DOCSLIB.ORG

Sundanese Karawitan and Modernity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sundanese Karawitan and Modernity Sundanese Karawitan and Modernity Mohamad Rudiana Postgraduate Program ISI Yogyakarta Jalan Soryodiningratan No. 8 Yogyakarta ABSTRAK Karawitan sebagai seni tradisi hingga saat ini masih digemari masyarakat. Pada konteks ke- beradaannya di dalam masyarakat sekarang, seni tradisi dihadapkan pada semacam paradoks. Di satu pihak, untuk bertahan hidup, ia membutuhkan daya tarik dan pesona, berupa inovasi-inovasi kreatif yang bersumber dari tradisi itu sendiri; di pihak lain, jika seniman melakukan perubahan dan inovasi dari tradisi, maka sama artinya dengan menghapus tradisi itu sendiri, karena tradisi tidak menolelir transformasi. Metode yang digunakan pada penelitian ini bersifat kualitatif dengan landasan berfi kir fenomenologis interpretif yang berorientasi pada kebenaran yang bersifat subjektif dari sumber penelitian. Pengumpulan data dilakukan dengan menggunakan wawancara mendalam (in-depth interview) sebagai teknik yang utama dalam penelitian ini. Hasilnya adalah saat ini ada kecenderungan proses kombinasi baru antara seni tradisi dengan seni modern. Modernisasi bukan untuk dihindari, melainkan harus dimanfaatkan untuk memutakhirkan kesenian tradisional. Upaya ini sebenarnya penyiasatan agar kesenian tradisional tetap bertahan. Banyak kesenian tradisional yang dapat bertahan justru karena mengikuti arus modernisasi dan globalisasi itu. Kata kunci: karawitan, seni tradisi sunda, seni modern, inovasi ABSTRACT As a traditional art form, karawitan is still popular among the Sundanese community. Contextually, there is a paradox within the presence of this traditional art form in today’s society: to survive in the modern world, traditional art needs appeal and charm in terms of creative innovations that come from the tradition itself; on the other hand, changes and improvements of the tradition are in fact erasing the tradition itself, because tradition does not tolerate transformation. The method used in this research is qualitative with phenome- nological interpretive thinking foundations oriented towards the subjective nature of truth from research sources. Collecting data using in-depth interviews is the main method used for data collection. Nowadays there is a tendency to combine traditional arts with modern arts. Modernization is not to be avoided. Instead, it should be used to update traditional art. These eff orts are actually strategies to preserve traditional art. Many traditional arts survive because they follow the stream of modernization and globalization. Keywords: karawitan, traditional art form, modern art, innovation Panggung Vol. 27 No. 3, September 2017 264 INTRODUCTION instrumental. While karawitan sekar gending Cultural problems of Sundanese soci- is a combination of both (Soepandi, 1995). ety, as well as Indonesian people in gene- In addition to karawitan, there are still ral, is indicated by the process of cultural many Sundanese musical art forms such and local tradition alienation or exclusion as beluk, wawacan, ciawian, cigawiran, belen- (marginalization) by their own ethnic com- tuk ngapung, rengkong, etc. Those are a few munity. This marginalization occurs as a of traditional musical forms that are rarely result of the advances of the era, such as or never performed anymore in the arena the use of pa erns of time division; the pre- (Hermawan, 2006: 1). The forms of tradi- sent Sundanese people now usually use the tional music mentioned above are further system of international time division and described in the study entitled Bandungan: Islamic prayer times in their daily life. an Alternative Form of Tembang and Kawih Modernization and globalization have Creativity by Deni Hermawan (2006) as a re- shifted the indigenous local culture to the sult of decreasing level of public demands periphery of culture and to the corners of for particular performing arts due to their society’s collective memory. On the one irrelevance with people’s way of thinking, hand, the rationalization and development inappropriateness with current situation of science and technology have modernized and condition of society. All of these may Sundanese life and facilitated their lives. On lessen people’s knowledge about Sunda- the other hand, the risk is enormous, name- nese karawitan that is also worsened by the ly the destruction of social institutions, re- limited number of sources discussing it. ligious institutions and the fading of Sun- People’s limited knowledge about Sun- danese tradition. This can be seen from the danese karawitan is closely related to limit- fact that many traditional arts have been ed media that give information about Sun- forgo en by their people. danese karawitan. It can be said that there is In Sundanese culture, sounds cannot lack of print and electronic media that spe- be separated from habits or traditions that cifi cally covers Sundanese karawitan, in the are commonly practiced by the people. The form of bulletins, magazines, newspapers, sounds can be presented as kalangenan or or tabloids, up to television programs. games played by both adults and children Since young people as part of society at diff erent times and places, for example, are rarely exposed to traditional arts, they tutunggulan is usually done when the full now take global culture as their own cul- moon rises, ngadu drum is performed during ture. Therefore, traditional art and culture the fasting month. However, in general, it are considered as foreign things. This is is Sundanese musical karawitan that is well- similar to what was revealed by Soedarso known as Sundanese traditional music. Sp (1991: 26): Sundanese karawitan is generally divid- ed into three types, namely karawitan sekar, The most obvious impact of the infl ux of karawitan gending and karawitan sekar gen- foreign cultures, especially the West to Indonesia, is the declining interest of the ding. Karawitan sekar is all kinds of karawi- people, especially the younger generation tan performance that use only human voice towards something ethnic. This is due to (vocal) media. Karawitan gending is a type of the weak understanding of the ins and outs of the arts itself. karawitan that use only sounds of musical instruments. Gending can also be interpret- As we know, culture is constantly ed as a song that is performed by instru- changing. Among a number of traditional ments. In other words, karawitan gending is music that survive and continue to grow, Rudiana: Sundanese Karawitan and Modernity 265 there are so many other traditional arts that sounds that are not always united in musical slowly ebb and eventually perish. This issue mixing, but in fact, they are part of music has prompted many traditional artists to that can not be ignored. engage in creativity with revitalization con- In campursari, there is an ongoing power cept, such as presenting traditional music struggle that accompanies the new genre of within a new package. For example, patare- musical hybrid. In a particular sense, it is man performs beluk as a part of a new com- the ba le site between the dominant group position (Hermawan, 2002: 29). This eff ort and their strategies and tactics to avoid pre- can never bring the arts of beluk back to life vention, evasion or tacit resistance from the because life indeed has changed (for exam- subordinates. The sound hybrid produced ple, the paddy system has used tractor so by various musical instruments not only that farmers no longer perform beluk when makes campursari a musical phenomenon, they plow the paddy). Another example is but also has created a discourse as a result bandungan developed by Dasentra (Daya seni of the global process of what is “Javanese tradisi or Power of Arts Tradition) Bandung arts” or “Javaneseness.” because it was inspired by tembang sunda This paper is part of the dissertation cianjuran that still exists (Hermawan, 2006: about the creation of arts that uses sounds 3). This eff ort does not change the arts of and Sundanese traditional arts as its foun- tembang sunda cianjuran because its people dation. The new thing that writer gets out keep embracing and developing. However, of this phenomenon is that the traditional what is done by Dasentra Ban-dung (patare- music actually still has extraordinary ener- man and bandungan) is still in the corridor gy and power which can be created into a of Sundanese Traditional Arts. monumental work. In the conclusion of his research, Her- mawan (2006: 17) mentions that Dasentra’s eff ort in the form of tembang bandungan is METHOD the result of creativity that jumps far away This research is qualitative with an from its original source and automatically interpretive-phenomenological thinking off ers innovative things (new) in it. foundation that is subjective-truth oriented Another example related to innova- toward the research source. According to tive action developed by artists of tradi- Alfred Schu , the subjective experience is tion is campursari. In terms of music, cam- always in touch or interacts directly with pursari is able to combine traditional music the object being observed (Norman and (gamelan), keroncong/langgam and pop Yvonna, 1995: 337). music with Western musical instruments. This study is part of an artwork cre- Although debatable, campursari has deve- ation equal to a dissertation (S-3 Degree loped in society (especially in Central Java) Program of ISI Yogyakarta) entitled Paku- since the 1980s, and now this music genre sarakan Kuring. The study results presented keeps growing all over Indonesia and is in this paper are part of the preparatory adored by Indonesian people. phase.
Load more

Recommended publications
  • Download (140Kb)
    DAFTAR PUSTAKA Ayers, Lydia, & Horner, Andrew (2005). Synthesizing a Javanese Gong Ageng. Diambil 15 April 2021, dari https://www.researchgate.net/publication/267788512_Synthesizing_a_Java nese_Gong_Ageng Budhianto, Matias H.W., & Dewantoro, Gunawan. (2013). The Spectral and Temporal Description of Javanese Gong Kempul. Diambil 8 April 2021, dari https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=& ved=2ahUKEwjPh9ep_e3vAhUkqksFHagBAYEQFjAPegQIBBAD&url= https%3A%2F%2Fris.uksw.edu%2Fdownload%2Fmakalah%2Fkode%2F M01202&usg=AOvVaw25kAVGdquiiMMhnZGBGUzf Buijs, K. (1944). Personal Religion and Magic in Mamasa, West Sulawesi. Leiden: Brill. Creswell, J. W. (2014). Research Design (4th Edition ed.). California: SAGE Publication. Ediwar, M. R.; Yulika, F., et al. (2017). Musik Tradisional Minangkabau. Yogyakarta: GRE Publishing. Edutaintment. (2019, 14 November). Pembuatan Gandang Minang | Laptop si Unyil (14/11/19) Part 3. Diambil 1 September 2020, dari Youtube: https://www.youtube.com/watch?v=7grzhJ46n5s&t=8s 78 Harvey, Dylan, & Whitely, Tyler C. (2014). Sound Quality and Striking Position of a Conga Drum. ISB Journal of Science, Vol. 8, Isu 1. Holman, T. (2010). Sound for Film and Television. Oxford: Focal Press. Howard, David M., & Angus, James A. S., Acoustics and Psychoacoustics. New York: Routledge. Huber, D. M., & Runstein, R. E. (2010). Modern Recording Techniques. Oxford: Focal Press. Izhaki, Roey. Mixing Audio: Concepts, Practices and Tools. (2008). Oxford: Elsevier. Leonardo, K. (2018). Acoustic Properties of Temen and Wulung Bamboo as a Material for Gambang: Sundanese Traditional Musical Instrument. Diambil 1 September 2020, dari http://dx.doi.org/10.1088/1742- 6596/1075/1/012072 Merthayasa, I.G.N., & Pratomo. B. The Temporal and Spectral Characteristics of Gamelan Sunda Music.
    [Show full text]
  • Using Popular Music Industry in Banyuwangi
    USING POPULAR MUSIC INDUSTRY IN BANYUWANGI Setya Yuwana1, Trisakti2 and Anik Juwariyah3 Cultural Arts Education Study Program Lecturers (Magister Program), Universitas Negeri Surabaya, Indonesia ABSTRACT This paper focuses on: 1) the social movement of ethnic popular music industry in Banyuwangi; 2)the motivating and obstacle factors in Usingpopular music industry in Banyuwangi; and 3) the empowerment model of artists (songwriters, music arrangers, singers and homeband players) in music industry.This research applied social movement, actor network, society empowerment and popular culture industry theories,and using the ethnographic approach. The research data are: 1) the history aspects of Using popular music industry development in Banyuwangi; 2) some real efforts which done by the art music community in Using popular music industry in Banyuwangi; 3) the music industry products in Banyuwangi; 4) royalty arrangement by music producers to the artists. This research’s results are: 1) the artists’ bargaining position can be raised if they are aware of having Intellectual Property Rights certificates in the form of copyrights; 2) the increasing of artists’ welfare can be realized by written employment contract with music producers based on the law; 3) alternative model of a fair unit price of song arrangement based on musical experience database, music producers financial ability and VCD or CD sales on the market. Keywords: music industry, social movement, empowerment model and creative economy. ABSTRAK Tujuan penelitian ini, yakni: 1) mendeskripsikan gerakan sosial industri musik-pupuler etnik di Banyuwangi; 2) mendeskripsikan faktor pendorong dan penghambat gerakan sosial industri musik- populer etnik di Banyuwangi; dan 3) membangun model pemberdayaan ekonomi kreatif seniman (pencipta lagu, pengaransemen, dan penyanyi) dalam industri musik-populer etnik di Banyuwangi.
    [Show full text]
  • BAB II TINJAUAN PUSTAKA 2.1. Tinjuan Museum
    BAB II TINJAUAN PUSTAKA 2.1. Tinjuan Museum 2.1.1. Pengertian Museum Museum adalah gedung yang digunakan sebagai tempat untuk pameran tetap benda-benda bernilai yang patut mendapat perhatian umum, seperti peninggalan sejarah, seni dan ilmu, tempat menyimpan benda-benda kuno. (Kamus Besar Bahasa Indonesia, 1990). 2.1.2. Fungsi, Peran, dan Tujuan Museum Fungsi a. Sebagai dokumentasi dan penelitian ilmiah. b. Untuk mengumpulkan, menjaga suatu warisan alam dan budaya. c. Konservasi dan preservasi. d. Penyebaran dan pemanfaatan ilmu untuk umum. e. Pengenalan dan penghubung sebuah kesenian. f. Pengenalan kebudayaan antar daerah dan bangsa. g. Visualisasi warisan alam dan budaya. h. Cerminan pertumbuhan dan peradaban umat manusia. 9 i. Pembangkit rasa bertaqwa terhadap Tuhan Yang Maha Esa. (Sutaarga,1983) 10 Peran Peran dari museum menurut ICOM (International Council of Museum), yaitu : a. Pusat dokumentasi dan penelitian ilmiah. b. Pusat penyaluran ilmu untuk umum. c. Sebagai sumber informasi dan inspirasi. d. Pusat meningkatkan apresiasi kesenian dan budaya. e. Obyek pariwisata, media pembinaan pendidikan sejarah, alam, ilmu pengetahuan dan budaya. Tujuan Tujuan adanya museum secara umum menurut ICOM yaitu: Bertujuan untuk menyelidiki, memelihara, dan memamerkan kepada khalayak ramai untuk sebuah pendidikan, pengajaran, dan penikmatan akan bukti-bukti nyata berupa benda-benda dari manusia dan lingkungannya 11 2.1.3. Klasifikasi Museum Klasifikasi museum menurut (Peraturan Pemerintah Republik Indonesia, Nomor 66 Tahun 2015 Tentang Museum) Museum berdasarkan Status hukumnya a. Milik Swasta Milik swasta yang dimaksud yaitu : Masyarakat Hukum adat dan setiap orang. Dengan syarat harus memenuhi beberapa syarat dan ketentuannya. b. Milik Pemerintah - Pemerintah Pusat - Pemerintah Daerah Berdasarkan jenis koleksinya. a.
    [Show full text]
  • Eksistensi Grup Musik Campursari Gondo Arum Di
    JURNAL SENI MUSIK 8 (1) (2019) JURNAL SENI MUSIK http://journal.unnes.ac.id/sju/index.php/jsm EKSISTENSI GRUP MUSIK CAMPURSARI GONDO ARUM DI DESA BONDO KABUPATEN JEPARA Jalu Sigit Aji Wiyono , Sunarto Jurusan Pendidikan Sendratasik, Fakultas Bahasa dan Seni, Universitas Negeri Semarang, Indonesia Info Artikel Abstrak ________________ Penelitian ini bertujuan untuk mengetahui dan mendiskripsikan Eksistensi dan faktor yang Sejarah Artikel: mempengaruhi grup musik Campursari Gondo Arum di desa Bondo kabupaten Jepara. Penelitian ini Diterima Oktober 2018 dilakukan menggunakan metode kualitatif dengan pendekatan sosiologi. Pengumpulan data dilakukan Disetujui Maret 2019 dengan teknik observasi partisipasif, wawancara terstruktur dan semiterstruktur, serta dokumentasi. Dipublikasikan Juni 2019 Analisis data dilakukan melalui tahapan pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa eksistensi grup musik Campursari Gondo Arum ________________ sudah cukup baik. Hal ini terbukti adanya: (1) tanggapan dari masyarakat an mendapatkan bantuan Kata Kunci sarana prasarana dari pemerintah; (2) memanfaatkan teknologi dengan menambahkan sampling- Campursari, sampling pada keyboard; (3) satu anggota grup ini memiliki gelar sarjana di bidang seni dan anggota Eksistensi. lainnya bertamatkan sekolah menengah atas. Adapun faktor-faktor yang mempengaruhi eksistensi grup ini seperti; (1) manajemen dan pemasaran yang baik melalui media sosial; (2) performing music, yaitu Keyword grup ini memiliki ciri khas; (3) performing art, yaitu grup ini memiliki formasi dan konsep dalam Campursari, pertunjukkannya. Exestence Abstract ______________________ This study aims to find out and describe the existence and factors that influence Campursari Gondo Arum music group in Bondo village, Jepara regency. This research was carried out by using a qualitative method with a sociological approach.
    [Show full text]
  • Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
    Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance Part II of II: Appendices Thesis submitted in partial fulfilment of requirements for the degree of Ph. D. Charles Michael Matthews School of Arts Middlesex University May 2014 Table of contents – part II Table of figures ....................................................................................................................... 121 Table of tables ......................................................................................................................... 124 Appendix 1: Composition process and framework development ..................... 125 1.1 Framework .............................................................................................................................. 126 1.2 Aesthetic development ........................................................................................................ 127 1.3 Idiomatic reference .............................................................................................................. 128 1.3.1 Electroacoustic music references .......................................................................................... 129 1.3.2 Musical time .................................................................................................................................... 130 1.3.3 Electronic cengkok and envelopes ........................................................................................ 132 1.4 Instruments and interfaces ..............................................................................................
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • Campursari Karya Manthous: Kreativitas Industri Musik Jawa Dalam Ruang Budaya Massa
    Campursari Karya Manthous: Kreativitas Industri Musik Jawa dalam Ruang Budaya Massa Wadiyo Universitas Negeri Semarang, Kandidat Doktor Seni Pertunjukan UGM Jalan Teknika Utara, Pogung, Yogyakarta Timbul Haryono; R.M. Soedarsono Tenaga Pengajar Sekolah Pascasarjana UGM Jalan Teknika Utara, Pogung, Yogyakarta Victor Ganap Tenaga Pengajar ISI Yogyakarta. Jln. Parang Tritis, KM 6.5. Sewon, Bantul, Yogyakarta ABSTRACT Manthous’s Campursari is a blend of Javanese gamelan pentatonic music with popular music in Indonesia which is based on Western diatonic music. The tones of gamelan and the frequencies of the tune are all transformed into diatonic tone frequency. However, the harmonization which is used is pentatonic harmony of Javanese gamelan. Manthous’s Campursari has succesfully become one of the major music industries since it is supported by three components, namely the organizers of the music productions, the current distribution of music productions, and the needs of the community. The role of mass media is also very helpful toward the existence of this work. News about Manthous’s and his Campursari spread out widely to the public through the mass media. In a relatively short time of its emergence, Manthous’s Campursari has become a mass cultural Javanese music. Keywords: Campursari, mass culture, music industry ABSTRAK Campursari karya Manthous adalah sebuah campuran dari musik pentatonik gamelan Jawa dengan musik populer di Indonesia yang mengacu pada 2 musik diatonis Barat. Nada gamelan dan frekuensi lagu semuanya ditransformasikan menjadi nada frekuensi diatonis. Namun, harmonisasi yang digunakan adalah harmoni pentatonis gamelan Jawa. Campursari karya Manthous telah berhasil menjadi salah satu industri musik besar karena didukung oleh tiga komponen, yaitu penyelenggara produksi musik, distribusi produksi musik, dan kebutuhan masyarakat.
    [Show full text]
  • Pergeseran Fungsi Instrumen Karinding Di Jawa Barat
    Jurnal Pendidikan dan Kajian Seni Vol.1, No.2, Oktober 2016 ISSN 2503-4626 PERGESERAN FUNGSI INSTRUMEN KARINDING DI JAWA BARAT Hinhin Agung Daryana Institut Seni Budaya Indonesia Email : [email protected] Abstract : Karinding is an instrument that has a lot of uniqueness. In 2008, there was a moment where an intercourse between karinding instrument with metal community in Bandung, which then mades karinding the popular arts in the city of Bandung. This research study focused on the shift function karinding in West Java, to gain an understanding of the function of the shift, this journal will present the dynamics development of karinding art in several areas in West Java, which includes the function, shape development, and music of karinding in West Java Indonesia. During its development, the instrument now has a variety of functions. At first karinding just a musical instrument that functions as a personal pleasure and socially. However, the social changes that occur in the karinding user community in West Java karinding cause a shift into the instrument functioned for entertainment, education, rituals, and commodities. In fact now, karinding shift function that occurs in both rural and Urban communities in West Java constructed a broader network of power. Keyword : karinding, function, West java, shift Abstrak : Karinding merupakan instrumen yang mempunyai banyak keunikan. Pada tahun 2008, terjadi sebuah momen di mana terjadi persinggungan antara instrumen karinding dan komunitas metal di Bandung yang kemudian menjadikan karinding sebagai kesenian populer di Kota Bandung. Kajian penelitian ini difokuskan pada pergeseran fungsi karinding di Jawa Barat, untuk mendapat pemahaman tentang pergeseran fungsi tersebut, maka tulisan ini akan memaparkan dinamika perkembangan kesenian karinding di beberapa daerah di Jawa Barat yang meliputi fungsi, perkembangan bentuk, dan musik karinding di Jawa Barat.
    [Show full text]
  • The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto
    International Journal of Visual and Performing Arts ISSN - Vol. 1, No. 1, Mey 2019, pp. xx-xx 1 The Musicality of Campursari Music in the Islamic Ritual Context Bambang Sunarto Associate Professor at Postgraduate School, Indonesian Art Institute, Surakarta, Jl. Ki Hajar Dewantara No 19, Surakarta, Indonesia [email protected] ARTICLE INFO ABSTRACT This article discusses Campursari’s music, which has an increasingly Article history broad role, from profane to sacrilegious Islamic areas. Since its birth, Received this music serves as entertainment music. In the era of the 1990s and its Revised peak in the 2000s, this music entered and interacted with the Islamic Accepted community. The entry of Campursari music into the Islamic religious community is the embodiment of expectations and demands for environmental situations and conditions. Hopes and demands give birth Keywords to musical syncretism, which gives birth to adaptation strategies. Music syncretism Verstehen are appropriate methods for recognizing forms of adaptation Ritual event and syncretism. The choice of the verstehen method is because this Religious article does not merely highlight the problem of music, but also tries to Campursari understand the social actions of Campursari musicians in serving the Adaptation Muslim community via Campursari music. The choice of this approach is because musical adaptation stems from the idea that the birth of musicality has the support of a socially developed network of meanings. The benefit is to recognize the principles and rules of adaptive value and productive syncretism that occur behind music phenomena. This is an open access article under the CC–BY-SA license. 1. Introduction In Central Java and its surrounding area, since the early 1990s has grown and developed a new musical genre called Campursari music.
    [Show full text]
  • The Background and the Language Change of Campursari
    395 JURNAL ETIKA , Edisi Khusus, No.2, 2010: 395-407 THE BACKGROUND AND THE LANGUAGE CHANGE OF CAMPURSARI Widhyasmaramurti Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia [email protected] ABstract Campursari is a Javanese music genre which was popularized by Manthous, a Javanese artist. In general, campursari is known as a combination essence between instruments such as gamelan and western diatonic instruments, as well as a combination essence within Indonesian national music genres, e.g. kroncong and dangdut. Although there are no written references which sufficiently explained about campursari, but it begin to catch the attention of Javanese people in the end of 1980s. The lack of sufficient references leads to the first question of this writing, which tries to inform about the background of campursari. Furthermore, the Javanese people today have had a social change. They have moved to big cities and have various professional jobs rather than being farmers. Their cultural interests have changed and opened a spot where music industry might come and give its influence. Moreover, the creativity process of campursari has more freedom of act because it lacks of specific meter. Song writers may create their own patterns by having the similar rhyme in a stanza or by using lexicons of non- Javanese language or the lexicons of other languages due to their ability as bilingual or multilingual. Therefore, a second question is raised. The question refers to the language change in campursari. The aim of this writing is to answer research questions. Therefore, four prehipotheses might be raised. First, campursari occurred as a reply on modernity within Javanese community.
    [Show full text]
  • Performing Indonesia a Conference and Festival of Music, Dance, and Drama
    Performing Indonesia a conference and festival of music, dance, and drama October 31−November 3, 2013 Freer Gallery of Art, Arthur M. Sackler Gallery, and S. Dillon Ripley Center, Smithsonian Institution A joint presentation of the Embassy of the Republic of Indonesia in Washington, D.C., and the Freer and Sackler Galleries, Smithsonian Institution Embassy of the Republic of Indonesia in Washington, D.C. H.E. Dr. Dino Patti Djalal, Ambassador of the Republic of Indonesia to the United States of America Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution Julian Raby, The Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and Freer Gallery of Art Performing Indonesia: A Conference and Festival of Music, Dance, and Drama steering committee Sumarsam, University Professor of Music, Wesleyan University Andrew McGraw, Associate Professor of Music, University of Richmond Haryo Winarso, Attaché for National Education, Embassy of the Republic of Indonesia Michael Wilpers, Manager of Public Programs, Freer and Sackler Galleries Ministry of The Embassy of the Education and Culture Republic of Indonesia, Republic of Indonesia Washington, D.C. Performing Indonesia a conference and festival of music, dance, and drama October 31−November 3, 2013 Schedule evening concerts conference International Gallery, S. Dillon Ripley Center Indonesian Music: Past and Present Javanese Shadow-Play: Hanoman on Fire* Keynote Address Thursday, October 31, 7:30 pm Traditional Performing Arts of Indonesia Javanese Dance and Gamelan from Yogyakarta* in a Globalizing World Friday, November 1, 7:30 pm Sumarsam Saturday, November 2, 11 am Musicians and Dancers of Bali* Freer, Meyer Auditorium Saturday, November 2, 7:30 pm Session 1 Traditional Theater and Dance from Sumatra* Perspectives on Traditional Repertoires Sunday, November 3, 7:30 pm Friday, November 1, 2–5:30 pm gamelan marathon S.
    [Show full text]
  • Kisah Perjuangan Sinden Siter
    “DAWAI-DAWAI KEHIDUPAN TRADISIONAL”: KISAH PERJUANGAN SINDEN SITER BERTAHAN HIDUP DARI MASA KE MASA (“THE STRINGS OF TRADITIONAL LIFE”: SINDEN SITER SURVIVAL STORY FROM TIME TO TIME) RESEARCH AND DESIGN PRODUCTION FOR FILM REPORTS By Ghinaa Atikawati ID No. 009201300024 A Research and Creative Project Report presented to The School of Humanities President University In partial fulfillment of the requirements of Bachelor Degree on Communication Studies, Concentration in Film and Television 2017 THESIS ADVISER RECOMMENDATION LETTER This thesis and short film entitled “SINDEN SITER DAWAI-DAWAI KEHIDUPAN TRADISIONAL”: KISAH PERJUANGAN SINDEN SITER BERTAHAN HIDUP DARI MASA KE MASA RESEARCH AND DESIGN PRODUCTION FOR FILM REPORTS”. Prepared and submitted by Ghinaa Atikawati in partial fulfillment of the requirements for the degree of Bachelor of Arts in the Faculty of Humanities, Communication Studies has been reviewed and found to have satisfied the requirements for a thesis fit to be examined. I therefore recommend this thesis for Oral Defense. Cikarang, Indonesia, January 27th 2017 Recommended by Syamsuddin Aziz, M.Phil., Ph. D Naswan Iskandar, M. Sn Research Advisor Creative Advisor i PANEL OF EXAMINERS APPROVAL SHEET The Period of Examiner declare that the thesis and a short film entitled “SINDEN SITER DAWAI-DAWAI KEHIDUPAN TRADISIONAL”: KISAH PERJUANGAN SINDEN SITER BERTAHAN HIDUP DARI MASA KE MASA RESEARCH AND DESIGN PRODUCTION FOR FILM REPORTS”. That was submitted by Ghinaa Atikawati in Film and Television from the Faculty of Humanities was assessed and approved to have passed the oral Examination on 8th March 2017. _________________________________ Dindin Dimyati, S.Sos., MM Chair of Panel of Examination/Examiner I _________________________________ Arda Muhlisiun, M.Sn Examiner II _______________________________ _______________________________ Syamsuddin Aziz, M.Phil., Ph.
    [Show full text]