Peran Sanggar Seni Apo Lagaan terhadap Kontinuitas Sape’ Karaang Dayak Bahau di Kota Samarinda Kalimantan Timur

The art studio Apo Lagaan first appeared in Samarinda in 2007 and is still going on today. The Apo Lagaan art studio is an art studio that focuses on the traditional arts of the Bahau Dayak, especially the music of sape' karaang. This study aims to reveal the form of the Apo Lagaan Art Studio's role, the form of presentation of sape' karaang, and the meaning contained in the game. This study uses a qualitative method. The observation technique used includes the object of research and the determination of informants. The data collection techniques of this research include literature study, interviews, and documentation. The research data analysis technique is carried out by utilizing the data that has been found in the field. The results showed that the Apo Lagaan Art Studio had a role in the continuity of the sape' karaang in Samarinda City. The role of the Apo Lagaan Art Studio on the continuity of the sape' karaang in Samarinda City is carried out through studio activities related to activities, training, and performances of traditional Dayak Bahau music and dance. In addition, the Apo Lagaan art studio has also expanded its partnerships to several government agencies and schools to provide education to the general public about the importance of cultural preservation, especially by the younger generation. Abstrak: Sanggar seni Apo Lagaan pertama kali muncul di Samarinda pada tahun 2007 dan masih bertahan hingga saat ini. Sanggar seni Apo Lagaan merupakan sanggar seni yang berfokus pada bidang kesenian tradisi Dayak Bahau khususnya musik sape’ karaang. Penelitian ini bertujuan mengungkap bentuk peran Sanggar Seni Apo Lagaan dan bentuk penyajian sape’ karaang serta makna yang terkandung dalam permainannya. Penelitian ini menggunakan metode kualitatif. Teknik observasi yang digunakan meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data penelitian ini antara lain studi pustaka, wawancara, dan dokumentasi. Teknik analisis data penelitian dilakukan dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian menunjukkan bahwa sanggar seni Apo Lagaan memiliki peranan terhadap kontinuitas sape’ karaang di Kota Samarinda. Peranan Sanggar Seni Apo Lagaan terhadap kontinuitas sape’ karaang di Kota Samarinda dilakukan melalui aktivitas sanggar yang terkait dengan kegiatan, pelatihan, dan pementasan musik dan tari tradisi Dayak Bahau. Di samping itu, sanggar seni Apo Lagaan juga memperluas kemitraannya ke beberapa instansi pemerintah dan sekolah-sekolah guna untuk memberikan edukasi kepada masyarakat awam akan pentingnya pelestarian budaya terutama oleh generasi muda.

Faktor-Faktor yang Memengaruhi Pengetahuan Anak pada Lagu Daerah Kalimantan

Knowledge of elementary school-aged children in Kalimantan folk songs is a severe problem because children's knowledge is one of the factors that can affect the achievement of local song preservation. So that information is needed regarding surveys about what factors influence children's knowledge of Kalimantan folk songs. The theory used in this study is the theory of factors that influence learning. This study aims to determine the factors that influence children's knowledge of folk songs, especially Kalimantan. This study uses survey research with quantitative descriptive methods, namely, conducting field surveys. The sample of this study was 158 students, namely grades 5A and 5B of Elementary School 005 Samarinda, totaling 40 students, and classes 5A, 5B, and 5C of Elementary School 007 Samarinda totaling 118 students. The results of data analysis show that there are internal and external factors. The internal factor is that students listen to more popular songs because popular songs are currently packaged with unique and various videos. Even the advertisements that they usually hear contain many lyrics from popular songs today so that children are more interested and interested in listening to popular songs than folk songs. Another internal factor is when students do gymnastics together, the songs played are popular dangdut songs today. External factors indicate that the teacher's lack of knowledge about the folk songs of East Kalimantan. Abstrak: Pengetahuan anak-anak usia Sekolah Dasar (SD) pada lagu daerah Kalimantan merupakan permasalahan yang cukup serius, dikarenakan pengetahuan anak-anak merupakan salah satu faktor yang dapat mempengaruhi tercapainya pelestarian lagu daerah. Sehingga diperlukan informasi mengenai survei tentang apa saja faktor-faktor yang mempengaruhi pengetahuan anak pada lagu daerah Kalimantan. Teori yang digunakan dalam penelitian ini adalah teori faktor yang mempengaruhi belajar. Penelitian ini bertujuan untuk mengetahui faktor yang mempengaruhi pengetahuan anak terhadap lagu daerah khususnya Kalimantan. Penelitian ini menggunakan penelitian survei dengan metode deskriptif kwantitatif yakni melakukan survei lapangan. Sempel penelitian ini adalah 158 siswa, yaitu kelas 5A dan 5B Sekolah Dasar Negeri 005 Samarinda berjumlah 40 siswa, dan kelas 5A, 5B, dan 5C Seklah Dasar Negeri 007 Samarinda berjumlah 118 siswa. Hasil analisis data menunjukan bahwa terdapat faktor internal dan eksternal. Faktor internal adalah siswa lebih banyak mendengarkan lagu populer karena lagu populer saat ini dikemas dengan video yang unik dan bermacam-macam. Bahkan iklan-iklan yang biasa mereka dengar banyak gubahan lirik dari lagu-lagu populer saat ini, sehingga anak-anak lebih tertarik dan berminat untuk mendengarkan lagu populer daripada lagu daerah. Faktor internal lain adalah ketika siswa melakukan kegiatan senam bersama, lagu yang diputar adalah lagu-lagu dangdut populer masa kini. Faktor eksternal menunjukan bahwa kurangnya pengetahuan guru mengenai lagu daerah Kalimantan Timur.

Faktor-Faktor Kesulitan Pembelajaran Praktik Karawitan Jawa Program studi Etnomusikologi Fakultas Ilmu Budaya Universitas Mulawarman

Working on or how to work musically in a musical presentation or composition is an essential element. With the process of working on a musical dish, a good and quality dish will be achieved. The working process is essential to achieve the competency standard of a Javanese musical dish. In learning the practice of Javanese Karawitan, the Ethnomusicology Study Program, Faculty of Cultural Sciences, Mulawarman University, encountered problems in the implementation of this working process. It has an impact on the lack of achievement of learning competency standards. The purpose of this paper is to describe the factors that influence the non-achievement of competency standards in learning Javanese musical practice in terms of working on Javanese karawitan. The method used is descriptive analysis. The data collection technique was done by interview, literature study, and qualitative analysis of the work. The results showed that there were internal and external factors. Internal factors include (1) differences in the cultural background of each student, (2) students have not been able to determine the direction of working on karawitan, and (3) students have not been able to determine the considerations for working on karawitan. The external factor is the learning media used, namely the incomplete Javanese gamelan instrument. It is hoped that the results of this study can be used as material for evaluating learning in Javanese Karawitan practice courses. Abstrak: Garap atau cara kerja musikal dalam sajian gending atau komposisi karawitan merupakan unsur penting. Dengan adanya proses garap pada sebuah sajian gending karawitan, akan tercapai sebuah sajian yang baik dan berkualitas. Proses garap menjadi hal yang penting untuk mencapai standar kompetensi dari sebuah sajian karawitan Jawa. Pada pembelajaran praktik Karawitan Jawa Program studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman mengalami kendala dalam pelaksanaan proses garap ini. Hal ini berdampak pada belum tercapainya standar kompetensi pembelajarannya. Tujuan penulisan ini adalah untuk mendeskripsikan faktor-faktor yang mempengaruhi tidak tercapainya standar kompetensi dalam pembelajaran praktik karawitan Jawa dalam hal garap pada karawitan Jawa. Metode yang digunakan adalah deskriptif analisis. Teknik pengambilan data dilakukan dengan wawancara, studi pustaka, dan analisis garap karya secara kualitatif. Hasil penelitian menunjukkan terdapat faktor internal dan eksternal. Faktor internal meliputi (1) perbedaan latar belakang budaya setiap mahasiwa, (2) mahasiswa belum bisa dalam menentukan arah garap karawitan, dan (3) mahasiswa belum bisa menentukan pertimbangan garap karawitan. Faktor eksternalnya adalah media pembelajaran yang digunakan, yaitu instrumen gamelan Jawa belum lengkap. Diharapkan dari hasil penelitian ini dapat menjadi bahan evaluasi pembelajaran pada mata kuliah Praktik Karawitan Jawa.

Proses Kreativitas dan Penerimaan Masyarakat: Studi Kasus Musik Pengiring Jaranan

Turonggo Karyo Budoyo is one of the Jaranan arts groups in the city of Samarinda. This group managed to maintain its existence amidst the reduced public interest in the performing arts of jaranan, especially the youth who should be the successors in preserving local arts. It is done through the creativity offered by the Jaranan Turonggo Karyo Budoyo Art Group, which combines pop songs with jaranan gending in their performances. This study aims to analyze the processes that occur in creativity and describe how the audience's acceptance of creativity. This study uses a qualitative research methodology and a participant approach using 3 (three) stages in the study, namely determining the research location, data collection techniques, and data analysis techniques. Determination of the location aims to focus on the object of research. Data collection techniques include literature study, observation, interviews, and documentation. As for the data analysis technique using data triangulation between researcher observations, interview data, and analyzed documentation. The results of this study can answer the formulation of the problem and research objectives that have been determined. The creative process is carried out through regular practice by paying attention to the budget, duration, and song selection. The process also involves four dimensions of creativity that influence each other: person, process, press, and product. The creativity offered is well received by the public or audience. The community considers combining pop songs with gending to be one way to introduce Javanese art to the broader community, especially young people, to be preserved. Abstrak: Turonggo Karyo Budoyo merupakan salah satu grup kesenian jaranan yang ada di kota Samarinda. Grup ini berhasil mempertahankan eksistensinya ditengah berkurangnya minat masyarakat terhadap seni pertunjukan jaranan terutama para pemuda yang seharusnya menjadi penerus dalam melestarikan kesenian daerah. Hal ini dilakukan melalui kreativitas yang ditawarkan oleh Grup Kesenian Jaranan Turonggo Karyo Budoyo, yaitu menggabungkan lagu pop dengan gending jaranan dalam pertunjukannya. Tujuan penelitian ini adalah menganalisa proses yang terjadi di dalam kreativitas serta menjabarkan bagaimana penerimaan penonton terhadap kreativitas tersebut. Penelitian ini menggunakan metodologi penelitian kualitatif dan pendekatan partisipan dengan menggunakan 3 (tiga) tahapan dalam penelitian, yaitu menentukan lokasi penelitian, menentukan teknik pengumpulan data serta menentukan teknik analisa data. Penentuan lokasi bertujuan untuk memfokuskan objek penelitian. Teknik pengumpulan data meliputi studi kepustakaan, observasi, wawancara, dan dokumentasi. Adapun untuk teknik analisa data menggunakan tringulasi data antara observasi peneliti, data wawancara, dan dokumentasi yang dianalisis. Hasil penelitian ini mampu menjawab rumusan masalah dan tujuan penelitian yang telah ditentukan. Proses kreativitas dilakukan melalui latihan rutin dengan memperhatikan budget, durasi serta pemilihan lagu. Dalam prosesnya juga melibatkan empat dimensi kreativitas yang saling mempengaruhi, yaitu person (orang), process (proses), press (tekanan), serta product (produk). Kreativitas yang ditawarkan diterima baik oleh masyarakat (penonton). Penggabungan lagu pop dengan gending dinilai masyarakat menjadi salah satu cara memperkenalkan kesenian jawa kepada masyarakat luas terutama para pemuda agar dapat dilestarikan.

Musik Iringan Hudoq Kita’ sebagai Seni Pertunjukan Wisata di Desa Pampang Kota Samarinda

Hudoq Kita' can be presented in two different forms of presentation. In addition to ritual music, the art form is also presented in the form of musical entertainment art of tourism. Hudoq Kita’ entertainment music is generally displayed on every Sunday in Lamin Pemung Tawai Pampang village. This research uses qualitative methods, including observation, data collection, and data analysis. The technique in question is the observation of the research objects and the determination of informants. The data collection techniques include literature studies, interviews, and documentation. The last is the technique of data analysis by utilizing data that has been found in the field. The research results will explain with the facts of the finding in the field by the author. By the thesis title above, this research will describe the traditional Pelas Tahun, Hudoq Kita' and its accompaniment music with ritual context. The author will explain how Hudoq Kita' accompaniment music is turning into the entertainment of tourist art contextually and textually. Abstrak: Hudoq Kita’ dapat disajikan dalam dua bentuk penyajian yang berbeda. Adapun bentuk kesenian tersebut selain sebagai musik ritual juga disajikan dalam bentuk musik hiburan seni wisata. Musik hiburan Hudoq Kita’ umumnya ditampilkan pada setiap hari minggu di lamin Pemung Tawai Desa Pampang. Penelitian ini menggunakan metode kualitatif meliputi observasi, pengumpulan data dan analisis data. Adapun Teknik yang dimaksud adalah observasi meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data meliputi studi pustaka, wawancara, dan dokumentasi. Terakhir yakni teknik analisis data dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian akan menjelaskan dengan fakta temuan di lapangan oleh penulis. Sesuai dengan judul skripsi yang diatas, pada tulisan ini akan memaparkan tentang upacara adat Pelas tahun, Hudoq Kita’ dan musik iringan Hudoq Kita’ dengan konteks ritual. Adapun penulis akan menjelaskan bagaimana musik iringan Hudoq Kita’ yang beralih ke sajian hiburan seni wisata secara kontekstual dan tekstual.

Deskripsi Upacara Odalan di Pura Payogan Agung Kutai Kalimantan Timur

The Odalan ceremony can be found in Hindu places of worship or temples in Bali, Java and Kalimantan. However, each region has its characteristics or specificities that are not found in other regions. It is an attraction for researchers to find out, explore, and discover the Odalan ceremony's uniqueness outside Bali, namely onKalimnantan. This study aims to describe the procedure or sequence of Odalan ceremonial activities, the cultural elements found in the Odalan ceremony, and the meaning of the Odalan ceremony's implementation. This research is descriptive qualitative research. The approach used is the ethnographic approach. The research object is the Odalan ceremony held at Pura Payogan Agung Kutai, East Kalimantan. This study's results indicate that the Odalan ceremony, which took place at Payogan Agung Kutai Temple, lasted for 71 days from 3 November 2019 to 12 January 2020. The sequence of activities started from the committee's formation, installing the attributes, cleaning the place for the ceremony until the Odalan Ceremony by carrying out prayers, Nyineb, until the committee's dissolution. The community was very enthusiastic in celebrating this ceremony, as evidenced by various parties' participation, both from Hindus themselves and the community around the temple. The Odalan ceremony was attended by Hindus from East Kalimantan, Bali, Java and Lombok. The Odalan or Piodalan ceremony is the anniversary of the birth of a Hindu holy place. In this case, the birthday of Pura Payogan Agung Kutai, East Kalimantan. Elements of Bali, Java, and Kalimantan (especially Dayak) culture, color the Odalan Ceremony at Pura Payogan Agung Kutai. The Odalan ceremony in each area is carried out according to local culture. Balinese, Javanese and Dayak cultural elements are reflected when presenting arts, offerings, tetabuhan, and dance.

Ornamentasi Vokal pada Tarsul Kutai Kartanegara

One form of singing or chanting spread through cultural needs is a traditional song originating from Kutai Kartanegara called tarsul. This study aimed to obtain data about what vocal ornaments are contained in the Kutai tarsul. The theory used in this research is the theory of music presentation forms, ornamentation, and western music vocal techniques. A qualitative descriptive study was chosen by prioritizing the musicology approach. The data was collected by (1) literature study, (2) observation, (3) interviews, (4) documentation. The stages in analyzing data are (1) data reduction, (2) data presentation, (3) historiography writing, and (4) conclusions. Data clarification was again carried out using data triangulation techniques. The results showed two kinds of tarsul rhythms commonly used by petarsul, namely tarsul with one rhythm (low) and tarsul with a rhythm of two (high). In Kutai Kartanegara's tarsul, there are several ornaments. Many melismatic ornaments are found at the end of the melody of each part of the tarsul sentence. There are three forms of melismatic ornamentation named for easy classification: melismatic ornament A, melismatic ornament B, and melismatic ornament C. Apart from melismatic ornamentation, there is symbolic ornamentation on tarsul, namely trill ornamentation. Next is the morden ornamentation. More specifically, lower mordent ornamentation was found. Lastly is the use of grupetto ornamentation. From the transcription and tarsul analysis of rhythm patterns 1 and 2, it was found groupetto reverse turn ornamentation.

Dekonstruksi Makna Datun Kendau pada Masyarakat Kenyah di Desa Budaya Pampang

In the Kenyah community in the Pampang Cultural Village, Datun Kendau has undergone many changes, which are more likely to add Sampe and change the lyrics of the song to the Kenyah language commonly used in Pampang Village. This study aims to describe the form and meaning of Datun Kendau in the Kenyah community in Pampang Cultural Village. This research uses qualitative methods with observation techniques, data collection techniques and data analysis. The observation technique includes the object of study and the determination of informants. Data collection techniques include literature study, interviews, and documentation. Finally, data analysis techniques using field data. The results show that the Datun Kendau show's form has changed, which consists of a simple musical structure and consists of repeated melodic motifs. Datun Kendau has adapted to the activities of tourism events and young Kenyah artists' interests in Pampang Village. The creation of the reality of the meaning of Datun Kendau is interpreted as a way of adaptation, the formality of performances, and activities that are profitable and occur because of broken communication between the older generation and the younger generation

Gagrak Blitaran: Proses Belajar Kebudayaan di Paguyuban Turonggo Budoyo Mugirejo

Turonggo Budoyo Mugirejo is a Kuda Lumping group Gagrak Blitaran in the city of Samarinda through the transmigration process. Gagrak Blitaran, on its own, was the identity of this group. The process of learning culture alone played a crucial role in preserving Kuda Lumping Gagrak Blitaran in Samarinda. This study aims to explain the characteristics of Gagrak Blitaran’s music; describe the process of self-study at the Turonggo Budoyo Mugirejo. The study employs qualitative methodologies by applying three phases, some of which define the location of research, data collection techniques, and analysis. Determination of the location aims to focus on the object of research. Data-collection techniques include library studies, informers, interviews, and documentation. The last one is the analysis technique by utilising field data. The study results in accord with the background of the problem and the purpose of the study. Gagrak Blitaran’s music characteristic have been achieved through the four rhythms of sampak, gangsaran, dua-satu (pegon and dangdutan), and satu-satu. The instruments on which these rhythms are based are the kenong, kempul, gong suwukan, and gong ageng. The process of learning its own culture includes internalisation, socialisation and enculturation. The three processes allow each member of the company to have a deeper understanding of Kuda Lumping. It involves a dance technique, beating the Gamelan according to the characteristic of Kuda Lumping Gagrak Blitaran.

Fungsi Daak Maraa’ dalam Upacara Hudo’ Kawit pada Masyarakat Suku Dayak Bahau di Kota Samarinda

Daak maraa’ was presented in the context of the traditional activities of the Dayak Bahau tribe community that carried the ritual. Problems related to social aspects when daak maraa’ 'is not implemented, so it raises the assumption of how important daak maraa’ is for the Dayak Bahau people. This study aims to: explain the musical structure of the Hudo’ Kawit ceremonies held by the Dayak Bahau people in Samarinda; describe the function of daak maraa’ presented at the Hudo’ Kawit ceremony for the Dayak Bahau community in Samarinda. This research uses a qualitative methodology by applying observation techniques, data collection, and data analysis. Observation techniques include the object of research that is the focus of research. Data collection techniques are based on literature study, informants, interviews, and documentation. Analysis techniques by reducing data and concluding. Research results in accordance with the background of the problem and objectives. The musical structure and function have a connection, that the application of rhythmic sound daak maraa’ is presented as a accompaniment to rituals and prayers. The application of daak maraa’ is actualized with a static rhythm, namely: (a) sukat 4/4; (b) tempo (andantino) 78-83; (c) motive (literal); (d) dynamics (forte); (e) timbre (teng, pliers, tung, and dung). The research findings contain a value that the function of daak maraa’ is present and applied as an anticipation goal on the basis of the potential for bad sound (yog) which can come to disrupt and cancel the traditional ceremonial activities. Yog is believed to exist by the Dayak Bahau tribe based on legend over folk prose stories that are thought to have taken place in the real world and are bad (magi).