Seni Beluk Cikondang Indigenous Village Reviewed from the Perspective of Music Education

Cipta, Febbry; Gunara, Sandie; Sutanto, Toni Setiawan

doi:10.21512/humaniora.v11i1.6099

Cited by 3 publications

(5 citation statements)

References 20 publications

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“…Due to the significant distance between the farms, farmers need to make high-pitched voices with rough dynamics to be heard while communicating. This is captured in performance through a call and response exchange between singers (Cipta et al, 2020).…”

Section: Resultsmentioning

confidence: 99%

“…The activity of reading pupuh is known as nu ngilo. After finishing the performance of reading a verse, they are then greeted by a singer who sings phrases of the same verse, followed by phrases from other verses (Cipta et al, 2020).…”

Section: Resultsmentioning

confidence: 99%

“…Authenticity seems to be a point of contention in the international literature on music education and the challenge of observing any art form that is replicated in a historically accurate manner or that is seen in its original context is still debated (Cipta et al, 2020; Johnson, 2000; Kreuzbauer & Keller, 2017; Kruse, 2018; Moore, 2002; Palmer, 1992; Taylor, 1997). Schippers (2006) expresses an agreeable statement in which he questions whether aesthetics or emotional influence play a role in authenticity.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

The authenticity of music culture of Kampung Naga and Cikondang Indigenous people, West Java, Indonesia

Gunara

Susanto

Cipta

2022

AlterNative: An International Journal of Indigenous Peoples

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The Indigenous knowledge of the Kampung Naga and Cikondang holds cultural understanding that has evolved as a result of interactions with their environment. This study aims to explain this awareness in terms of preserving the quality of traditional music —terebang sejak and beluk. Ethnography study, observations, documentation, audio-visual recordings, and in-depth interviews with terebang sejak and beluk musicians were conducted. The study reveals that their music authenticity is preserved through the influence of elders producing and transmitting Indigenous knowledge. This knowledge is in the form of traditional rules and local wisdom values passed down by their ancestors through their way of life. The findings also show that by maintaining their music authenticity, the Indigenous people of Kampung Naga and Cikondang earn more about their local culture which helps them preserve and perpetuate their cultural authenticity and Indigenous heritage.

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Section: Resultsmentioning

confidence: 99%

Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The authenticity of music culture of Kampung Naga and Cikondang Indigenous people, West Java, Indonesia

Gunara

Susanto

Cipta

2022

AlterNative: An International Journal of Indigenous Peoples

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“…Sedangkan pupuh sekar ageung diantaranya: Kinanti, Asmarandana, Sinom, Dangdanggula. Ke 17 pupuh tersebut memiliki makna yang berbeda-beda dalam kaidah sastranya dan memiliki melodi lagu yang berbeda pula (Cipta et al, 2020).…”

Section: Pendahuluanunclassified

Proses Kreativitas Yus Wiradiredja dalam Mengaransemen Pupuh Magatru Raehan

Liana,

Yanuartuti,

Sabri

2023

SLJIL

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The creative process carried out by Yus Wiradiredja in arranging Pupuh Magatru to become Pupuh Magatru Raehan is a form of anticipation of an increasingly global era. Pupuh Raehan is the result of creativity that emerged as a response to increasingly global conditions. The influence of Western music can sometimes be found in various musical compositions that have been influenced by the process of globalization. Today, Western music has an almost equal influence in various countries around the world. Yus Wiradiredja arranged the Sundanese Pupuh Art to be more modern by adding western music idioms but not eliminating the Kasundaan elements in Raehan's Pupuh. This study aims to find out the meaning of Pupuh Raehan and to find out the creativity of Yus Wiradiredja in arranging magatru pupuhs. This study uses a descriptive qualitative method with non-interactive analysis techniques by examining documents and writings regarding Yus Wiradiredja's creativity in arranging Pupuh Magatru Raehan. Through this research it is known that Wiradiredja's creativity in processing pupuh art into dynamic and relevant performances is an inspiring example in facing the challenges of an ever-changing era.

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“…The research entitled Gaok's Oral Tradition Document Management as a Manifestation Of Cultural Preservation in The Library by (Septa & Heriyanto, 2020) this research explains the efforts to revitalize theoral tradition Gaok (Beluk ) by recording it in the Majalengka regional library. And a research entitled Seni Beluk Cikondang Indigenous Village Reviewed From The Perspective Of Music Education by (Cipta, Sandie, & Susanto, 2020) this research develops a music model based on local wisdom. The results obtained reveal that the learning process of art Beluk in Cikondang Village has occurred in the context of community education, which is carried out informally, and is formed naturally.…”

Section: Introductionmentioning

confidence: 99%

Structure and Function Of The Beluk Oral Tradition

Ningsih¹,

Rahmat²,

Attas³

2021

Proceedings of the First International Seminar Social Science, Humanities and Education, ISSHE 2020, 25 November 2020, Kendari,

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This study aims to describe the structure and function of the Beluk oral tradition in the Rancakalong village community, Sumedang Regency. The method used in this research is qualitative method. The data source was obtained directly from the singers Beluk by documenting, observing and interviewing. The instrument used was the observation and interview guidelines. The data analysis technique in this study is divided into four stages, namely: (1) the data collection stage, (2) the reduction stage, (3) the interpretation stage, and (4) the data conclusion and verification stage. The results of this study, the stages of the Beluk performance begin with a prologue from the puppeteer, followed by prayer and burning incense to ask permission from the ancestors, and apologize if the offerings are not complete, Juru Ilo starts the show by reading Wawacan Ogin Amar Sakti as much as one or two padalisan, after That is what Juru Ilo reads, is sung by Tukang Ngajual, while Tukang Meuli is in charge of continuing the song in a high tone but the articulation is still clear, then Tukang Naekeun continues with a shrill, contorted, and unclear articulation voice. At the end of each sentence, they are sung together or called ngagoongkeun, the show closes with an apology and thanks to the audience, and continues with a prayer reading, after the series of performances is completed the dalang allows the audience to eat the offerings that are served together. Beluk has a function as a social controller and educational facility, and a negation function that we can emulate. Hopefully, with this study the community and the younger generation will pay more attention to and continue this tradition.

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Seni Beluk Cikondang Indigenous Village Reviewed from the Perspective of Music Education

Cited by 3 publications

References 20 publications

The authenticity of music culture of Kampung Naga and Cikondang Indigenous people, West Java, Indonesia

The authenticity of music culture of Kampung Naga and Cikondang Indigenous people, West Java, Indonesia

Proses Kreativitas Yus Wiradiredja dalam Mengaransemen Pupuh Magatru Raehan

Structure and Function Of The Beluk Oral Tradition

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