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The Social Phenomenon in Koromong Gamelan Ritual in Cikubang: a Cultural Geography Case of Indonesia

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The Social Phenomenon in Koromong Gamelan Ritual in Cikubang: a Cultural Geography Case of Indonesia REVIEW OF INTERNATIONAL GEOGRAPHICAL EDUCATION ISSN: 2146-0353 ● © RIGEO ● 11(3), SUMMER, 2021 www.rigeo.org Research Article The Social Phenomenon in Koromong Gamelan Ritual in Cikubang: A Cultural Geography Case of Indonesia Rony Hidayat Sutisna1 Dadang Suganda2 Universitas Padjadjaran, Indonesia Universitas Padjadjaran, Indonesia [email protected] [email protected] Reiza D. Dienaputra3 Universitas Padjadjaran, Indonesia [email protected] Corresponding author: Email: [email protected], [email protected], [email protected] Abstract The present study follows the cultural geography and aims to explore the social phenomenon related to the unique koromong gamelan ensemble ritual in Cikubang Hamlet, Sukahayu Village, Rancakalong Subdistrict, West Java Province, Indonesia. This study is conducted by considering the cultural geographical research approach. The unique social phenomenon associated with the koromong gamelan makes the ensemble different from other types of gamelan art. The uniqueness of koromong gamelan is related to the following: first, its function in Cikubang Hamlet community; second, the traditional belief in the transcendental, which makes the hamlet an attractive tourism destination in Sumedang Regency; and three, the process of handing down koromong gamelan art, which involves the Cikubang community, artists, culture enthusiasts, and Sumedang Regency. To cite this article: Sutisna, R, H.; Suganda, D.; and Dienaputra, R, D. (2021) The Social Phenomenon in Koromong Gamelan Ritual in Cikubang: A Cultural Geography Case of Indonesia. Review of International Geographical Education (RIGEO), 11(3), 377-391 Doi: 10.48047/rigeo.11.3.41 Submitted: 10-01-2021 ● Revised: 15-02-2021 ● Accepted: 15-03-2021 © RIGEO ● Review of International Geographical Education 11(3), SUMMER, 2021 Introduction The term gamelan refers to a set of traditional music instruments known in some regions in Indonesia, including West Java. Cultual geography is the sub branch of the human geography and sometimes it is considered as a sperate domain a well. It also helps us to identify that how do cultures are related to their origins and offers valuable insights to us. Anyhow, it studies the cultural aspects of the humans living at a particualr place. In this regard the current study has selected the West Java is a province in Indonesia whose economy is mostly based on the agricultural sector. Most of the province’s population makes their living from wet and dry agriculture and other farming activities. The regency has a total area of 44,599 km2, almost 51% of which is used for agriculture. Farming, however, is not the only activity that the agricultural people of Sumedang do in their daily life. They also do other activities which they think are important in their life. Outside the daily trade they are engaged in, they preserve certain beliefs and practices which, in their view, are important because of their contribution to the success of their life. In Sumedang communities, there is a system of belief that teaches them to praise and be grateful to the Supreme Being who created and rules the universe. In West Java, there are three types of gamelan ensemble, namely pelog-salendro gamelan (tuned in pelog and salendro scales), gamelan degung, and gamelan renteng (also called goong renteng). Gamelan koromong, which is often used in planting and harvesting rituals, belongs to gamelan renteng or goong renteng type. According to (As, 2021) gamelan koromong or goong renteng is a form of traditional art that lives and develops in Cikubang, Sumedang. The gamelan, Heins added, is played to accompany traditional dances, the entire performance of which forms a unity of music and dance as part of traditional ceremonies to respect the Goddess of Rice. Gamelan koromong is a set of gamelan that consists of 3 ancak (subsets or racks) of small bonang gongs. Other types of waditra (instruments) are a set of kendang (drums) and two large gongs. Based on Heins’ description, the so-called gamelan koromong found in Cikubang belongs to goong renteng type. Heins’ statement is supported by (Blunt, 2005; Clammer, 2005) who mentioned that gamelan koromong is an Islamic cultural artifact usually played in the month of the Mawlid (the Prophet’s day of birth). Sasaki’s statement, however, does not dismiss the fact that in the past, gamelan koromong was played in rice harvest ceremonies in honor of Goddess Sri. Today, gamelan koromong is considered sacred mostly because of its antiquity, and since the majority of Sumedang people are Muslims, the gamelan koromong is played in the sacred month of Mawlid to commemorate the birth of Prophet Muhammad PBUH. A type of Indonesian ensemble music, gamelan produces harmony from various instruments, namely drums, bonang, flute, gambang, rebab, gong, and saron, and the voice of a sinden (vocalist). Gamelan can be defined as a set of traditional instruments that are played together. The word gamelan has its origin in the Javanese word gamels. As a verb, it means ”to attack,” and as a noun, it means ”hammer.” The ending -an denotes a collective noun. According to the Javanese mythology, the gamelan was created by Sang Hyang Guru in about 167 in the Saka calendar. The god who ruled as the king of all kings in Java reigned from a palace in the Maendra mountain range in Medangkamulan (now called Mount Lawu). One day he was thinking of what kind of sign he could use to summon other gods, and this was how the gong was created. For more complex signs, he made two other gongs, and these gongs became the origin of gamelan. A visual narrative description of gamelan’s origin can be found in the relief of Borobudur Temple in Central Java Province According to (Donovan et al., 2012; Guner & Belet, 2020) however, the term gamelan koromong is associated with kolenang or bonang (a bossed or knobbed instrument). It is for this reason that gamelan koromong can be considered as gamelan renteng (goong renteng). In 1987, there was a project called West Java Province Cultural Improvement Supporting Project, which was headed by Enoch Atmadibrata. During the project’s data inventory process, gamelan was divided into several categories, namely gamelan ajéng, gamelan cara balen, gamelan degung, gambang kromong, gamelan saléndro/pélog, goong gedé, goong rénténg, koromong, gamelan monggang, gamelan prawa, ringgeng, sekatén, and toplek. However, based on the shapes, completeness, and placement of the instruments, the Sundanese gamelan can be classified into three groups, namely rénténg, saléndro-pélog, and ketuk tilu. Rénténg group includes goong rénténg, sakati, degung, koromong, goong gedé, and monggang Ciamis. Saléndro-pélog group consists of gamelan saléndro, gamelan pélog, gamelan ajéng, and monggang Cigugur. Lastly, ketuk tilu consists of tatabeuhan ronggéng (ketuk tilu, ronggéng gunung, ronggéng ketuk, dogér, topéng banjet, etc.). 378 Sutisna, R, H.; Suganda, D.; and Dienaputra, R, D. (2021) The Social Phenomenon in Koromong Gamelan … Among the gamelan types in the rénténg group, some, according to (Durkheim, 2013; Fahmi et al., 2016; Kayaalp et al., 2020; Kayacilar & Karaca, 2020; Luber et al., 2020) are known to be ancient Sundanese gamelan sets. Currently there are 9 surviving sets of goong rénténg, 4 sets of koromong, 1 set of monggang/cara balén, 1 set of goong gedé, 2 sets of sakati, and 2 sets of degung. The following are the types of gamelan in the rénténg group and their origin: Goong rénténg Embah Bandong (Lebakwangi, Arjasari, Bandung), Goong rénténg Ciwaru (Ciuyah, Sumedang), Goong rénténg Babakan Ranjeng (Situraja, Sumedang), Goong rénténg Ngalambang Panggugah Manah (Sukamulya, Kuningan), Goong rénténg Talagamanggung (Talaga, Majalengka), Goong rénténg Cibeusi (Jalancagak, Subang), Goong rénténg Cireundeu (Bandung), Goong rénténg Cinangnang (Tambi, Indramayu), Goong rénténg Ki Sayu (Cirebon), Koromong Cikondang (Lamajang, Bandung), Koromong Cikubang (Rancakalong, Sumedang), Koromong Cileuweung (Darmaraja, Sumedang), Koromong Ujungjaya (Sumedang), Goong gedé Kampung Naga (Citorek, Lebak), Monggang/Carabalén (Jambansari, Ciamis), Sakati Kasepuhan (Cirebon), Sakati Kanoman (Cirebon), Degung Pangasih (Museum Geusan Ulun, Sumedang), and Degung Kasepuhan (Cirebon). (Fahmi et al., 2017; Heringa, 1997) also mentioned that with most ancient gamelan sets, it was difficult to determine when exactly they were made. Estimation is usually based on folklores (usually oral) on events leading to the making of the gamelan sets. The three types of ancient gamelan, goong rénténg, koromong, ajéng, as well as other ancient types of gamelan, underwent hardly any change in terms of the music played. Only very few types, namely goong rénténg Ki Sayu, goong rénténg Embah Bandong, and koromong Cikubang, still have their repertoires well preserved. Unfortunately, other types of gamelan, such as ajéng Sinar Pusaka, ajéng Cikamurang, goong rénténg Ciwaru, goong rénténg Cinangnang, and gamelan pélog Si Monggang.however, suffered from some setbacks because their inheritors could not remember all the repertoires that had existed in the past. According to (Hill, 2001) gamelan koromong in Cikubang is among the few gamelan types whose repertoires are still complete because they are still played during rice harvest ceremony. Sasaki adds that gamelan koromong is an artifact that is used for spreading the teachings of Islam. Today, the gamelan set is considered sacred due to its antiquity and historical value. (Huidi & Er, 2009) refers to gamelan koromong as goong rénténg. The naming ‘goong rénténg’ is based on the way instruments are positioned in a rénténg (row). Goong rénténg is the predecessor of the more recent gamelan degung. As (Jones, 2018) mentioned, gamelan koromong used to be called gamelan Cikebo. An interview with Nandang revealed that the name Cikebo was changed into Cikubang in about 1980. This article aims to analyze the changes that gamelan kromong Cikubang has undergone until the present time. The data resulting from the analysis can be used not only as a basis for future policy analysis based on relevant theories available but also as a basis for other studies focusing on gamelan koromong.
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