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Enculturation of Kledi Dayak Kebahan Penyelopat (Inheritance

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Enculturation of Kledi Dayak Kebahan Penyelopat (Inheritance Enculturation of Kledi Dayak kebahan Penyelopat (Inheritance, Organology Study, and playing techniques of Traditional Musical Instrumentin remote area of West Kalimantan) Imam Ghozali Lecturer in Performing Arts Education Study Program FKIP University Tanjungpura Pontianak. ([email protected]) ABSTRACT The background of this study is Kledi's conservation problems, musical instruments that have local wisdom values are still traditionally preserved in West Kalimantan. Kledi is the production of local culture tradition of the people especially in Engkurai areawhich has been very difficult to find. Therefore it is necessary to maintain and develop it. Thus it is necessary to do assessmentofthe musical instrument through this research. The study used qualitative methods with interpretive analytic descriptive research.The data collected are in the form of matters relating to inheritance pattern, the way of making, basic materials, and the technique for playing Kledi's musical instrument. Data collection technique use technical observation, interview, and document study. Test of the validity in the data is done through in-depth interview and triangulation of source also technique. Based on data processing result and analysiswhich have been done, it can be concluded that organologically Kledi traditional musical instrument isinflatable devicemusical instrument typically of Dayak Kebahan Penyelopatpeople, because all the constituent elements of the tool are found in nature and in typical of local areasuch as reed, pumpkin, apin, and gum klulut. Technique of Traditional Musical Instrument ofDayak Kebahan Penyelopat generally has the same technique with other inflatable device, specifically it can be played homophone, added with one distinctive tone of traditional musical instrument that ise tone. The enculturation process of Kledi as a traditional musical instrument for Dayak Kebahan Penyelopat people occurred through informal process. Keywords: Kledi, enculturation, Dayak Kebahan Penyelopat 39 Preface Culture has three of forms, those are: 1) form of ideal, 2) form of behavior, and 3) physical form.Custom is an ideal form of culture. Custom has function to regulate behavior. Custom can be divided into four levels,those are: the level of cultural value, the level of norms, the level of law, and the level of special rule (Koentjoroningrat, 1990: 11). Customs or all things relating to customary law as the value of life that is respected and upheld in anindigenous community environment. The diversity of forms and culture featurein Indonesia is influenced by the location and geographical conditionwhere the culture grow and develop. Traditional art as one of culture form, is a form of art that is sourced and rooted and it has been felt as self-owned by the society (Dikbud, 1982: 30). The natural environment with a variety of different conditions such as field, beach, rice field, mountain, and etc.it is very influence the cultural pattern that exist in Indonesia. Natural culture of Indonesia is widely and diversity alsomade the growth and development of diverse culture in each region. West Kalimantan as one of the Provinces in Indonesia which has a very wide area and a variety of culture. The three major ethnic groups give strong color are Dayak, Malay, and Chinese ethnic. Dayak ethnic group has a rich cultural diversity. Dayak is a name for native people on the Borneo Island. Dayak ethnic group is divided into sub-groups, each of them has similar custom and culture, referring to sociology of society and distinctive customs, culture, and typical language. Kalimantan Dayak ethnic groupaccording to an anthropologist J.U. Lontaan, 1975 in his book Customs and Customary Law of West Kalimantan, consists of 6 major tribes and 405 small sub-tribes, which spread throughout Kalimantan. The impact of globalization and the development of science and technology all over the world, it can erode culture gradually of the tradition in area that is still original. The society’s attitudeand love, especially the younger generation towards cultural values and traditional art tend to decline. Possibly this is because of ignorance, lack of information or concrete data from certain 40 traditional culture which have been inherited from generation to generation directly all the time, both through spoken language and direct application in social life.Book or certain note as a result of research that can help the development of a culture in Indonesia are still lacking. The consequenceis values derived through traditional culture also not being conveyed, and it will gradually disappear. Art, including music, is the result of a culture which is very closely related to the tradition of the people in West Kalimantan, both ritual and entertainment. in consequence, it is important to optimize its role as a media, both directly as a ritual media and as an attraction to the society, especially to the next generation. By learning music related to custom ritual both consciously and unconsciously, it will also pay attention and it is very possible totry understanding the custom traditions and its values. One musical instrument still has the value of local wisdom andmaintained traditionally in West Kalimantan is Kledi. Because of various things, Kledi which has value, function, and meaningsfor indigenous people, it has begun to be very difficult to find, both of musical activity and musical instrument. Twomain factorsare the problem of desire to play the instrument and the way it is made that takes long time and it requires patience, precision, and special ability. It needs special attention and action to maintain the preservation of the culture in West Kalimantan. Thus it is important to do research about Enkulturation of Kledi Dayak Kebahan Penyelopattribe. Many researches have been done on cultural enculturation, One of them is done by Subiyantoro on the process and enculturation pattern of carving in Jepara. The results of his research show that 1) the enculturation process of the value in carving art have done traditionally with various motives, 2) the enculturation process is direct (explicit) and indirect (implicit). Direct enculturation happens at schools and at the carving art work place, which is indirect through: family institution, peer group, workplace, religious institution such as mosque and mass media, 3) The apprenticeship system is a means of effective enculturation process, and 4) the enculturation process has certain patterns. 41 Other study is done by Suradi (2016) about cultural enculturation through language communication. The results of this study indicate that the form of communication in doing the cultural enculturation process in Pampang village, North Samarinda, using interpersonal communication of “diadik” and “triadik”as well as communication in group. The process describes that cultural enculturation can be done in various forms including language. The same as this study, is done by Gea (2011) who conducted research on the enculturation process is influenced by the role of parents, sibling, peer, and institutions such as childcare, education and religious system. While Harlandea (2016), analyze the history and enculturation of Gambang Kromong music in the Betawi of cultural village. The result of this study found the fact that Gambang Kromong music has existed in the Setu Babakan region since before the establishment of the Betawi Cultural Village in this area. Gambang Kromong's enculturation process happened through informal and non-formal process. Informal enculturation occurs through generally process to children in the family and the society environment. Whereas non-formal enculturation is done through a studio. Dayak Local Wisdom The Dayak tribe has the concept of unity, balance, and wisdom in managing nature as their place for lifing, so theirlife order unites with nature. Their main livelihood is farming, farming (huma), gardening, and taking forest product. The Dayak society believes that agriculture is a honorable activity in life. This is because agriculture is a struggle to reconstruct living to be better, and as an effort in redemption for sin during life in the world. Therefore agriculture is believed to be something sacred, so it must be always respected. This conviction is expressed in the ritual of communication with the natural authority through traditional ceremonies, while doing ritual especially to conveya gratitude to God (Jubata) Dayak people arealmost always adding certain music, such as Kledi musical instruments that isalways used at harvest festival in huma, and etc. Kledi as one of the musical instruments found in the West area of Kalimantan is an inflatable device whose sound source is the tongue vibrate (reed). Kledi still can be found in Sintang and Kapuas Hulu areas (Asmara, 2003: 42 8). As the time goes by, Kledi has begun rarely found. But in the Dayak Kebahant Penyelopat society, Engkurai Village North Pinoh Subdistrict, Melawi District, this instrument still can be found. There is one family that has been hereditary not only able to play, but also able to make the instrument. In Melawi district, there are only two brothers left who could make the musical instrument and their age is over 60 years. Kledi in the society of Engkurai and Nanga Pinoh is generally referred to as Kedede’. Kledi as a woodwind instrument has an important meaning in traditional ceremony, for example after the rice harvest. Although it is often used in Beduha event and reading spells, this instrument is not bounded by traditional ceremony and it can be used at any time for amusement. For Dayak people, Kledi has three important functions, those are: 1. as an instrument of entertainment for rural society, especially at happiness time, such as harvest party. 2. As a complement to the ritual tool or custom ceremony held for certain purpose. 3. As a tool for communication between residents through the language of speech which delivered intermittently between poetry or advice with Kledi's play. From the three important functions, the third function is very rarely found (Asmara, 2013: 9). Kledi in the Nanga Pinoh area is known as Kedede ', while the Hulu Mahakam / Kapuas call it Keroni Burong.
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