in the Department of Music Education can compare the future and prospects of FPSD UPI Bandung, were done by orga- youth in Campus’ Kroncong group activi- nizing and opening up the exposure of ty at UPI Bandung. Kroncong to mass media like radio, television, newspaper and online social media. METHOD Revitalization is a process, method, and action to revive and restore traditional arts This research uses a qualitative ap- activities, held in the framework or the old proach which attempts to reveal an intact culture (Bahasa, 2001). and depth review of the contexts studied. From the initial studies that had In a qualitative approach, the data is desig- been done through interviews to groups ned and structured holistically, systemati- of youth Kroncong at UPI Bandung, it was cally, comprehensively, integrated, logical, concluded that in the decade of 2000s, the as well as structured with both explicit and development of science and technology implicit rules. had opened up youth’s horizon about the This research focuses on the system outside world. This also affects Kroncong of agreement had by the Kroncong music development. Since then, Kroncong has group. Besides, during the research, the become an entertainment affected by other group’s training activities and performan- rhythms. Adorno in Budiarto (2001) states ces were also observed and studied. As for that in the framework of modernity, seve- the preliminary study towards the youth ral arts have appeared, there are: the art Kroncong community in UPI, the rese- that entertains people, the art that speaks archers had delivered an informal intro- reality without mediation, and the art that duction and asked for consent to conduct reveals critical ideological cover while still research studying all Kroncong music acti- maintaining its theoretical level. vities in the appointed groups. Creativity in developing Kroncong In addition to the preliminary rese- music is affected by various foreign music arch which had done by the researchers references and the personal style, which were observations. There were two kinds is variable depending on the influence of of observation conducted in this study, local music. This condition does not mean namely, naturalistic and controlled obser- it expedites the process of making music, vations. The naturalistic observation was instead it creates some debate about the kind of observation which did not invol- pros and cons of it. Initially, there were ve emotional relationship between rese- several researchers who had studied archers and the research subjects/actors. about Kroncong, there were Manusama Meanwhile, in controlled observation, (1919), Kuns (1949), Heins (1975), Yam- there were close observations of the cer- polsky (2010), Ganap (2000), Budiman tain informants which were selected and (1979), Kartomi (1978), Kusbini (1970, 1972, prepared before by the researchers prior to 1976), and Harmunah (1994). The majority the study. The later was done by aiming at of them conducted historical and techni- the constant and focused examination to- 54 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 52-61 wards the research issues (Rohidi 2011). In The term youth is preferable than another this case, the research subject is the youth term -like teenagers- due to the histori- Kroncong music group. Thus, as naturalis- cal event related to the youth movement tic and controlled researchers, we collected in Indonesia’s background history. In the as much data as possible by using a voice past, Soekarno associated the term ‘youth’ recorder. as a revolutionary fighter and political ac- The next step after naturalistic and tivator, thus, the term brought the sense of controlled observations was an in-depth agitation and resistance. Later in the So- interview. This technique differs from con- eharto era, youth became closely associated versation in a formal structured interview. with development. After the New Order Through this technique, the researchers era (Orde Baru) when the youth movement will explore numbers of the topic to sha- imposed an end to the Suharto regime in pe the informants’ perspective, while still 1998, youth has become unpopular. After maintaining the informants’ right to arran- the fall of the New Order era, come to the ge and compose the answers. By imple- reform (action) era. During this era, as the menting this technique of interview, the manifestation of openness, many new or- informants’ perspective about Kroncong ganizations emerged, coordinated by the music phenomena in socio-cultural con- youth. During this time, the term youth text will be widely opened. shifted in meaning. Furthermore, the data in this study ‘Youth’ or ‘pemuda’ in Bahasa In- was in the form of documentation data donesia is considered no longer suitab- about Kroncong music and the youth. Do- le to the conditions of the era. Therefo- cumentation data can be books, articles, re, it is changed to ‘Youth’ which means leaflets, or pamphlets (Rohidi, 2011). Data ‘kaum muda’. The term ‘kaum muda’ brings collection was then followed by observati- ‘youth’ in this research means an agent of on which researchers gave more focus on change who has an active symbol and rep- the music player and the music played. Re- resents the purpose of policy review which searchers recorded the music in audio and enables the role of the youth to be equal audiovisual recording. The recording was as a partner of the government in policy used as the material of analysis, especial- and decision making. ‘Youth’ now is felt ly the analysis of music. Then, researchers more neutral and free of political interests also put attention on the communication (Farid, 2011). It sounds free from any at- between the general music players and tachments from certain parties. This study Kroncong music players and the audience uses the term ‘youth’ by referring to legis- of the performing art. Here, the researchers lation constitution Number 40 the Year pay attention and study the communica- 2009 about people considered to be youth tion occurs during the activity; whether are 16-30 years old. Thus, in order to be two-way communication was established consistent, this study followed the govern- and whether the audiences enjoy the mu- ment regulation and limited the research sic performed. participants’ age to be between 16-30 years After all the required data was col- old. It is for the sake of convenience and lected, it was then sorted and selected. Re- consistency in collecting the research data. searchers selected and sorted out the data before it was categorized into primary and THE KRONCONG MUSIC secondary data. The data is used to com- The emergence of Kroncong mu- pose a more directed research report, be- sic cannot be separated from the existen- sides helping in presenting an unbiased ce of the West (Portuguese and Dutch) in research focus. Indonesia. It was written that Kroncong is originated from Portuguese music in THE STUDY the 16th century called fado, derived from The object of this study is youth. the Latin term, meaning fate. In its deve- Hery Supiarza et al., The Prospect and Future of Youth Kroncong Group ... 55 lopment, the Dutch had a very important Kroncong from 2000 till present time. This role in the existence of Kroncong and its repertoire has become a fixed standard development, regarding with the cross- for Kroncong music artists and their mu- cultural music. Although kroncong is not sic playing style. It has become manda- originated and rooted from the Nether- tory for every Kroncong group to under- lands nor Indonesia. However, in the era stand the (fixed standard)of Kroncong. This of the Deutch, and when Indonesia was unwritten policy has to be followed by governed by the Deutch, was the first time every group, including the youth Kron- when Kroncong compromised its influen- cong group in UPI Bandung. In fact, every ce, placing itself between Europe and Asi- Kroncong player in UPI Bandung under- an aesthetic and social practices (Bogaerts, stands all of the pakem. There is a habit 2014). and pattern to begin every initial formati- From the visible phenomena, it can on of a Kroncong orchestra by practicing be derived that naming the artwork is not a repertoire of one standard genre (pakem) limited only to the meaning of the Kron- that is followed by the group. Usually, the cong music, but more to the identity of the youth Kroncong group in UPI Bandung development of Kroncong music that has starts its training/rehearsal with Langgam its own aesthetic paradigm. Paradigm it- Kroncong style. Reason behind this is be- self by Kuhn (Burhan, 2010) is a process of cause many titles of the song in this parti- forming concepts, models, or shared views cular style of Kroncong are popular among of a fact. When referring to the definition, youth. the aesthetic paradigm, in this study, is Based on the results of the interview a concept or aesthetic models which are to ten youth involved in Youth Kroncong adopted jointly by the young Kroncong ar- group in the city of Bandung, researchers tists in UPI Bandung. found that 90 percents of the youth began Based on the developing various their Kroncong learning process by singing concepts of Kroncong, several Kroncong or playing Bengawan Solo by Gesang. This music playing styles are identified based song is a legend and has strongly been as- on the Kroncong music’s pluralism reper- sociated with Kroncong by the public. This toire. To begin with, there are several opi- song tells us about Bengawan Solo river, nions about Kroncong music repertoire. which in the past had clear water and was Kartomi, Goldsworthy, Falk, & Kornhau- beautiful. Lisbijanto (2013) states that Ge- ser (1978) divided this into four, name- sang, the composer of Bengawan Solo, ly: (1) the original Kroncong, (2) Stam- had a lot of fans. Even, in Japan, there was bul, (3) the Kroncong’s langgam, and (4) an association of Kroncong music lover Javanese Langgam and beat Kroncong and most of the member loves the Benga- (Kroncong Beat). While Yampolsky (2010) wan Solo song (Interview between Kojiro divides Kroncong into (1) the original Kron- Shiojiri, Japan’s Ambassador to Indonesia cong, (2) Stambul, (3) Langgam and (4) Ja- in 2010 with Reuters in Alfian, 2013), as vanese Langgam (Langgam Jawa) (taken quoted: from Ganap, 2000, p. 4). Furthermore, Har- munah (1987) divides Kroncong into four “the song, then, has translated into numero- major groups, which are: (1) The original us languages and the japanese society loved Kroncong, (2) Stambul, (3) Langgam, and this song very much. Through the Bengawan Solo song, the Japanese feel close to Indone- (4) Kroncong Extras. As about the period sia. The Japanese society highly respects and of Kroncong, Lisbijanto (2013) divides it loves Gesang”. into (1) The old days of Kroncong (Kron- cong tempo doeloe) between 1880-1920, (2) The quote was proof that the song by The eternal Kroncong era between 1920- Gesang is known very well by the Kron- 1959, (3) The modern Kroncong period cong community in Japan. It even became between 1959-2000, and (4) the millennial 56 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 52-61 a song which had historical value and sen- parents or environment. Usually, because of friendship between Indonesia and Ja- se they have parents who are Kroncong’s pan. fans or activist that make them familiar with the genre of music. Even so, this type YOUTH KRONCONG GROUP IN of youth is only small in number. Howe- BANDUNG ver, it does not mean that Kroncong has Since 2000, Kroncong has become one been totally left behind. Until now, on of musical choice for youth in Bandung. campus Kroncong activities keep growing. They use it as a medium of expression, in- Although the movement is militant-like, novation and self-actualization. The youth the following table shows numbers of on- has also simultaneously reconstructed campus Kroncong group from the year of Kroncong from the contemporary version 1997 till 2017. to the more modern one. The aim is for other youth to have an understanding and Table 1. Distribution of On-Campus Youth trust that Kroncong has a promising future Kroncong Music Group in Bandung and prospects and is certainly an important nation’s treasure to be developed and conserved. Art, including music, has always been a very important part for youth in Bandung, a city known for its beautiful nature. Bandung is even called and known as Paris Van Java since it is considered as a glamor city as the city of Paris in France. Here, the musical activities of the youth The table illustrates that the youth are alive from time to time. In the context Kroncong groups from UPI Bandung of popular music and its relationship with are dominating, while most of the ot- Kroncong, we should take note at Belloni her campuses only have one Kroncong and his music group who always performs group. Further, based on researchers’ ob- theatrical music as its specific musical servation, one factor causing UPI Bandung style like what we can see in Broadway. to have numbers of Kroncong group is be- Belloni always performs together with an cause UPI has a certain organization which orchestra named Concordia Respavae Cres- is able to accommodate all Kroncong musi- cunt at the dance hall Societeit Harmonie in cians, besides UPI also has a famous music Bandung. Music as part of the nation›s department. The special organization ac- cultural products is one of the elements commodating Kroncong musician is called that nurture human’s feeling and emotion “lapis legit”. This is a student forum under (Abdullah, Bakar, & Annuar, 2013). In ad- Department of music and art education’s dition, Kroncong is also a cultural product student union. The interesting fact about of the Indonesian and is a reflection of the the student forum is a regeneration of the taste and situation of the people living in group’s member that works well. It hap- it. pens not only because of a good student The activities of youth Kroncong organization governance, but also becau- group in Bandung are done both on and se students learn about Kroncong in their off campus. On-campus, Kroncong mu- course of study. Every week, precisely on sic grows along inside student union acti- Thursday afternoon, “lapis legit” holds a vities. While off-campus, Kroncong is still regular practice. The member consists of dominated by the elder people. If there is alumnus, senior and junior students. Du- youth kroncong group outside campus, ring the practice session, the members are the members must be alumni of music de- not only playing Kroncong but they also partment/faculty/campus. Otherwise, the hold a discussion session. The discussion youth must have had the knowledge from Hery Supiarza et al., The Prospect and Future of Youth Kroncong Group ... 57 rises issues about various types of Kron- intro and the coda. The sentence rhymes cong, new songs of Kroncong, new Kron- have to be A-B-C which is sung twice, with cong arrangements, Kroncong history, intro and coda. The intro is the improvi- as well as the performance schedule. In sation of chords progression: I and V and addition, every year, there are three spe- ended with I. “Overgang” is a cross chords cial performances of Kroncong music per- progression of I-IV-V-I. In the middle of formed by “lapis legit”, known as: long the song, there is an interlude, which is life Kroncong, Kroncong night and course “middle spell”, or “senggahan” in ninth examination under Nusantara’s music and tenth bars. In the original pattern of history course subject. The examination Kroncong, the song is divided into three topics themselves are different every year. parts: 1) Angkatan (beginning), 2) Ole-ole Among the names of Kroncong / chorus (middle), 3) Senggahan (late / fi- performance mentioned previously was nal) (Budiman, 1979). From this experience, “Long life Krontjong”. “Long life Krontjong” the youth can feel empirically how it is felt is an event which focuses on giving tribute to play Kroncong. In average, most people to the past Kroncong group orchestras that will find difficulties in terms of tempo since are considered successful in giving major the tempo feeling in Kroncong is different influence towards Kroncong itself, and in from the kind of music that they play in sociological impact for the audience. Each a band. In the band, the role of drum and past Kroncong group is honored with a bass are to give a very firm sense of beats solo concert. Each time, it involves famo- on every composition of the song. In Kron- us figures which the character matches cong, the feeling of beats played by the with the Kroncong group performed. As bass is less assertive because of the distur- for ‘Krontjong night’, it is a show which bance by the music instrument kendangan shows a parade of new and amateur Kron- celo and carukan cuk and cak. In addition, cong groups. players who used to play melodic instruments like flute and violin also experience subsequent difficulties. For both instruments, the player is required to be good in music improvisation.

Figure 1. Students’ exam performance. Docu- mented by H. Supiarza

The exam or course examination is a compulsory subject in one of the study course. Participants were given the task to play two songs, one song in the style of Figure 2. Small performances and discussion The Origin of Keroncong (Kroncong Asli), during the Kroncong Course. Documented by Langgam or Stambul which they need to H. Supiarza choose for themselves. The other song is a free song, outside Kroncong. To support The future and prospects of youth in the exam, students need to arrange the UPI’s Kroncong group are driven by the music themselves. When composing the small and solid organization. Their activi- song, Kroncong Asli has its own standard ties are militant-like. As a youth, they cre- set of rule (Harmunah, 1987). The numbers ate a space for discussion and practice on of the music bar have to be 28, without the a regular basis. They practice the technical 58 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 52-61 parts, especially for the main instruments the new kind of strategy that gives a new like Cuk, Cak, Cello, Bass, Guitar, Violin and perspective to the Indonesian music in- traditional Flute. There are other important dustry. things that they do in addition to practi- The prospect and future of youth cing the techniques which are a discussion. Kroncong group in UPI Bandung is rep- In the discussion, they discuss their plans resented by O.K. De Oemar Bakrie under for performances and academic activities, consideration of its existence, commit- which are still associated with Kroncong. ment, solidity, and acceptance by the mu- In the discussion, they formulate the best sic industry through recording, television strategy to develop Kroncong using their and printing media (newspapers, magazi- own method. They are competing to pour nes), as well as popularity and appreciati- their creativity through new ideas in every on by Kroncong community. As a kind of regular meeting. Sometimes, it results in popular music, the group can target the innovations and becomes the prospect and public taste by utilizing the mass media, as future of the Kroncong group in Bandung. written in Wall (2003): Through the members’ performance styles and musical forms, the youth Kroncong “As we have seen on the popular music cul- groups become known and appreciated by tures, operate across different media and the local community. draw on a range of channels of communication which include musical sounds, lyrics, performance styles, and media images and related transformation “.

In this case, Kroncong music does need to get a special study. Especially when we talk about the notion of popular western music, Kroncong has different cultural situations, especially in relation to its social context. Therefore, it requires another approach. While the notion of po- Figure 3. The atmosphere of Kroncong prac- pular music in the West is the music that tice by “Lapis Legit” Group. Documented by grows in line with the role of audio-visual H. Supiarza media since about the early 20s in Ameri- ca (Mack, 1995), O.K. De Oemar Bakrie in From year to year, the development every festival can present an interesting of youth Kroncong group in Bandung and surprising spectacle. Therefore, they continues to expand. The development are given a new term of style by Kroncong is not as rapid as the development of ot- community in Solo, namely the Kroncong her popular music, such as Techno music, Bandung style. The term Kroncong Ban- Rock, Ska, Jazz, Rhythm & Blues and Funk dung, or the Kroncong style of Bandung which since the 60s the music industry has was given to the group firstly because of been managed very well by many recor- their form of music and secondly becau- ding studios; in addition to the advanced se of the stage’s style. O.K. De Oemar Ba- technology, funding, and global market krie offers an old style with a taste of the strategy given to support the development present. They use a wind instrument like which makes it a strategic and important jazz music (big band) in America. The sty- business (Wall, 2003). Bandung’s youth le carried by this group is a reflection of Kroncong group grows slowly, tucked youth living in the city today, in the era among the hustle and bustle of the mu- of modern technology. As mentioned by sic industry. Slowly but sure, it grows to Widjajadi (2007), the development in mu- become a surprising figure. This strategy sicology has rolled from year to year, in ac- is known as a militant strategy. This is Hery Supiarza et al., The Prospect and Future of Youth Kroncong Group ... 59 cordance with the development of science, chestra, Galih and his members gathered the advancement of technology, political, every Tuesday afternoon with other acti- economic, social and cultural. ve students. As an alumnus, Galih and his members have little authority in gathering De OEMAR BAKRIE KRONCONG OR- students to discuss Kroncong music in a CHESTRA warm and cheerful atmosphere. However, The youth Kroncong group called the main goal of these alumni is to rebuild De Oemar Bakrie was formed on April the long-lost Kroncong feel in the cam- 27th, 2012. The orchestra consists of alum- pus. Gradually, these activities grow and ni of Kroncong Music study program from result in the greater interest of students. UPI Bandung. Declaration of the group The new member keeps coming to each formation was done and aired in one ra- meeting. This is the moment of the youth dio station in the city of Bandung called Kroncong music group was coming back Lita FM. This radio has a special show to the academic environment of UPI. In entitled “kharisma keroncong” which is order to organize the group better, Galih broadcasted every Friday night. It can be and all the members of the group also crea- said that Lita FM radio station is very con- ted a talent management organization cal- sistent with their efforts to develop Kron- led “Lapis Legit” under the authority and cong, supported by an announcer named management of UPI’s department of mu- Parto or called Mas Parto who is not only a sic student union. So far, the campus’ role broadcaster but also a fighter of the deve- and environment have been very suppor- lopment and existence of Kroncong music tive. This can be seen from new equipment in the city of Bandung. Through this radio, purchase and permission to use studio or the musical activities of Kroncong in Ban- practice places. dung are aired and announced. This radio In addition, some personnel of De station through Parto, also often airs a set Oemar Bakrie group who often get to meet of activities of youth Kroncong activists. It other Kroncong groups from various re- was through this radio that Kroncong or- gions also bring positive impact to the de- ganization named “lapis legit” and O.K. velopment of the music group. The inter- De Oemar Bakrie Kroncong music group actions made youth Kroncong community were found and known to the public. in UPI to receive social support in the non- formal way (Rook & Dooley, 1985). Accor- ding to Sutresna, communication between communities that once dropped can be revived because the interactions have tied back together. As a result, Lapis Legit organization can run its program smoothly. Initially, De Oemar Bakrie was mere- ly imitating the famous Kroncong works, such as the langgam Bengawan Solo by Ge- sang and langgam Di Bawah Sinar Bulan Figure 4. Performance of De Oemar Bakrie. Purnama by R. Maladi. This was done as an Documented by H. Supiarza attempt to deeply practice the conventional During the interview, in regards of Kroncong style. However, in the process, how De Oemar Bakri was formed, Galih there were some arranged songs involved, Sutresna said that the purpose was initial- like, Mojang Priangan by Iyar Wiarsih. In ly to rebuild Kroncong atmosphere at UPI this song, they started to add additional as what he had during the old time when instruments outside the standard Kron- he studied at the campus. During the ini- cong instrument. The other instruments tial days of De Oemar Bakri Kroncong or- were kecapi, Sundanese flute, trombone, saxophone, trumpet and clarinet. The mu- 60 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 52-61 sical instrument addition initially resulted Oemar Bakrie then found its own style. since there was demand from TVRI TV It opened into a new discourse between station which needs Priangan’s repertoi- Kroncong community in Bandung, espe- re. Therefore, the group had to choose one cially among the elders (Kroncong players of Priangan’s song and there was Mojang or lovers who are around 40 years old or Priangan to be chosen. Mojang Priangan more). The elders hold certain beliefs and at that time was considered suitable with rules about Kroncong in their community. the singer and composer’s characteristic In their opinion, it is taboo to play Kron- in addition to the musical character of the cong outside the old standardized ru- music group as a whole. Mojang Prian- les. Gradually, parts of elder started to ac- gan song was then also performed at Solo cept the innovations created by De Oemar Kroncong Festival. It resulted in a variety Bakri while others still could not accept of audience’s pro and contra appreciati- it. As a result, they are divided, some are on. One contra opinion emerged from the disturbed by the innovations made by De chairperson of HAMKRI Solo at that time Oemar Bakri, while some are happy with who believed that the use of Macina and the innovation. Prounga (Tugu’s special music instru- Later, De Oemar Bakrie throughout ment) as the musical instrument were less their journey is always trying to common in traditional Kroncong. include other instruments in addition As for the relation between De Oemar to the Kroncong’s instrument. They are Bakrie Kroncong and Kroncong Toegoe modern wind instruments like trombone, music group were started when one of the pianica (accordion), saxophone, clarinet group members used De Oemar Bakri as a and trumpet. In addition, they added tra- research object to support his bachelor the- ditional instruments of traditional Sun- sis in Music Study Program, Department danese, like Kecapi, Sundanese Flute and of Music Education, FPSD, UPI. Kroncong jimbe. They create their appearance to look Toegoe style itself was born in Toegoe like a swing big band. village in 1661. At that time, Kroncong Their nature as academics leads Toegoe members created special instru- them to always feel curious about Kron- ments for their musical style called Five cong. It brings them to collect all kinds of String Kroncong instrument. It was made scientific reference related to Kroncong on in three sizes, called Jitera for the large both technique and philosophy. They have size, Prounga for the medium size and studied Kroncong musical journey from Macina for the small size (Ganap, 2011). the very beginning, started from the socio- Kroncong Toegoe music style is different logy to the culture, so that they have more from other region’s Kroncong music style. in-depth knowledge of the past. It makes For example, in regards to tempo, Kron- De Oemar Bakrie Kroncong group have a cong Toegoe is faster and sounds playful strong academic understanding of Kron- while the other Kroncong styles generally cong. This is what becomes the basis of are slow and seductive, especially Kron- their musical journey. Their prospects and cong known in Solo and Jogja. Toegoe future as a group of youth who are brave village itself is a community of Portugue- to restore the past glory of Kroncong amid se descendant. It is located in the northern the nation’s culture of the more popular coast and is the oldest area in Jakarta. An western music. Great organization and archeologic monument from the 5th centu- idealism lead them to be accepted by the ry can be found in the area (Ganap, 2011). audience. They have never had to begged The Kroncong group experimented with to be accepted and existed in the present their own unique style and succeeded. music industry nor using social media in They have become the representative of a bombastic way to introduce themselves. Kroncong Toegoe style outside the village. They simply introduce themselves through Starting from the initial point, De their work, solidity and good organization Hery Supiarza et al., The Prospect and Future of Youth Kroncong Group ... 61 which leads the music industry to take a Ganap, V. (2000). Tugu keroncong music : glance at them. hybrid genre of Portuguese sojourn. Seni : jurnal pengetahuan dan penciptaan CONCLUSION seni Seni, 7(3), 213-228. Ganap, V. (2006). Pengaruh Portugis pada In the middle of new and popular Musik Keroncong. Harmonia: Journal songs in the music industry dominating Pengetahuan dan pemikiran Seni, 1(1), 1-8 the mass media, there is a group of youth Ganap, V. (2011). Krontjong Toegoe. Jogjakar- ta: Institut Seni Indonesia. who is able to maintain and develop Kron- Harmunah. (1987). Musik keroncong sejarah, cong as the nation’s cultural products. The gaya dan perkembangan. Yogyakarta: development of Kroncong music and the Pusat Musik Liturgi. organization of Kroncong music have been Kartomi, M. J., Goldsworthy, D., Falk, C., & done well by the youth in UPI Bandung. A Kornhauser, B. (1978). Studies in In- Kroncong group named De Oemar Bakrie, donesian music. Centre of Southeast as a representation of Kroncong music de- Asian Studies: Monash University. velopment at UPI Bandung, has proven Lisbijanto, H. (2013). Musik Keroncong (H. Lis- that Kroncong music can be a lake in the bijanto Ed. 1 ed.). Yogyakarta: Graha barren land of the nation’s music. Kron- Ilmu. cong existence in the hands of youth can Mack, D. (1995). Apresiasi Musik, Musik Pop- become an important discourse in the de- uler. Yogyakarta: Yayasan Pustaka velopment of Kroncong, especially in the Nusatama. city of Bandung and generally in Indone- Nyia Abdullah, M. I., Bakar, S. A., & Mohd An- sia. In addition, this youth music group nuar, D. T. (2013). Rodat: Budaya tradi- has given a promising prospect in the fu- si yang berevolusi. Wacana Seni Wacana ture of Kroncong. The music group has Seni, 12(1), 19-56. Paul, R. K. M. O. (2003). Ekonomi Teori dan also become a role model for traditional Kebijakan (F. H. Basri, Trans.). Jakarta: and folklore art movements among other Raja Grafindo Persada. youth in Indonesia. Rohidi, T. R. (2011). Metodologi Penelitian Seni. Semarang: Cipta Prima Nusantara. REFERENCES Rook, K. S., & Dooley, D. (1985). Applying social support research: Theoretical Alfian, M. (2013). Keroncong Music Reflects Problems and Future Directions. 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