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Chapter II Literature Review and Theoretical Framework

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Chapter II Literature Review and Theoretical Framework Chapter II Literature Review and Theoretical Framework This chapter explains the literature review and the theoretical framework which I used in doing my final project. 2. 1 Literature Review In this section, I try to review several articles about angklungs in order to find the gaps between what people have done in explaining angklung and what I have improved in my product. Little of books explaining angklung make it a bit difficult for both domestic people and foreigners to know more about angklung. Many people know angklung, but it does not mean they know the history about angklung. Johanes (2011), in his article on the internet, Angklung is recognized by UNESCO as world cultural heritage, explained about what angklung is. He said that angklung is one of Indonesian traditional musical instruments made of bamboo tubes. It is originated from West Java and this musical instrument has become popular among the world. Therefore, on November 16th 2010, in Nairobi, Kenya, UNESCO (United Nations Educational, Scientific and Cultural Organization) recognized and endorsed angklung as a piece of Indonesian heritage. However, this article does not explain angklung in more details for its space as an article is not big enough. He also did not put enough pictures to show what angklung is like. In fact, angklung were already known well in international community. It is proven by the data given by Syafii (2009) in his book about angklung. He wrote the biography of Udjo Ngalagena (one of angklung innovators). He also mentioned several countries which were already visited by Udjo and his team, Saung Angklung Udjo in order to do cultural missions. He made his book livelier by putting some pictures of Udjo and his performance. However, by only telling the biography of Udjo is not enough to explain angklung’s history, angklung’s types, the way of making angklung, and also the way of playing angklung correctly which become my main concern of this project. Masunah (2003) explained that angklung is a traditional musical instrument made of bamboo which is played by shaking. In addition, she also explained that angklung is not only found in West Java, but also in several regions. Besides angklung from West Java, she mentioned angklung Banyuwangi and angklung Bali in her book. However, angklung which is originally from Bali and Banyuwangi are different with angklung from West Java. In Bali, angklung refers to a set of gamelan which consists of mostly four-bladed musical instruments. On the other hand, angklung Banyuwangi refers to an orchestra which consists of several traditional musical instruments like gambang, suling, and kendang. This book generally tells about angklung in West Java with its function and stories. Mostly, she tells about the traditional angklung. Even though this book contents are good and complete enough, this book is not sold freely in the bookstores. It only could be found in several campuses‟ libraries. Thus, it is rather difficult for other people who interested to know about angklung and wanted to read the book. Knowing the types of angklung are not enough since angklung has its own function. Wiramihardja (2011) explained in his article on the internet that there are several functions of angklung based on its original. He said that because most native people of West Java are farmers, angklung in West Java had an important role in several ritual ceremonies like seren taun, ngurebkeun pare, and panenan. In Bali, people used to play angklung in Pengaben (a kind of cremation) ceremony. In Ponorogo, angklung was usually used in accompanying Bersih Desa ceremony. Besides, in Sumenep, Madura, angklung was used in pageant, or any procession. However, in this article, angklung in West Java which become my main concern are not deeply explained. In another article, Hutari (2009) explained that angklung is made of three bamboo tubes which are hung together and played by shaking the instrument. In addition, he also explained that there are several kinds of angklung in West java, those are angklung baduy, angklung dogdog lojor, angklung gubrak, angklung badeng, angklung buncis, angklung bungko, and angklung soetigna. This information is more complete than Johanes‟ article. Furthermore, Hutari also added some information about the history of angklung in his article. In the past, people usually played angklung to attract Nyai Pohaci, the Goddes of Fertility, to come down to earth and bless their rice fields. From that time, angklung has become a musical instrument that is usually played by common people. Unfortunately, this article is not completed by pictures of each type of angklung that may attract more people to read and also make people understand more the difference among each type of angklung. Another article that I reviewed is about Daeng Sutigna, a figure of angklung innovator. A website, called Angklung Web Institute (AWI) in 2005, post an e-book about angklung. This book entitled Buku Daeng Sutigna. In this book, the author tried to expose Daeng Sutigna who has been known as angklung innovator. He developed diatonic angklung. AWI also said that Daeng Sutigna has changed the perception of angklung that it was just a simple musical instrument played by street buskers to attract people‟s attraction into musical instrument that could be effectively taught in class. For his prestige in his innovation, he got Satyalancana Kebudayaan award from ex-president of Indonesia, Soeharto. Even though this book is good enough in explaining about Daeng Sutigna, yet the author only talked about Daeng Sutigna that makes it less complete. Moreover, this book is presented in electronic media version. Thus, it makes the book less practical to be read by people. In addition, Shaleh (n.d) in his article on the internet also added some information about Daeng. Daeng was born in Garut, May 13th 1908 and passed away in 1984. At the beginning, Daeng introduced diatonic angklung only for boy scouts in Kuningan, then angklung became one of the extra curriculum in that school. From these articles, I can conclude that Daeng Sutigna was the one who developed diatonic angklung which become the model of modern angklung. Even though Shaleh already put the picture of angklung and also the picture of Daeng Sutigna, his way of delivering it is too simple so that the curiosity of readers are not fulfilled . Team Andriwongso.com (2007) in an online article stated that several media had published the claim of batik as Malaysian heritage. In this article, the author tried to ask people to preserve angklung. Thus, according to the author, in preventing other countries to claim our culture artefact as their own, the government has registered angklung and batik as Indonesian heritage to UNESCO after approving keris and puppets as Indonesian heritage. On the other hand, Johanes (2011) wrote in his article that UNESCO had approved angklung as Indonesian heritage in November 2010. However, less of picture made the article become less attractive. Besides, this article is also delivered in Bahasa Indonesia, so that the foreigners have difficulty to understand the content. By collecting some information about angklung, I found the gap that it was quite difficult to find books about angklung. Most articles about angklung were easier to find through the internet. Meanwhile, article on the internet is not practical enough to be read. Moreover, some articles that consists the history of angklung were written in Bahasa Indonesia, this may make difficulty for foreigners to understand it. Although one of the articles above told about the types of angklung, it did not clearly elaborate each type of it for the small space of an article usually has. In addition, less pictures of angklung in most articles make it less attractive for the people to read the article. As a result, I wrote a book entitled “Angklung: the Story behind the Harmony” which consists the history of angklung, the types of it, and also the instructions of how to play and make it. Similar with the e-book entitled Buku Daeng Sutigna, I explained the history of angklung and also the figures behind it. Also almost similar with Hutari in his article that I also wanted to explain the types of angklung. However, by making this product in English, I could fill the gap that this book would help foreigners to find out more about angklung. Considering the larger spaces that book have, I was freely elaborating the types of angklung more. Furthermore, this book would be more attractive if I put pictures of each angklung type and also the picture of the figures. 2. 2 Theoretical Framework This section explains about the theoretical framework that I used to make the book. In making the book entitled “Angklung: the Story behind the Harmony”, I needed some theories to guide me keep in the correct way of writing. So, people can understand the information that I wanted to deliver through this book. There are several theories that I used in making this project. Those theories would be explained below. 1. Theory of history and story As my purpose of my final project is to introduce the history of angklung and its story, I would explain a little bit about both words‟ definition. The word „history‟ refers to the events of the „past‟. On the other hand, the word „story‟ refers to „fiction‟. This is the main difference between the two words (Aron, 2011). In my project, I wrote the history of angklung by telling its stories. 2. Theory of harmony Based on Oxford dictionary, “harmony” means pleasing combination of musical notes. A good music is the one that has good harmony. In listening music, people can feel its harmony. By putting the word „harmony‟ in my project as the title, I try to tell the readers that angklung has a beautiful harmony when it is played along with others musical instrument.
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