Gamelan is the work of adiluhung from the Indonesian nation, and is synonymous with Javanese society. In its development, Javanese Gamelan began to be degraded by global culture. Centennial generation children are considered more interested in pop music than their own cultural output, such as Javanese Gamelan. Henricus Constant Van Deinse, SJ in 1957 had an interest in Javanese gamelan, and innovated to modify the tone shape of gamelan by combining it with Western musical instruments so that it could attract the attention of the younger generation. When Van Deinse's gamelan was staged at an event in Senayan, it happened that Indonesian president Ir. Soekarno was present at the event, and was named Gamelan Soepra (Soegijapranata) in 1965. This is in accordance with the origin of the gamelan from Central Java and its famous hero is Mgr. Soegijapranata. This study aims to examine Gamelan Soepra in the perspective of hybrid culture theory. This research uses a qualitative approach, and the method used is purposive sampling by directly appointing informants who are considered gamelan experts. The result of this study is to know the philosophy and ensemble format of Javanese gamelan, as well as cultural hybrid products in the form of soepra gamelan, and its influence on the centennial (Z) generation.
The people of Sumba possess various genres of folksong, from the ones considered to be sacred to those secular. This research attempts to discuss one genre of secular songs, called Ludu Pahangu. This genre lives in the tradition of the Sumbanese people located in the eastern part of Indonesia. This article, based on qualitative research, is divided into 3 parts. Part one deals with the application of structural approach to describe the oral tradition and the characteristics of the lyrics of this particular genre. The second part is concerned with the characteristics of Ludu Pahangu from musical perspectives. The third part provides arguments on the importance of archiving Sumbanese folksongs as an attempt to preserve local wisdom and identity. Three (3) folksongs of a Sumbanese female singer, Ata Ratu, are selected as the object of analysis. This research also points out that archival practices should be collaborative in nature, and concerned with the issues of public accessibility to the digital archive itself.
This research is carried out based on the rise of the Calung Malioboro phenomenon or Punklung, which is popularly seen at stoplight intersections. The research aims to find out the formulation of the Calung Malioboro/ Punklung history by using Maruska Svašek’s theory of Transit, Transiton and Transformation. The perspectives of Cultural Hybridity and Performing Arts Management are also applied to analyze the phenomenon. The research methodology is descriptive qualitative analysis, and the data sample used is purposive sampling. The research finds that there is a transformation process from Calung Banyumas to Calung Malioboro or Punklung, by giving attention to the local and global cultures that is evident from the Cultural Hybridity analysis done, and how the stage for the Punklung performance has been created by observing how the Performaing Arts Management has been applied in the musical groups found in each city.Key words: transformastion, calung, punklung, performing arts management, cultural hybridity
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.