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

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

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.

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:

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. Kledi is a type of mouth organ that uses 6 (six) bamboo pipes. At the end of each bamboo is assembled reed (tongue vibrating) made from the stem of Uthyang, which is combined in a resonator made of white pumpkin (Haryanto, 2013: 145). As a traditional musical instrument, besides having meaning kledi also has a function to produce tone. The note that Kledi produced including the pentatonic category. Like other musical instruments, the color of peculiarity in Kledi's voice also has an influence or impact on its perceptors. This type of musical instrument is commonly found in Southeast Asia and East Asia with different forms, but it has more or less the same way and the same materials. In Thailand, Cambodia, Laos and Vietnam this

tool is called khene, sheng is the name for a similar tool in China, while in Japan it is called sho. All of these tools are played by blowing and sucking.

Enculturation Concept Enkulturation is a process of civilization doing by the society, in their effort to adapt to the environment. Enculturation happens accidentally because of habit in customs as first capital. Enculturation or the process of civilization can be seen as an attempt to inherit and / or traditionalize something (value, knowledge, belief, norm, attitude, behavior, skill) in order tobecome a habit or customsthat owned and continued from one generation to the next generation so remain and sustainable (Triyanto, 2015). The enculturation process can occur through informal way (family and society environment), through non-formal way (studio), and formal way (school) which all play an important role in the success of an enculturation in a society (Harlandea, 2016: 5). The process of enculturation has been started by individual since He/She was a child in a family environment, neighbor, sibling, and playmate or even at school. With the process happened many times, a person's action become a steady pattern and norm that rule his/her action are civilized. Koentjaraningrat (1986) stated that enculturation is a unifying concept of society with an environment that is literally equated with the process of civilization Doing the role as an enculturation media, each school or education institution must be able to inherit and teach systems of knowledge, belief, idea and system of cultural values in the society where education happen. Enkulturasi as a concept, literally can be meantwith the process of civilization (Koentjaraningrat 1986: 233) or cultural socialization (Koentowijoyo 1987: 43). In the process, an individual learns and adapts his/her mind and attitude to the customs, system of norm and rules that live in their culture. Enkulturasi will be seen clearly on humanities education such as art, literary study, music, dance which is a form of creative expression. In its his inheritance, Enkulturasi needs media as a place to give and receive through a long process that does not appear clearlythe septum or the boundary. Enculturation media consist of three important things, those are (1)

family, (2) society, and (3) school. Children spend their early day of life with family and get a reflection of their family's values and pattern of behavior. After that, the values and patterns of society behavior are shown to them. In society, an individual will be transmitted by a long-developed culture around the society in where he/she lives. The process can be in the form of learning to make game tools, learning to make cultural tools, and learning to understand cultural elements in the society. School system is one of the important pillars that become the pillar of a larger social system in a society life order through cultural strategy. In this case, education is a medium for transforming cultural value, strengthening the social bond. Through education, cognitive ability and intellectual ability of individual can be developed properly. This cognitive and intellectual ability is very important for individual to recognize and understand the cultural concept of a society that is so diverse, unique, and particular. Through the school system every child is introduced about the importance of learning a social life order especially in the early age, where there are various kinds of social entities inside. School is a miniature of society, because in it there are structure, statuse, function, role, norm and value.

Music Organology and game technique The organology has a purpose as a description of the shape and form of a musical instrument construction. In music terms, organology is the study of the musical instruments subject, both regarding the structure, tool, materials and even sound production. Susumo Kasima (in Mariam, 1998: 13) stated that the study of musical instruments is done with two basic views, those are structural and functional. Structurally that is by studying the physical aspects of musical instruments such as measuring,taking note and describing the form of instructional construction of the size and raw materials that used to make the instrument. The functional approach is the aspects containing in the instrument that have to do with musical function, recording all the methods, playing instruments, using sound produced, sound power, color tone and sound quality.

Based on the object of the study, organology is the study of how to describe or study more deeply about musical instrument both from the parts and their uses. The theory of organology that classify musical instrument according to their sound source, as quoted by Soeharto, Sudharsono and Arief (1987: 51-52), writing that Mahillon-Sach-Hornbostel dividing musical instruments based on their sound sources, those are: (1) Ideofon, (2) Aerophone, (3) Membranophone, (4) Kordofon, and (5) Electrophone. The organology has two study approaches, those are: Textual Study and Contextual Study. Textual study is an approach to organological study by making the object of study as text. The study material is the instrument itself and other instruments that are the same or similar. Including textual study is the main parts of musical instrument related to acoustic according to sound sources (Idiophones, Kordofon, Aerophone, membranofone, and Electrophone). These including: (1) sound source material, (2) how to vibrate sound source, (3) sound that produced without resonator, (4) sound that produced with resonator, (5) types of resonators, and (6) the bridge of sound source with resonator. Whereas contextual study is approaching to organology study that connect to the object of study instrument with various related things from their environment, such as history, culture, society, and etc. Technique is the way to make something or do something that is related to art.Game technique is also something that is related in anart work and it can be interpreted also as a way of doing or running a work of art properly (Poerwadarminto, 1953: 122). In this understanding, game technique including the use of musical instrument and how to show them to the general public. Game technique is a way to do or run artwork by using musical instrumentproperly. Setyaningsih (2007: 19) interpreted the game technique as an illustration of the patterns used in a musical artwork based on how to play the instrument along with repetitions and changes, as the resultproducing a meaningful musical composition or harmonization. The technique of playing on wooden wind instrument such as block flute is simply known hasthree techniques, those are: (1) fingering, (2) blowing, and (3) tongung. The fingering technique is a game technique to produce certain tone by

opening and closing the resonance holes using finger. Principlally, closing the hole is extending the resonance tube, and opening the hole is to shorten the resonance tube. Blowing techniqueis a game technique to produce tone by blowing. This technique focuses on the layout of blow instrument on the lips (mouth), thusit will get a good and correct position. While tonguing technique is a game technique to produce sound using the tongue. Kledi has specificity in its morphology, which has a reed free tongue(reedfree). Thereforethe technique of producing sound in this instrument can be blown or inhaled. This technique will not work on wind wood instrument that have single or multiple reeds with non- free positions.

RESEARCH METHODS This research analyze the organology and Kledi's game techniquerelated to the problem of enculturation of the musical instrument. The units that have analyzed consist of organological structure, game technique which include: blowing, searching, and playing pattern, also the value and the function of Kledi. In this studyis used a cultural approach with qualitative research method to analyzethe problems in an interpretive analytic. The data collectionis from the interviewee and the player. The source of data consists of Abang Bunai and his family as heirs, maker, player, and preserverof Kledi and Nursalim Yadi Anugerah as Kledi user and activist. The data is obtained through direct observation and in-depth interview, and validated through triangulation and reconfirmation. The data collection is analyzed by referring to interactive analysis models (interactive analysis models) developed by Miles & Huberman.

RESULTS AND DISCUSSION Engkurai is one of the village included in the area of North Pinoh Subdistrict, Melawi district, West Kalimantan. The population of Engkura Village reaches more than 753 people. The only land access to Engkurai Villagepasses a connecting road to Sungai Pinang Village and Merpak Village for 6 KM as a main road, with unfit conditions. The population in the village is dominated by the

Kebahan Penyelopat Tribe, which is a sub of the Kebahan Dayak Tribe who lives in Melawi District. Kledi, which has united with the Engkurai area, including a windwood instrument group or including in the mouth organs category, which has sound using a vibrating tongue or reed. Kledi has many names with various forms, but it has the same principle both in structure and sound source. A type of Kledi musical instrument in China is known as Sheng (笙), in Korea it has the name Saenghwang (생황), in Japan it is called Sho (笙), in Thailand it has the name Khaen, in Laos almost similar to Thailand, called Khaen or Wot, in Cambodia with the names Ploy, Ken, and Bunong, in Vietnam known by several names, such asKhen Bau, Panoramio, Dinh Nam, and Dinh Takta, in Sabah it is very well known with the name Sompoton, and it has been used as an icon in that area, while in Sarawak is called Engkerurai, Keluri, and Klerdi. In India this tool is called Gosem. While in Indonesia, especially in Kalimantan there are also some areas that still can be found with various name of musical instruments such as Keledi / Keluri in Sintang, Kadedek in Melawi (West Kalimantan) and Keruri Brong in Central Kalimantan Kledi or by Dayak Kebahan Penyelopat is better known as Kededek, all of it use materials that are pure from nature. The materials used consist of bamboo, old pumpkin, and insect nests (Kelulut Nest) as adhesive or glue to attach the bamboos. This musical instrument is recognized as a traditional musical instrument Sub-Dayak Kebahan Penyelopat Tribe in Engkurai Village, North Pinoh sub-district, Melawi district. This instrument is often used during traditional ritual, gawai dayak, and annual gawai, alsoas danceaccompaniment and amusement by Dayak Kebahan Penyelopat people

Kledi Organology Kledi musical instrument, according to the classification tools of Mahillon-Sach-Hornbostel is included in the group of Aerophone musical instrument, which is musical instrument that has sound because of the vibration of the air flowing in the instrument. Kledi consists of important parts, those are: (1) resonance hole, (2) tone tube, that is to set or produce tone, (3) tonguevibrating or

reed which is the source of the sound in this instrument. The two main parts, those are the resonator chamber and the sound hole. This traditional instrument is made from natural materials, those are several segments of bamboo and pumpkin (korubu) genus of legenaria siceraria, or as the same material for making Sompoton in Sabah, Malaysia is called bottle pumpkin. Resonance is a very important element in producing musical instrument, because resonance in the air column can be used to produce sound which is a media music. Based on that, various musical instrumentcan be made. Musical instrument is commonly made perforated thus air resonance occurthen the sound of the instrument become loud. Kledi is a windwood instrument that uses multiple organa pipes as a sound source. The natural frequency of the organa pipe depends on the length of the pipe and the tip situation of the organa pipe, which is open or closed. Kledi with multi pipe organa as the producer of tones that can be sounded together with several tones at once, henceit requires a resonance hole which function conducting to more than one pipe. Hole or cavity as a place of resonance as well as regulating air flow in each organa pipe, made of dried pumpkin which has been discarded the content. This is explained by Bunau that dried pumpkin or korobu is the main material beside bamboo reed, which is used to make Kledi (August 19, 2018). White pumpkin (a genus of lagenaria siceraria) as intended by the interviewee, is a pumpkin plant which grows on the ground and branches, with a hard texture, especially the fruit that is old and dried.

Pictures of White Pumpkin (Korubu) that have formed

The White Pumpkin that will be used is approximately 5 months old from the ovary, as of when it is dried it does not shrink and it is not easily rotten. Drying the pumpkin is not done by drying it continuously, but putting it on top of the para-para (approximately 2 meters above the furnace), thus it is smoked every day. White Pumpkin is one of pumpkin genus. The tone tube in Kledi is the producer of tones that is obtained by opening or closing the existing hole, thusin principle the tube becomes longer or shorter. The tone tube is in the form of bamboo segment which is arranged in such a way that it allows for doing fingeringthe entire tube is 7 pieces, but there are also less than that number. Six of the seven pipes that have, have a hole as a place for the outflow of air, which is also a regulator of tones that is needed. One pipe does not have a hole on the side but at the tip, so that this pipe will sound continuously when it is blown. The bamboo segmentsuse bamboo of the type of Buluh Perindu (Javanese: wuluh or in Latin: Shizotachyum Blune), which has a rather long and thin-walled segment. The length of this type of bamboo segment reaches 60 - 80 cm, so the segment that required is sufficient according to the tone to be produced. The required bamboo is seven segments, each of them is not the same length in order to produce a different tone. For selecting of bamboo that has good quality, logging is not doing during the rainy and dry season. In rainy season, the shrinkage in the drying process is quite a lot, while in the dry season it is not old enough, so it will quickly rot.

Bamboo picturethose are selected and ready to use

The length of the segmentin Piece of bamboo stem is adjusted to the tone that wanted. This bamboo segment will determine the high and low tone that produced. Abang Bunau does not make certain standardin cutting bamboo, but based on feeling, or based on the customer want. Alsoin the tone produced there is no standard tuning tone that is conventional and binding. Tuning is only done in a natural sense by the maker. Usually refers to existing tools. This is based on the nature of traditional musical instruments which do not have a standard in tuning, all depend on the maker, so that one area with another may be different. Bamboo that has been ready is arranging as follows.

Keterangan 1. Induk 1 2. Sulling kiri 2 3 3. Suling kanan 7 4. Perabong

5 6 5. Seruning kanan 4 6. Seruning kiri 7. Telampong Warna hijau menunjukkan jari tangan kiri, putih tangan kanan udara

Picture of the location of bamboo in the pumpkin

Vibrating tongue (reed) made from the skin of the apin tree midrib, is the most important part of Kledi musical instrument, because it is the source of the sound in the instrument. Abang Bunau explained that looking for apin wood in the area is not difficult, but to determine which stem to use as apin is not easy and not everyone can. The function and how the tongue vibrate in Kledi is the same as the Harmonica instrument, which will vibrate when blown or smoked. Thick and thin in producing Apin will affect the blowing. If the Apin is made too thick it will feel heavy blowing, and the opposite. The position of the apin is on each bamboo segment, whether or not it has a pitch setting. The assembly of Apin on the bamboo segment as shown in the following picture.

Image of tongue vibrate (apin) and how to install it

Gambar lidah getar (apin) dan cara pemasangannya The Way of making Although it looks simple, producing Kledi requires a long process and need to be careful also take a long time. This is because Kledi is made from natural material, so the materials needed are also waiting to be prepared naturally. Kledi is an instrument whose taxonomy system comes from nature.It can be seen from the use of bamboo, pumpkin, and rattan as a binder. Even to glue bamboo and pumpkin, use honeycomb as a media. The preparation of resonance tubes made of pumpkin is a process that takes the longest time because it has to create the pumpkin shape as you want. Moreover,the adhesive is originating from klulut bees. It is not always available when needed. The steps in process of producing Kledi is begun by preparing a bamboo stick with the length of the segment adjusted to the tone that wanted. This bamboo segment will determine the high and low tones that will be produced. There is no standard provision of benchmark in how long the bamboo segment will be used. thus, with the tone produced, there is no standard tuning tone that is conventional

and binding. Tuning is only done in a naturally by the maker. Usually refers to existing tools. The bamboo is perforated around the center of the bamboo segment. How to perforate is using iron that has been heated, then rotated (like to drill) at a predetermined place.

Ruas Re Lubang

Picture of a bamboo segment with tone and reed

Apin (reed) is assembled on each bamboo stem in its base as shown in the picture above. All segments - bamboo segment that have been installed with apin are joined / tied with rattan rope or bark. After all bamboo segments as the pitch pipe are ready, then make a hole in the pumpkin that has been prepared with the width according to the amount of bamboo that will be inserted. Perforation is can be done with a knife that is pointed and sharp enough, so it is not damage the shape of the pumpkin. Mouthpiece is used by the base of the pumpkin stem which is usually smaller than the fruit, and has been shaped in such a way that is curved. Furthermore, it is arrangedbased on the following steps.

Labuyang picture that is ready to use

1) The bamboo section that has been tied is then inserted into the pumpkin that has been perforated, but the base of the bamboo does not touch the bottom of the pumpkin, there is still a little distance, so it does not disturb / muted the vibration when blown.

2) To close the gaps and alsoas reinforcement, used insectadhesive which is blackish brown, originating from the process of making nests in Klulut bees. Besides being a cover, the adhesive also have functions as a binder so that bamboo and pumpkin can blend together. 3) Finally, giving ornament / decoration, which is usually added to bird feathertied to bamboo slat / pitch pipe. In producing Kledi there are no special procession or ritualbeing done, only in preparing the materials that require certain calculation / consideration. This merely leads to consideration or calculation of the quality of the material to be used.

Kledi Playing Technique Kledi has a tone area of approximately one octave with the lowest tone position placed "drone" (a tone that always sound when Kledi is blown). Kledi has a typical and unique sound also the sound produced is like an organ musical instrument. Because it is also categorized as "mouth organ". This instrument is capable of producing polyphonic sounds. How to play the kledi by blowing or sucking (using a free reed model like a harmonica). To regulate the production of kledi tones by opening and closing the holes on the bamboo stick. The free-reed blowing technique on Kledi blow and suck, allowing player to produce tone continuously. In addition, the number of pipes with each reed in the pipe allow this tool to produce chord(such as a bagpipe). The production of a distinctive tone in Kledi is by having a tube that always sound at the time of playing (without having to open and close). But the tone remains the same. This tone is called the tone "drone". The basic technique of playing windwood instrument in general both metal and wood can be divided into seven parts, those are: (1) body position when blowing instrument, (2) position of hands holding instrument, (3) breathing, (4) ambasir, (5) intonation, (6) articulation, and (7) fingering technique. In summary the basic techniques of Kledi musical instrument can be explained as follows. The position of a person body in playing an inflatable instrument can affect durability and other effects. To blow Kledi can be done by sitting or

standing, focusing on the position of the hand as much as possible in a relaxed way. The most important thing in this standing and sitting attitude is to smooth the way of breathing and can strengthen the muscles around the abdomen, abdominal and diaphragm. In such conditions more air will be inhaled or exhaled / blown, and it can produce clearer notes.

picture of hand position in playing Kledi

Breathing (Breathing) The definition of breathing in an inflatable instrument is the technique of breathing and removing air as needed, so that the air capacity in the lungs can be optimized and utilized as much as possible to produce tones. Frequent respiration of humanconsist of breathing shoulder, chest, abdomen and diaphragmatic breathing. Respiratory which is highly recommended in this case is diaphragmatic breathing. In the diaphragm breathing process, when breathing air, the abdominal muscles of the right and left side expand and the muscles around the abdomen help to suppress the air from the lungs, so that the air inside gets additional pressure, and into the abdominal cavity or thoracic cavity

Ambasir (embouchure) Ambasir (Embouchure) is the most appropriate position or shape of the lips in making an inflatable instrument, in a hole or mouthpiece, to be able to produce the right, good, and correct tones. The position is by utilizing the muscles of the lips, chin, cheeks, teeth, jaw, oral cavity and throat of the player. To train

the strength of these muscles by often exercising the lip muscles through movement in order to tighten the muscles of the corner of the right and left lips so that the entire facial muscles can feel. To train high register tones by tightening the muscles around the lip and tightening the right and left corners.

Kledi has a blow hole that has been arranged in such a way and is connected to the apin (reed), so it does not demand too much certain Ambasir (Embouchure). However, with a well-trained ambasir, it will be easier to produce sound and endurance for player, especially if you notice that Kledi's playing technique is not only blown but also sucked. The mouthpiece for Kledi is the base of the fruit stem which shrink compared to the size of the fruit and is longwise, with a shape that has been formed in such a way, according to the desirable position when playing. Position the lips when blowing as shown in the following picture.

Ambasir picture on the kledi (front view)

Intonation In playing music, intonation is interpreted as a high / low tone or pitch. Intonation in an inflatable instrument has a variety of problems and this can be seen in the overtone series tones or the upper tones that the base note has. Kledi instrument which has a soft voice character, it has no problem with that. But with its traditional character, the resulting intonation will not be identical to the size of tuning as in western music. Kledi as other traditional musical instrument rely more on the problem of "feeling" the player.

Articulation Articulation here is interpreted as a technique for producing tones clearly, clean, good and correct. This technique can practice with tongue control exercise(Multiple Tonguing). Some of the Tonguing techniques those often used are: single tonguing, double tonguing, triple tonguing, flutter tonguing and doodle tonguing. Kledi game techniques can be done with several techniques, such as: Single tonguing, double tonguing, triple tonguing, and tongue ram. Kledi playing techniques can be done by puffing (exhale) or sucking / strawing(inhale). Single tonguing can be applied by opening and attaching the mouthpiece to the position of the upper and lower lips. The pronunciation of a single tonguing technique is like saying the word "ta" or "tu" and the position of the tip of the tongue gives emphasis to the upper teeth of the inside. The double tonguing technique can be done by pronouncing the tongue "tu-ku-tu-ku" or "ta-ka-taka". Triple tonguing can be trained with pronunce "tu-ku" or it can be "tah-tah-ka", the position of the tongue and lips is like practicing a single tonguing technique. The tongueram / stoped technique can be played on Kledi instrument for suction / inhale. The technique is done using the form: f (ud) - d (ud). This technique is like Tongue- blocking in a harmonica game, which is to close some harmonica holes with the tongue so that only one hole is blown / inhaled. In addition to the techniques above, Kledi also can be played with a chugging technique. Chugging is a technique to play rhythm on mouth organ instrument. Kledi with a blow-hole character that is quite wide also has an articulation playing with the fluttertongue technique (blowing explorationwith tonguing). The playing technique performed on the Kledi consist of as follows; − Flutter I (Buzz) This playing technique is done by projecting the air and tongue like saying "R" at a pace. (ppp - fff)

The Examples of the playing Flutter I on Kledi − Flutter II (helicopter-tonguing) This playing technique is done by moving the tongue horizontally right and left quickly, while still projecting the air blow into the kaldii. (mf - ff)

Fingering Technique Fingering technique require the ability (skill) of the player fingers in determining his position to the playing of the tones that produced. Thus it is necessary to understand the position and use of the fingers of the right / left hand according to the formation of the tones. The position of the fingers on the left and right hands in playing kledi it has almost the same function that is a support tool, it is also used for fingering (closing and opening the tone hole). Like other inflatable instrument, the normal position of the fingers on the right and left hands is determined according to the holes in the Kledi pipe (except for left-handed). The position and tone of the musical instrument Kledi as illustrated in the following picture.

Picture of Tone on Kledi The left hand fingers is marked with dark gray, the right hand fingers are white. The tone produced by Kledi has a range of one octave. The first or lowest tone is "drone". The tone mode (Scale) is formed by repeated intervalis patterns, namely:

M2 - m3 - M2 - m3 M2. The tone produced if analogous to the tone of the Western music system can be written as follows.

Kledi Enculturation in the Dayak Kebahan Penyelopat Community Enculturation or civilization is the process of learning and adapting the mind and attitude of individual with the system of norm, tradition, custom, and regulations that live in their culture. This process hasstarted from childhood, beginning from a small environment (family) to a larger environment (communinniity). In the enculturation process, an individual learns and adapts his natural thought and attitude to custom, system of norm, and rules that live in culture. In addition, various norms are learned by listening to the communication each other in their social environment at different times. Enculturation media generally occurs through patterns of family life, society, and formal education in school. Values, behavioral patterns, and norms of society are learned through family and friends. In addition, various kinds of actions contained in the community can be seen and immitated by individual as member of the community, both directly and indirectly. This is sometimes reinforced by praise and punishment when deviant behavior occurs. Beside in family and society, the schooling system is one of the important elements that become a buffer for a larger social system in a society life order through cultural strategy. In this case, education is a media for transforming cultural values and strengthening social bonds. Through education, cognitive ability and intellectual ability of individual isdeveloped. These cognitive and intellectual abilities are very important for individual to recognize and understand the cultural concepts of a society that is so diverse and unique. Through the schooling system, children are introduced about the importance of learning a social life order, in which there are various kinds of social entities. School is a

miniature of society, because in it there are structure, status, function, role, norm and value. The Kledi enculturation process runs not on all media, namely informal, non-formal, and formal. This is due to the influence of various things, one of them is the influence of globalization that has penetrated all sectors, including culture.

1) Informal Enculturation Proces The enculturation process of Kledi as a traditional musical instrument for the Dayak Kebahan penyelopat occurs through informal proces(family and community environment). Informal enculturation that takes place on Kledi musical instruments does not occur equally to the community. The process only takes place in one or two families. One of the family who conserve this traditional work is the Abang Bunau family. The inheritance process occur through a prevalent process, where children are accustomed to know, familiar, and by themselves will like, and play Kledi musical instrument without coercion. The informal enculturation process in the Abang Bunau family have begun since childhood. Coincidentally as a player, Abang Bunau was also a crafter or artist of Kledi musical instruments, so he often asked his children to search materials to make Kledi, such as bamboo reed, klulut adhesive, and binding rattan. However, because only one son from his four children, the informal enculturation process do not work properly.

The process of enculturation through the community environment occurs because of social interactioninfluenced other individuals to contribute on certain thing or value. It does not happen in Kledi due to the changing time and era so that people who able to play and making, only one or two people were left. Thus social interactions related to Kledi musical instrument can be said to be almost non-existent. The steps of inheritance process including the introductory, seeing, imitating, and coaching process in the community,it does not occur in Kledi musical instrument. Similarly, the appearance of ordinary event and other events with art form that use Kledi is gone.

2) Non-formal enculturation process Kledi enculturation process through non-formal media (studio) has not gone well. The first thing, there are not many people who mastering both the playing technique and the producing technique. The studio whichis pioneered by Abang Bunau who is one of the two people who mastered Kledi, both in terms of play and making, has not attracted the interest of the community to learn it. Second, it is because the characteristic of Kledi playing is individual rather than group, both as a special group and in a mixed form, so it needs special skillto be able to play. This is different when playing in an ensemble, which allows one player and the other to be able to fill each other, so it does not needhigh skillto play in group. Thirdly, it is very rare that show performs this musical instrument. The studio which is pioneered by Abang Bunau even though it did not succeed in developing and finally stopped, but there is one member who had understood a lot of knowledge related to the Kledi instrument play, Sondang, who is Abang Bunau's wife. Sondang becomes the singer of the Baduda poems or also calledbe kanathat very touching, with the accompaniment on the blow of Kledi Abang Bunau.ven though it has not been able to realize the studio as a form of cultural inheritance that can further accelerate its spread at the end. Abang Bunau feels grateful because through the chanting of Bedudapoems that contain advice can be received by his children. Even Jelina stated, because of too emotion sometimes she unconscious to shed tears when listening to the chanting of the poem Beduda 'from her mother.

Formal Enculturation Process The schooling system is one of the important pillars that become the pillar of the social system in a society life order. Education is a media for transforming cultural values and strengthening social bonds. Through education, cognitive ability and individual intellectual power can be developed. This cognitive and intellectual ability is very important for individual to recognize and understand the cultural concept of a society that is so diverse, unique, and particular. Through the schooling system every child is introduced early about the

importance of learninga social life order that there are various kinds of social entities. But the process of enculturation of the traditional work of the Kebahan community, namely Kledi, it has not been able to be done through this formal education. This is due to limited human resources, especially teacher who mastering the knowledge of Kledi, both theoretically and practically. Thus it is not possible to provide material to student or at least introduce or give appreciation to this traditional musical instrument.

CONCLUSION AND SUGGESTION Conclusion Based on the study, analysis of research data, and interpretation according to the theoretical basis used in this study obtained through observation, supported by interview, it can be stated the conclusion of this study as follows :

1. Based on the analysis of the data and discussion of the results of the study it can be concluded that organologically, Kledi traditional musical instruments are traditional musical instrumentof Dayak Kebahan Penyelopat people, because all the constituent elements of the tools are found in nature and typical of the Engkurai area such as reed, pumpkin, apin, and klulut sap. In producing it using natural equipment and materials, and it is done manually. This instrument is a type of mouth organ with a free reed vibrate tongue, so that it can be played by being blown and smoked. 2. The traditional playing technique of musical instrumentDayak Kebahan Penyelopat tribe generally having the same technique with an inflatable instrument in general, it can be played homophones in particular, added with one distinctive musical instrument, namely the drone tone. Besides that, it can also be played with the tongue ram / stoped ram technique. The most typical playing technique in this musical instrument is the chugging technique, which is able to make Kledi as a melodic instrument that simultaneously plays a rhythm.

3. The process of enculturation Kledi as a musical instrument of the Dayak Kebahan Penyelopat community only occurs through informal proces (family and community environment). The process of inheritance occurs through aprevalent process, by familiarizing children with knowing, being familiar, and by themselves will like, and play Kledi musical instrument without coercion. The informal enculturation process only occurs in very limited family, because there have been very rare people who have expertise, both in playing and making traditional Kledi musical instrument.

A. Suggestion According to the result of the conclusion in this study, it is strongly recommended to do a number of things related to the civilizing of Kledi as one of the cultural tradition, those are with the following matters : 1. Through local government policy, it is necessary to conduct in-depth study through research on the organology of Kledi musical instrument, thus it can preserve and develop the materials related to this instrument. Thus it will be more possible for people to learn about how to make this instrument. 2. Through local government policy, it is necessary to conduct in-depth study through research on Kledi musical instrument technique, so that to improve both the quantity and quality of the player of this instrument. Moreover, it will enable more people who are capable of playing this instrument and further develop existing techniques in order to attract the interest of the teenagers. 3. Policy is needed to develop cultural garden and cultural community in the development of Kledi, so that to encourage accelerating and expanding the enculturation process. In this connection, Kledi is very worthy to be developed as a regional mascot or as a regional typical souvenir.

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