A Brief Study on the Musical Performance of Tingkilan from East Kalimantan

Fl. Sudiran, A BriefHUMANIORA Study on the Musical Performance of Tingkilan from East Kalimantan

VOLUME 18 No. 1 Februari 2006 Halaman 27 - 36

A BRIEF STUDY ON THE MUSICAL PERFORMANCE OF TINGKILAN FROM EAST KALIMANTAN

Fl. Sudiran*

ABSTRAK Komunikasi dan kontak perorangan antara pedagang dari Timur Tengah/Padang Pasir dan Indonesia pada waktu yang lampau selama beberapa dekade membuat mereka berkolaborasi, misalnya, di bidang sosial, ekonomi, budaya, pertahanan, keamanan, dan lain-lain. Peralatan musik ini adalah gambus, maruas ( percussion ). Semua lagu, musik, dan tari mempunyai gaya keislaman. Yang paling terkenal di Kalimantan Timur adalah Tingkilan yang mengiringi tari Jepen.Tingkilan dipentaskan pada waktu pesta. Pengaruh agama Islam sangat kuat dalam musik ini.

Kata Kunci: gaya, keislaman, tingkilan, kolaborasi.

INTRODUCTION called Tingkilan group orchestra. It still exist in There are many kinds of music in East East Kalimantan and the people perform it on Kalimantan, for examples Gamelan music certain feast days, for example wedding party, orchestra in the museum of Mulawarman harvest days, Maulud Nabi Muhammd SAW Tenggarong, Sampe in the society of Dayak Celebration, Isra’ Mi’raj of Muhammad SAW, Kenyah at Pampang village nothern part of Idul Fitri, Idul Adha, Nuzul Qur’an and the New Samarinda, and Tingkilan in the society of Kutai Year of Islam. Most people in East Kalimantan or among the people on the beach of East still enjoy watching and listening tingkilan. Kalimantan. Tingkilan group orchestra consists of one The those kinds of music mentioned above Gambus, five medusa, one cello and some are not so popular nowadays because they are singers (male or female). The players wear the defeated by the modern music such as Pop Kutainese traditional costumes. The colours music from the Western countries. Dangdut of the costumes are usually red, yellow and music from India and the new creation of music green. like: campursari, rock and hard music. Another The data for this research was collected reason is institutions concerned such as the in Samarinda and Tenggarong as the department of Education and The Department representative of East Kalimantan population of Culture and Tourism have not done much to inheritance, especially in the Museum of preserve them. There are many kinds of Mulawarman, Taman Budaya (Art Centre of traditional music in Indonesia which should be East Kalimantan), and also from the experts preserved such as Gamelan in Jawa, Sampeq, and the artists. The main aim of the research Klentangan, Sulikng, Gong in East Kalimantan was to get the data showing the influence of and Kulintang in Manado. the Arabic style to the beach traditional music In this opportunity the writer will expose a in East Kalimantan and to the dancers as well kind of musical performance in East Kalimantan as the costumes. The songs are related with

* Staf Pengajar Fakultas Sosial dan Politik, Universitas 17 Agustus 1945, Kopertis XI Kalimantan

27 Humaniora, Vol. 18, No. 1 Februari 2006: 27 −36 the notation, lines, lyric and tone as well as the The physical culture can be found in our rythms; the music instrument related with the surroundings because they are visible and material production process and notation; the concrete such as handcraft, house, computer, dancers are related with style, articulation, ship, arts and others. intonation and language; and the costumes are Tingkilan is a form of culture containing for concerned with pattern, acsesories, colour and example ideas to entertain others and social size. The research was carried out from system to work together as a group, and January to June 2004. physical form for example the instrument, song and dance.The process of the development, CULTURAL BACKGROUND the culture is assumed to break-down into Today Indonesia has carried out pieces but so far it is still in the corridor of the development in various fields. Some have been development steps called superorganic of successful and others have failed. culture (Kroeber, 1917:213, 263). Nowdays, Development is not only concerned with tingkilan can be used to accompany the technology but also much with culture because Western, Chinese and Javanese songs. culture is one of the ecology factors which is Tingkilan shows an identity of Kutainese. Every the most determined (Dwijosusilo, 2003:8-9). etnic group needs its own identity of culture in In short, culture is badly needed in developing the frame of the power in politics and economy the country which includes the local culture, (Maunati, 2004:2-3). one of which is Tingkilan. This study can support to the cultural development, especially THE MUSICAL INSTRUMETS in East Kalimantan. This local culture contains The musical insruments of traditional local wisdom which can be applied in the beach music consist of Gambus, and Maruas. planning of the development. The instruments of Kutainese tradition music Culture can be divided into three different orchestra called Tingkilan. The materials of forms. First, the system of ideas and concepts; Gambus consist of body and four strings. The second, the arrengement of actions; and third, body is made of nangka tree (Artocarpus the pattern human activities (Kroeber and heterophyllus Sp). The older the tree is better. Talcott Parsons, 1958:582-583). The form of The weight is about 50 grams and the length culture can be differenciated in the three cultural phenomena namely: ideas, activities of it is 70 cm. The body of Gambus is painted and artifacts (J.J. Honigmann, in Koencara- brown and the four strings are made of nylon. ningrat, 1980:300). Thus, there are three forms The strings are tied top to the buttom of the of culture. Gambus body each which is connected with The ideal forms are still abstract which the key-handle which can be accorded. A 2 cannot be touched as well as pictured. The Gambus has a hole about 50 cm . At the right location is in on in the brains of the society and the left side there are four small holes. where the culture lives. The ideas can be in Each pair of holes is connected with a piece of the paper or concepts of literatures written by wooden stick which is about 10 inches long. the experts. Nowdays, we can find the ideas The stick is set in the small holes and each through the electronic and printed media. The stick functions as a key tone arranger. Each ideas live together with their societies as the string is tied at the stick. Each stick is shapped supporters. bigger as a handle to roll up and down. If we The social system consists of the human need a high tone we must roll it up on, the other activities which are interacted correlated and hand if we need low tone we must roll it down. socialized from time to time. These activities To stretch the strings they are tied strongly on have had certain patterns. the bottom of the body of Gambus. They are

28 Fl. Sudiran, A Brief Study on the Musical Performance of Tingkilan from East Kalimantan set neatly at the flat iron which is painted black. The third step : To make it quadrangle The strings about 90 cm are plugged along the along the body of tree. leather which is set on the front side of the body The young part at the top of Gambus. The leather is tied by some small is left out by cutting it. nails at the edge of leather. The leather is made The fourth step : To cut it into pieces. Each of animals’ leather and the car’s leather gives is one metre long. Then the best sound of the Gambus. The bottom of they are dried up for one the body of Gambus is a short wood about 10 month in the yard to put cm as a bottom seat. The bottom seat is not out the skin. plugged in but on the top the body of a Gambus The sixth step : To shape every piece the as the head of it. wood. The shape is like a guitar. The bottom of the body is much bigger like a pregnant women, under it is a buffer seat to stand. The seventh step : To make a hole along until the neck of the body. The upper body is narrower. At the top of the body is a hole to put the tone keys. The top as a head is shaped a half circle and ornamented. The eighth step : To paint the body and dry them on the rack or on the table or hanging on the trees or on the roof of the Picture 1. Gambus house. It takes one week and should be prevented from the rain and dew. The production process of Gambus is as The ninth step : To set the strings first until follows. third bars are two strings, The first step : To choose the good and the fourth bar is one jackfruit tree which is old string. Put the tone keys enough (Artocarpus hete- at the top of the body. rophyllus Sp). A good jack- The eleventh step : To give a handle with a fruit (Artocarpus hetero- piece of string through the phyllus Sp) is straight and top hole on the head of the much green leaves. An old Gambus. jackfruit (Artocarpus hete- The twelfth step : To accord the bass. rophyllus Sp) is big tall has The first bar F tone = 4 (fa) produced fruits and is The second bar C tone = 1 (do) about 15 to 20 years old. The third bar G tone = 5 (sol) The second step : To cut the jackfruit tree The fourth bar E tone = 1 (do) (Artocarpus heterophyllus Bass = Low Sp), then cut the small (Purwanto, 2003:1) branches.

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This kind of music is influenced by the animal leather. The seven strings as the source Islamic religion from the Middle East countries. of sound are made of nylon as follows. It is supported by the Malay who are from the 1. The first bar, two strings the tone F beach of East Kalimantan.Most of them are = 4 (fa) moslems. The dancers who wer accompanied 2. The second bar, two strings the tone C by this music are called bejepenan. Below is = 1 (do) the breakdown of the Gambus anatomy. 3. The third bar, two strings G = 5 (sol)

Picture 2. Gambus Anatomy

THE NOTATION OF A GAMBUS 4. The fourth bar, one string E = 1 (do) as bass Gambus is a pitching music in the To give more information the following is a classification of kordofon. The body is made song entilled Buah Boloq of wood and at the front side is made of thin

BUAH BOLOQ

30 Fl. Sudiran, A Brief Study on the Musical Performance of Tingkilan from East Kalimantan

SHOLAWAT BADAR

This Gambus instrument in the accompany the Jepen dance dan Kutainese performance combined with Ketipung (Arabic songs (the title of song Buah Boloq in tingkilan percuss-ion). The combination the two kinds orchestra). The Gambus can be played by only of instrument: Gambus and ketipung called a player as instrumentalia. Tingkilan is a special Ting-kilan music. This ensamble is used to traditional music of Kutainese.

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Picture 3. Jepen dancers (Foto Art Centre of Samarinda, May 11, 2004)

The costumes of the jepen dancers consist bottom of the hair bun is a half circle comb made of Kutainese sanggul (knot of hair or hair bun), of bronhce. The shirt in kebayak (long leaves) is the shirt kebaya, life-tie and kain (batik cloth). The added with the life tie circling on the stocking and hair bun is sharp and in braid of hair. On the long cloth to be the bottom clothes.

Picture 4. A jepen dancer (Foto Art Centre of Samarinda, August 20, 2004)

32 Fl. Sudiran, A Brief Study on the Musical Performance of Tingkilan from East Kalimantan

How does the Gambus work? See the Some musicians were sitting by crossing description bellow (from the Gambus festival). the legs and leaning against the walls lighted This Gambus in tingkilan ensamble by focus lighting. A Maruas was bit very slowly. accompanied the jepen dance. This dance Two young girls in red shirts and green blue was preceeded by an introduction song to dress with accessories around the stomach communicate with the viewers or lookers on walked slowly entering the stage. Meanwhile as well as visitors. The song is as follows. the muic accompanied them in the beginning very slowly mixing with Gambus pitching more and more loudly followed by gendang/ percussion together with the special type beach dance. The dancers were added by two others. The other three males were joining and moving faster and faster. Their actions occasionally resembled like pencak silat (traditional self defence) meanwhile the female dancers kept dancing beautifully (the speed movement). The striking of the gong signed every changing of movement together with clapping and kicking – down their feet on the floor to make the dance more and more energetic. The accompanying music remind us of the Malay dance from the province of tanah rencong Aceh. The music of Gambus, dance movement, the clothes and

Picture 5. Jepen dancer (Foto Jawa Pos, September 9, 2005)

33 Humaniora, Vol. 18, No. 1 Februari 2006: 27 −36 their accessories and the sharp sanggul on the done by splitting a dried piece of leather of a female’s heads. There is a special correlation buffalo. The size is about 5 inches and the between Kutai and Aceh in dancing and music. length is about one and a half metres. The more The name of the Kutai dance was Tari Jepen dried the leather the better it is. The robe is Molah Begaduh, acted by the foundation of made of rattan. First, the rattan tree is cut and lojong, Tenggarong in the dance festival. Jepen dried for two weeks to get the water content illustrates the struggle of the emotion of the out the water content. Then the dried rattan is young people in the Mahakam beach. This split, of which is formed to be a feat robe. The dance is performed in the ceremonies of more dried the rattan, the better it is. wedding and other happy events. It comes from The process of making a Maruas is as the the beach, so the relation with the comers from following: The first step is to cut jackfruit tree other countries give much influence to the (Artocarpus heterophyllus Sp) which is big and growth of this dance. Jepen dance is old enough to use. Then it is cut into some accompanied by tingkilan orchestra: Gambus, pieces and the skin is peeled. Each piece is and percussion. The influence of Islam brought about 50 cm. The second step is to dry up by by Gujarat traders in the 15th century Islam putting them on the roof in the yard or above (middle east) is very dominant. the kitchen. It takes about one month in order to make it qualified material. After the pieces MARUAS OR KETIPUNG (KUTAINESE are dried up each is scratched in the middle, PERCUSSION) INSPIRED FROM ARABIC on the top and the bottom of the wood. The PERCUSSION hole is narrower to the middle from two sides Maruas is a Kutainese percussion which to make a Maruas produce a good sound. has two faces and it is in the classification of There is a channel between the top and the membraphone. A Maruas is small and its body bottom of the wood then the body of main part is made of wood. The two sides (and the end) is painted. The third step is to put dried leather are the same size. The two faces are closed to close the top and rolled from the edge with animal leather and the leather is to towards the lips of the hole of the Maruas body. accompany Kutainese Dance, called Jepen. It Then the rolled leather is scratched by using a is played togther as ensamble with Gambus big sewing needle which is usually used for in tingkilan (like a Sahara Music adapted from sewing a sack. The distance between the holes middle East country traditional music). is about 3 cm. The fourth step is to tie the edge Portuguese influences the beach music of the leather to connect the top and the bottom because the Portuguese had once conquered of the Maruas. The top directly connects the some parts of Indonesian beach when they top and the bottom of the body of a Maruas. were trading in Indonesia in the fifteen century. The materials of a Maruas are wood leather and robe. The wood can be a jack-fruit (Artocarpus heterophyllus Sp), mango-tree (Mangifera Indica), ulin tree (Eusidero-xylon Zwageri) or others which are strong enough like mauni tree (Swetiana Mahagoni), rambutan tree and so on. The best one is made of jack- fruit (Artocarpus heterophyllus Sp). The leather used to close the membrance sound source is made of leather’s cow, buffalo, sheep and others. The best one is made of cow’s leather. The robe to tie is made of rattan and leather. The best one is the leather of buffalo. The Picture 6. A Maruas (Kutainese percussion) process of making the robe made of leather is (Purwanto, 2003:1)

34 Fl. Sudiran, A Brief Study on the Musical Performance of Tingkilan from East Kalimantan

Tingkilan orchestra consists of one Malinau, Bulungan, Kutai Barat, Pasir, Utara and Gambus and four Maruas and sometimes a Pasir. So, the participants were only 50% of cello. The setting is as below. the local government. It can be concluded that

Picture 7. The setting of tingkilan 1. Gambus 4. Stage-performance 2. Ketipung 5. Violin 3. Singers 6. Cello

To make the music more beautiful and those who didnot join the festival had neglected more lively, the orchestra, a cello is added to the traditional arts, and they considered this so a tingkilan orchestra is similar with a kind of arts festival was not important. kroncong music. The Portuguese, when they The effort to promote the beach traditional colonized some regions in Indonesia, had music in East Kalimantan by holding some arts influenced the beach. events such dance-festival, folk-songs contest Generally, in East Kalimantan the beach and traditional music creation. The annual traditional music goes to play is used in events in East Kalimantan is to send traditional conjunction with the art activities. Special arts summit at the national level which may be traditional music events are rarely held in the carried out throughout Indonesia as a regular regency, municipal and province. As an schedule. In this summit each province example, the promotion to perform the beach performs dance, songs, theatre, music and traditional arts is done follows. On the fine arts. Desember 29 to 30, 2004 as an annual event there was a traditional dance. The festival was CONCLUSION held by Samarinda arts centre (Taman Budaya Tingkilan is a Kutainese traditional music Samarinda) performing two kinds of traditional orchestra which still exist in the society of dance: namely beach and up-stream dances. Kutai. It can grow well either in the villages of The participants of this event were 3 (three) Kutai Kertanegara, Sangatta, Samarinda or in municipals Balikpapan, Bontang, Samarinda the northen part of East Kalimantan : Bulungan, and four regencies: East Kutai, Kutai Tarakan, Nunukan and Berau. A tingkilan Kartanegara, Berau and Nunukan. One consists of Gambus, four Maruas (the main municipal namely Tarakan did not join it and instruments), a cello and violin. The singers five regencies did not join it, either, namely wear colouarful costumes such as peci

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(Islamic cap) as wellas other accessories, and The eighth, to urge the key person, officers and they sing popular songs, such as Buah Boloq the have to participate in developing the local arts. which was written by Masdari Achmad. To maintain the existence of tingkilan there REFERENCES are same suggestions: First, the team-work Anonim. 2004. Festival Tradisional Taman Budaya. between the decision – makers and Samarinda. stakeholders to make big effort to promote and Dwijosusilo. 2003. dalam Budi Wiyoto 2005, Menuju give financial aid for performance, training, Revolusi Baru Ilmu Administrasi Publik Abad 21 . promotion and decumentation. The second, to Malang: Consulting Partner. build museum in order to to maintain Hogimann, J.J. 1959. The World of Man. USA: Washington. Kaplan, D. 1965. The Superorganic: Science or Methaphysics, performance, the old building, furniture, weapons American Anthropologist LXVII . USA: Washington. and music. The third, to give facilities to the Koencaraningrat. 1975. Pengantar Ilmu Anthropologi . investors in order to support our economic Jakarta: Aksara Batu. recovery. The fourth, to socialize performances Kraeber, A. L. 1917. The Superorganic American and training. The fifth, to give finance, occasion Anthropologist XV. and opportunity and to hold traditional dances, Parson, Talcott (et.al.). 1958. “The Concept of Culture and of Social System” dalam Ame-rican Sociological music and song, ceremonies. The sixth, to Review XXIII-5. recommend the private sectors to finance in their Purwanto, Eka. 2003. “Mengenal Alat Musik Tradisional community development project to the local Kalimantan Timur (To know the traditional music cultures. The seventh, to provide enough time instrument of East Kalimantan )”. Samarinda. in the curriculum to study of the traditional arts. Surat Kabar Harian. Jawa Pos. 2005. Surabaya.

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