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. This study uses descriptive analysis At a glance, campursari was formed in a method through observation, information straight and simple history. However, the collection and direct delivery of ideas. The musical mixing composed of some basic ele- approach employed in this study is a quali- ments of karawitan, keroncong and pop mu- tative approach. According to Bogdan and sic as it is today, is not easy and integrated. Taylor (1993: 30), in a qualitative approach, Undoubtedly, there are so many unheard researchers observe and capture reality and Panggung Vol. 27 No. 3, September 2017 266

Preparation Formation Presentation (laras): laras slendro has fi ve intervals within

The work of one octave, while the laras pelog has seven Pakusarakan Observation Kuring diff erent intervals within one octave. Thus, Researching the subject of study the eff ort of playing both laras in one melo- Literature review Finding a concept dy system would be strange. According to Bernard Dorl’eans (2006), Exploration The con- Improvisation Presenting the the a empt to create works by bridging the cept of the Experimentation evaluation artwork Evaluation diff erences between the two melodic divi- Chart 1 sions began in 1889. It was a commemora- A Creation Scheme of Pakusarakan Kuring tion of a hundred anniversary of the French Revolution. The country held a fair and the examine the behavior of individuals, groups, inauguration of Eiff el Tower. On that event, and their daily experiences. Thequalitative gamelan performance was shown right on approach is used because the study object the legs of the tower. The gamelan perfor- is the Sundanese people’s strategy to pre- mance inspired a talented young composer serve their culture. Claude Debussy who was 27 years old at According to Strauss and Corbin (1994: the time. What Debussy did in the context 273), for a research that focuses on the dis- of transferring media can be said as an ef- closure of processes or mechanisms, a qua- fort of bridging media. litative approach is relevant. To achieve the Slamet Abdul Sjukur, when he was expected goals and to facilitate the research, asked about Debussy and gamelan that steps of fi eld preparation activities and fi eld many people thought as a hoax, said that implementation. On fi eld observations, in- Debussy never used gamelan in his works. terviews conducted are based on the prob- Its sounds were never heard in his works like the detractors expect. A shallow ex- lems being studied, fi ndings on fi eld study pectation. A genius like Debussy was not and literature study results. Data collection interested in merely imitating gamelan. is done by in-depth interviews as the main Instead, he captured its essence and made data collection. it his inspiration. Debussy compared the In this way, (in-depth interviews) data Sundanese gamelan with Palestinian mu- obtained can be more complete and com- sic, which became the epitome of 16th-cen- prehensive. In addition to the primary data tury polyphonic music (music composed of obtained from observations and in-depth many melodies that sound at the same time, interviews, secondary data were collected each has its own path without disturbing through documentation. any other melody). The complicated Pales- tinian music, according to Debussy, is no- RESULTS AND DISCUSSION thing compared to the subtle intricacy in Traditional Music Meets Modern Music the gamelan. If in the creative process traditional mu- Furthermore, Damono (2012) formula- sic instruments are only regarded as a me- ted that from the theoretical point of view, dium, it causes the creation to seem fake, it can be explained that it happens because even though it still has novelty value. For of the interaction between media. There are example, the division of gamelan melo- two important concepts covered by this dies is strange compared to Western music term: First, the vehicle is a medium that is which always uses seven intervals in one used to reveal something. Second, the ve- octave. Gamelan has two diff erent scales hicle is a tool to carry or move things from Rudiana: Sundanese Karawitan and Modernity 267 one place to another. That movable “some- requires charm and appeal, such as creative thing” may take the form of an idea, a man- innovations based on the tradition itself; date, a feeling, or just an atmosphere. on the other hand, making changes and in- At fi r st, an artist can have a great idea of novations in tradition is the same as abo- what he is looking for, but he then improvises, lishing the tradition itself because tradition modifi es, or even alters his original purpose does not tolerate change, although it may completely before he fi nishes it. The artist is transform. Traditional art faces this kind directed by various goals, but they change of paradox, wavering between the needs as he works. We can say that changing goals of making innovation and the demands of during the execution process may embody continuing the habit. Today, traditional art aesthetic forms to the materials used. within the life of the public (non-traditional Several studies show changes in the art society) is no longer developed for repeti- of tradition takes place in line with the de- tion, reproduction or repetition of tradition, velopment of cultural, social, and scientifi c but for the discovery of its “new spirit,” for discourses, shifting the perspective from example through the tendency of eclecti- tradition to modern and even to post-mo- cism, intertextuality, hybridity or irony, dern. In his research, Piliang (2007) stated in which various elements of tradition that changes in traditional art are insepar- combined eclectically, ironically and even able from the development of post-modern contradictory. Tradition is not understood discourse, since in addition to opening the as reproduction but rather as production. space of existence for the art of tradition, it Tradition as repetition is understood only is off ering a new challenge to the concept within the traditional society itself, which of tradition. Based on conservative views, has no concept of change, transformation, “tradition” is a form of work, style, con- and future. vention or belief that is represented as a Piliang’s opinion mentioned above continuation of the past into the present. seems to have conformity with what later Tradition is something lasts (durable) or develops in today’s society. Today, most continuous from generation to generation, members of society consider that practicing which is accepted as “a taken for granted,” or even recognizing traditional culture and with no room in it for any interpretation. artshave become obsolete. Many of them However, based on a more progressive adopt modern or foreign cultures astheir view, tradition is seen as open to reinter- styles. The development of modern tech- pretation. Tradition is anti-radical change, nology has made traditional art less desi- but to some extent, it opens itself to trans- rable. This can be seen from the enthusiasm formation. of young people who prefer modern music Any belief that opposes “change” but to traditional music. at a certain level tolerates transformation is An eff ort to adjust to globalization in called “conservative.” Its main spirit is to the fi eld of traditional music instruments is converse (Honderich, 1990: 1). The principle to combine traditional music instruments of traditionalism is one of the main pillars with modern music instruments so that its of conservative belief, such as respect and existence can still be accepted in this era. strong a achment to the established habits For example, Man Jasad and his colleagues, and institutions, to retain everything that is assisted by the elders of karinding such as familiar. Abah Olot and others in the group Karin- Furthermore, Piliang (2007) explained ding A ack, have successfully spread ka- that in order to survive, traditional art today rinding to various groups of people. Another Panggung Vol. 27 No. 3, September 2017 268 group adopting karinding is a band named gory that includes a variety of diff erent mu- Burgerkill (from Bandung). This band uses sical styles from around theworld, such as karinding in rock music. This group views traditional music, quasi-traditional music, karinding as a rarely used Sundanese tra- and music that mixes more than one cul- ditional instrument. In addition to karin- tural tradition. ding, in Bandung, there is also punklung. In the later development, the term Punklung stands for “punk” and calung, to world music in the 1980s was often used as name a punk group that has developed a a marketing device/classifi cation in media Sundanese traditional music instrument and music industry, as well as to classify named calung to express their works. types of non-Western music. There are seve- The same thing also happens in Sunda- ral defi nitions as opposed to world music. nese karawitan, which is often collaborated One defi nition covers “all the music in the with other music instruments. Karawitan is world,” although this broad defi nition has often performed to support other kinds of made the word almost meaningless (Bohl- art, such as dance, to give illustration and man, 2002; Nidel, 2004). This term is also accentuation. Karawitan can be performed applied to all kinds of music that combine independently, meaning that its presenta- Western popular music genres with a lot of tion is only for the sake of musical expres- non-Western music genres, also described sion and without any other artistic interest as folk or ethnic music. However, world (Soepandi, 1995). Therefore, it is easy for music is not exclusively traditional folk mu- musicians to develop it into other genres of sic. This may also include peripheral pop music such as jazz and fusion as has been music style. In summary, it can be described done by Krakatau Band. as “local music from out there,” (Williams, According to Piliang (2007), another 2004) or “someone else’s local music” (Por- thing that has encouraged the development ter, 1995). This is a music genre with vague of karawitan (especially Sundanese karawi- terms asthe increasing number of sub- tan) is the thought of repositioning tradition- genres that fall under category world music al art that fi rst appeared because traditional to capture the trend of multi-ethnic music art has no place in modern art, which builds including elements of Western music. upon the mechanism of binary oppositions The development of traditional art that separate cultures into two worlds, high (such as in the Gamelan Festival of Yogya- and low culture. High culture is a culture karta and Krakatau Band) shows the rein- that created on the basis of the spirit of prog- terpretation of traditional art through new ress, novelty, and transformation; while the codes, to produce new compositions and low culture is a culture that relies on re- meanings as well as the recontextualization production and imitation. Traditional art is of traditional art. The recontextualization of considered to be part of a low culture that traditional art is done according to what is is considered to have no value of creativity, called “local spirit” (Piliang, 2007). This “lo- innovation, and novelty. The repositioning cal spirit” becomes the basis for developing of traditional art is done by deconstructing the traditional music performances without binary oppositions and placing the position considering the origin of the performer and of tradition art parallel to other arts. the place where the art is developed. “Lo- Eff orts of repositioning traditional art cal spirit” (volkgeist), as described by Got in music development in the world could Fried Herder, is the spirit that is expressed be seen from the developing discourse of in speech, mythology, religion, folklore, art, world music. World music is a music cate- literature, morality, custom, and law, which Rudiana: Sundanese Karawitan and Modernity 269 determine how the local people live, ima- to develop and explore Sundanese art in gine, think, feel, and act, represented by the which he was raised. Many kinds of tradi- language mechanisms that unite individuals tional percussionare unique and givethe in- within their communities. In the traditional spiration to be developed in terms of form art, “local spirit” is then placed on the new and rhythm. Gilang’s rhythm pa erns are territorial resulting the deterritorialisation infl uenced by his ancestors’ religion, which process, namely the process of divesting ar- is also embraced by society. The usage of tistic traditions from their origins. Sundanese kendang has inspired Gilang to change his techniques of playing modern Development Strategy of Sundanese Karawitan drums and to create ethnic drums that pro- The exploration of traditional percus- vide new pa erns into drum performance, sion in music performance was done by Gi- for example in the rhythm of sawah and gen- lang Ramadhan who tried to combine the jring ronyok. drumset with gongs and other traditional In terms of instrumentation, the drums’ music instruments. All of these have been musical sounds are almost close to the specially arranged by him. He also modi- sounds of Sundanese drums (kendang). The fi e d its pedals so that it can make some dis- equation (substitution) of the sounds is as tinctive local sounds. follow: As the result, the music sounds unique Bass drum: gedug Tom 2: katipung because the rhythm of local music would Snare: kemprang, Hi-hat: kecrek, kenong be heard throughout the show. Among and tambourine. others are the Sundanese rhythm (West Tom 1: kutiplak Floor tom: gong Java), Javanese rhythm, Balinese rhythm, In terms of musical performance, the Papuanese rhythm, Acehnese rhythm and rhythm of sawah has a similar rhythmic pat- the rhythms from other areas. Listening to tern with the pa ern of tepak mincid (model this music is like being invited to enjoy the 1 and 2) in the playing of kendang as shown culture of each region. His work in the al- in the following example. bum Pagar Baya (2000) specifi cally explores a wide variety of percussion located in In- donesia. Although he did not specifi cally work on ethnic Sundanese percussion, as a drummer Gilang Ramadhan tried to adapt the rhythmic pa erns that existed in the ethnic percussion of the archipelago played in his performance. In a special interview Gilang Rama- dhan explained that Indonesian society has been much infl uenced by outer cultures that can reduce and eliminate the culture of Indonesia. It is a pride for Indonesian peo- ple if Indonesian culture is known by fo- reign people, and widely performed in the global se ing. Another thing concerning Album The Rhythm Of Reformation by the culture of tradition that he mentioned Krakatau Band (2006), if you notice what was his desire to return to the culture of his is suggested by its title, off ers percussion origin. This desire then encouraged him as the main menu. Some percussion instru- Panggung Vol. 27 No. 3, September 2017 270 ments like genjring, terbang, rebana, kendang, it used fi ve genjring. But in the later deve- dog-dog, ceng-ceng, kempli, jengglong, lodang, lopment, this art also featured ten genjring bedug, taganing, gondang, karinding, bonang, and one drum. Thus, the name genjring bu- kempul, selentem, gong and certainly drums hun tepak lima was no longer used and was were presented in this album. The Rhythm replaced by genjring ronyok. As for the name Of Reformation is the album that including ronyok is taken from the way they use gen- some Indonesian rhythmic pa erns and jring that was played together in a group percussion beat within jazz format. simultaneously that in Sundanese terms is known as dironyok. Genjring ronyok is an art commonly performed in celebration events such as circumcision, marriage and thanking God for harvest time. The interesting thing to observe from this work is the very compli- cated music. First of all, the musical scales are built on elements of Sundanese penta- tonic which may be unusual for the ears of jazz music lovers. In addition, as their mu- sic chants into improvised parts, the used scales no longer sound like pentatonic mu- sic, which may still be easy to listen. At that point, the scales they use are transformed into “microtonal” scales because they com- bine slendro, pelog, madenda, and mataraman scales at once in an octave. The consequence of the combination of the Sundanese scale system is the change in the height of each tone in their instrument that is no longer based on the pitch. Description of the notation In the article entitled Penampilan Krakatau 0 = pong T = tak G3 = genjring 3 in Toronto Jazz Festival, Franki Raden con- P = ping G1 = genjring 1 G4 = genjring 4 cluded that music played by Krakatau off ers D = dong G2 = genjring 2 U = tung a new challenge, not only for the listeners Genjring Party song is a song taken from and soundman (who may not be familiar art rhythm pa erns of genjring ronyok from with the traditional instruments) but also Subang, West Java. Genjring ronyok is an art for the players of Krakatau themselves. By with Islamic nuance. This can be seen from relying on original Sundanese pentatonic, the history of genjring ronyok that was used their music is in the area of heterophonic as a medium to spread Islam in Kawali in (multilayer) gamelan music. Meanwhile, 1842, along with the entry of seven Ulama their songs were created on the Western as representatives from the Sultanate of Ci- homophonic basis. Krakatau was aware of rebon. The spread of religion at that time this, but they did not seem to have found was done through the medium of religious the right solution yet. The current sound of talk and art (Hafsari, 2011: 1). Genjring ro- Krakatau music is a kind of dualism. While nyok was originally known as genjring bu- playing the melodic part of the song, their hun tepak lima. The name was used because music becomes pentatonic music (slendro Rudiana: Sundanese Karawitan and Modernity 271 and pelog) of thick Sundanese. However, tradition through the tendency of eclecti- upon entering the improvised section, their cism, intertextuality, hybridity and, or, iro- music turns into a very fl oating “just into- ny. Tradition is not understood as a repeti- nation” jazz music (not modal, not tonal, tion but reposition, not as reproduction but and not even atonal). production. Tradition can be understood as a repetition only in traditional societies in- CONCLUSION stead of in public in general. Traditional arts that are almost extinct In the world of art, many people think or have been abandoned by their patrons that modern arts would defeat the tradi- can be maintained or revived through re- tional arts. In particular, modern art is re- vitalization. As a concept, the revitalization garded to be easily accepted and favored not just “bring back to life,” but rather the by the younger generation. Because of that, most important thing is to restore the col- the changes of time that demand modern- lective memory of the community to fi ll the ization is a challenge for the existence of tra- “void” caused by the “lost”. Through these ditional art. Proponents of traditional arts, activities, one can see possibilities as refer- including their actors and patrons, need to ences and representation of cultural events. immediately take strategies and eff ective Revitalization will be important when measures to preserve the traditional arts. “something lost and forgo en” is benefi cial Renewal (modernization) is not to be to people’s further lives. That means the re- avoided, yet it should be used to update the vitalization of traditional arts is an eff ort to traditional arts. In the artistic process, the enable it to respond the changes of time. fl o w of modernization and globalization are Traditional art today is not just deve- not taboos. These eff orts are actually stra- loped to celebrate the past (to repeat). Pre- tegies in order to maintain the traditional sent society has changed and greatly ap- arts. Many traditional arts can survive be- preciate the heterogeneity, fragmentation cause they are adjusted to modernization and cultural pluralism. The concept of the and globalization. In the creative process, change in the tradition can be interpreted there must be creations and ideas develop- as an act of changing the substance of an ment through various forms of expression. object, stripped of all aspects of inherent From the observation of what has been feature without leaving traces of tradition done by Gilang Ramadhan, Dwiki Dar- to create something new. While the concept mawan (Krakatau Band), it can be said that of transformation in the tradition does not the eff orts of modifying and changing media change the substance, yet it is the process of in performing arts, especially Indonesian tra- repairing or improving some weaknesses found in the tradition. ditional music, are not something new. They At the present time, in the context of its have developed over time. What Gilang and existence, traditional art faces a paradox. Dwiki have done can be regarded as a empts On the one hand is to survive, on the other to give orput a nuance of tradition in their hand is to innovate and change the tradi- works. In the works they created, traditional tion, which is tantamount to erase the tra- art and traditional values are treated as lo- dition itself. From the above description, cal spirits. Another important thing is that it can be concluded that nowadays, show- there must be lots of traditional percussion ing appreciation to the tradition is not to instruments (especially in West Java) which do repetition and reproductionof tradition, are unique and inspiring to be developed in but it is an a empt to fi nd “new spirit” of terms of musical form and rhythm. Panggung Vol. 27 No. 3, September 2017 272

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