Michael HB Raditya
michael.raditya@gmail.com
Abstract
In its development, Dangdut has been evolving in line with the
globalization era, the society preference and the cultural pattern.
The current performance of Dangdut Koplo has many new elements. Its
interesting element is called the Senggakan.
In each musical performance showed by the Melayu
orchestra, the Senggakan plays major
function. The Senggakan provides
beats and unique touch that make Dangdut Koplo
distinct from Dangdut in terms of its musicality. The success of Dangdut Koplo is caused due to the existence of
habitus society, i.e. the Senggakan and the Senggakan habitus owned by Javanese society. That habitus has the
implication to the existing interaction. The participation on Senggakan bears the existence of Dangdut
Koplo. After scrutinizing further,
the Senggakan is functioned and
equipped by the society as cultural and musical expression. Moreover, the Senggakan also circulates social and
cultural essences for the society. The Senggakan
becomes accordingly the musical and cultural identity of the society observing Dangdut Koplo.
Keywords: Senggakan; Dangdut Koplo; identity; habitus; essence
INTRODUCTION
Dangdut Koplo was created during the 90’s, and
became famous after the Soeharto-era. It was first known in East Java, although
its specific origin remains unknown. Prediction of its development in East Java
was related to the most dominant music instrument to be exact kendang’s beat pattern. Weintraub
(2010:252) states that West Java’s Jaipong kendangan
is introduced to Easy Java in the 80’s and has develop in East Java music with
an East Java sense. Therefore, it could not be denied that its development has
spread widely. Dangdut Koplo’s is
likened for its fast and dominant music with kendang Dangdut beat.
In music factor, Dangdut Koplo
is compact with numerous musical influences, including rock, house, Dangdut and
jaipongan. Dangdut Koplo’s accompaniment is dominated with
“kendang” Dangdut sonant “dang”.
“Dang” is more dominant than “dut”, this sonant is produced by shifting the
hand at kendang’s membrane. The
impact that happens when “dang” is more dominant makes the atmosphere more
festive. Author’s vision on the domination of “dang” in Dangdut Koplo also gives difference with Dangdut
that is dominated by “dut”. The sound difference gives its own dancing space in
Dangdut. While, Dangdut Koplo gives
more Senggakans such as “dum plak
ting ting joss”, “yok ya”, “ek ya” or “asik asik” even “bukan sitik joss”.
Oftentimes, Senggakan is followed by
dancers’ erotic movement. The barrage unites in giving different color in Dangdut
Koplo; differentiating Dangdut Koplo with Dangdut. Vision of this
musical identification became one aspect that makes type writer curious,
moreover specific detail such as Senggakan.
In its shows’ application, Dangdut Koplo
could also be found in Yogyakarta. Purawisata – an entertainment stage – offers
Dangdut Koplo performance. Basically Dangdut
Koplo was introduced in 2002, but its
existence was established in 2006. In 2006, Dangdut Koplo entered Yogyakarta, but it still contends with Dangdut. Then
on 2009 Dangdut Koplo occupy a strong
position in its shows. Nowadays, Dangdut Koplo
became the basis of Dangdut performance.
In its practice Senggakan is
rarely noticed. Senggakan is
considered to create a bustling atmosphere so the show becomes more festive and
carried away. Senggakan could be
translated as a complement. But could fans enjoy Dangdut Koplo without its Senggakan? When enjoying Dangdut Koplo show, countless Senggakan
happens. This explains that Senggakan
has a bigger meaning then the nature of Senggakan
itself. A Dangdut Koplo show without Senggakan would be unimaginable.
This explains that Senggakan in Dangdut Koplo has a bigger meaning than Senggakan’s nature itself. Dangdut Koplo without Senggakan would not be imaginable. This Dangdut Koplo musicality become a problem for
the writer. How does the performer (musician and singer) and audience view the
essence of Senggakan as a musical
identification? How does Senggakan
happen and become the identity of Dangdut Koplo?
How is the relation between Senggakan’s
production patterns with audinces’ acceptance pattern?
The
main purpose of this research is to know Dangdut Koplo’s mucical character and in normal Dangdut; Comprehension on
type of Senggakan that occurs in Dangdut
Koplo functionally and the function
of Senggakan in Dangdut Koplo for the community/viewer;
Comprehension on how far is Senggakan’s
development in Koplo – from the
performance essence that they show. Confirmation that Senggakan differentiate Dangdut Koplo
and Dangdut.
The
result of this research is expected to be a new discourse material beneficial
for those who seek information, and to those who concentrate in
Ethnomusicology, Anthropology, and other branch of knowledge. Result of this
research could reference to society about Dangdut, especially studies about Dangdut
Koplo. Moreover, hopefully this paper
could give new understanding about Senggakan
in Dangdut Koplo.
Similar discussion
could not be found in several books, thesis, and dissertation that discuss
about the same theme. Previous paper
only discuss about Dangdut in sense, in development and in function, but study
about the same discussion as in this paper could not be found. Researcher that
study Dangdut such as Andrew Weintraub in its book “Dangdut Stories”. This book tell in depth about Dangdut’s
journey from the beginning of its formation until know. This explanation is
elaborated with ongoing social context just like politic, social, and involve
local’s power role in producing Dangdut with new interpretation.
Furthermore
a dissertation from Michael Hari Sasongko titled “Perubahan Wujud Penayangan
dan Makna Musik Dangdut di TPI dan Indosiar 1994-2004”, Program Studi
Pengkajian Seni Pertunjukan dan Seni Rupa, Universitas Gadjah Mada, 2006. This
dissertation discuss about transformation of Dangdut show performance itself.
This transformation is considered a phenomenon to the writer; meaning
transformation from Dangdut itself as dance, become spectacular, in line with
happening context such as transformation in fashion style, stage, and a more
systematical show.
In
a more specific problem, other thesis from Dyah Murwaningrum titled “Senggakan sebagai Permainan Vokal dalam Lengger Banyumasan di
Jawa Tengah”. Program Studi Pengkajian
Seni Pertunjukan dan Seni Rupa UGM, 2006.UGM, 2012. This thesis discuss about Senggakan as one of the important
element in Gendhing Banyumasan. Senggakan
is considered as spirit in the show. In a show Senggakan construct a festive atmosphere that becomes climax. Senggakan
occurs based on musical and non musical factor. Musical factor comes from
Gendhing that occurs, while non musical factor is the actor, culture, and the
show context.
THEORETICAL
FRAMEWORK
In analyzing a Senggakan in the Dangdut
Koplo music, one analytical tool to be used herein is Pierre Bourdieu's
theory on Habitus. In his book “Outline of a Theory Practice”, Pierre Bourdieu
explains that the elements of Practice, Habitus, Capital and Field are integral
and intertwined parts. In his research on the element of Practice, Bourdieu
argues that all the social lives are essentially practical in nature as they
are existent in time and space, and unconsciously, are organized and mobilized
(1977:78). According to Bourdieu, the element of Habitus is the result of
practical skills which are implemented into actions and are not necessarily
realized, in which it further becomes a driving source in a particular social
environment. In that regard, the Senggakan
has its own habitus in its implementation. The existing Habitus derives from the creators of the Senggakan which has different meaning in
itself.
The other tool to be used in analyzing the Senggakan is the theory by Thomas Turino. The music and social
dance is influenced by the subjectivity of individuals, social groups and
social interaction of musicians. And this is related to Music as a form of
social life, which is also divided into such parts as participation and
presentation, "where if viewed as a form of participation, it means that
people are able to take part therein such as in dancing. Whereas, if viewed as
a form of presentation, all we could do is just watching" (2008:26). This
theory is used in observing the presentation of the Senggakan as found in the Dangdut Koplo music, and three parties, which are musicians, singers and
audience, have correlation during the Senggakan.
The theory of participation and presentation shall be necessary in
observing the Senggakan in the Dangdut Koplo music. The participation and
presentation value shall be important when the Senggakan is performed and responded, and the music tempo coming out of it ends up
in joged or dancing.
Further observing of the Senggakan
is supported with a utilization and function theory by Allan P. Merriam. Music
has an important function in social life. Music is not created from nothingness; it provides an
explanation and understanding to a large group of people as it is dealing with the emotional existing among the people and it has deeper functions in the social and public life. Similar function is also
found in the existence of the Senggakan (1984:222-226). The Senggakan invloves
some emotional values when performed, which is evident in the reaction as demonstrated the by the people involved therein. The Senggakan has now been considered important in the society.
Music is a part of the community, and of utility value in the society. The utility value of an art is closely associated
with a context in the society, and it is similar with a spiritual aspects as contained in a religion. In that regard, the Senggakan also has utility value which is deemed important
in the society. The fucntion of the Senggakan
in the Dangdut Koplo music is interpreted more profoundly in the society. The Senggakan in the Dangdut Koplo music serves as manifestation of the social processes through
the existing cultural bonds. The cultural bonds
form cultural identity (1984:210). In
its existence, the Senggakan is created with different interpretation. The identity thereof is therefore made known by seeing the extent of the
essence of the Senggakan in its continuity. The meaning contained therein has earned the Senggakan identity value of the Dangdut Koplo musicality. The identity value is based upon the value of Habitus
and the existing local interpretation.
RESEARCH
METHODOLOGY
The methodology applied
in this research is ethnography. Spreadley (1997:5) defines ethnography as a
type of cultural research purported to comprehend how people interact and
cooperate through the phenomena observed in people’s daily life. In addition,
Spreadley also argues that ethnography is a method that describes the
organization of human mind which contains culture. The writing of this research
is composed using a descriptive-analytical way. This writing is accordingly able
to present a new understanding to the readers. This research is a qualitative
research. Therefore, the role of the key informant is deemed pivotal in
responding the research questions.
Participative observation
will be conducted to discover how Dangdut Koplo
phenomena using the Senggakan perspective
in its performance is seen. The research will be located in Purawisata, Yogyakarta. In the context
of Senggakan, the entire locations
can be employed for its performance due to the existence of Senggakan. Besides, participative
observation is aimed to directly engage in informant daily activities, both in
the public or private sector.
RESULTS
AND DISCUSSION
Essentially, the use of the word "Senggakan"
in the Dangdut
Koplo music has
already become a
form of unconscious influential culture in the society.
The term Senggakan
has has a strong essence as seen in the application thereof in the Dangdut Koplo music. Based upon the essence as known by the musicians, , not only does the Senggakan serve as variations
in their rmusical performance,
but also a characteristic in all forms of the musical performances and
repertoire. The musicians
have unwittingly had
knowledge about the Senggakan when they listen to the karawitan music, thus resulting in similar musicalelements.
The Senggakan
which in essence is the karawitan musical elements has given a new taste in
the world of Dangdut music.
The majority musicians of the Dangdut Koplo come from the land of Java are aware of this
phenomea. Thus, the essence of the Senggakan has been implanted in the minds of the musicians as the performers of a show.
The musicians’ knowledge of the Senggakan
is realized in the performance of the Dangdut Koplo song
repertoire. Nevertheless, the musicians should rehearse to adapt themselves as the consequence of the insertion of the Senggakan in the Dangdut Koplo
music. During the insertion of the Senggakan therein, it is evident that learning process is obtained through listening to songs to be performed. The musicians will learn and rehearse continuouslyto perfectly perform the Senggakan (Bourdieu, 1977:223). From the above reference, there have been models or examples to be followed in the performance of the Senggakan
in the Dangdut Koplo music, however, in its continuity, the performance of the Senggakan is still based upon the intepretation and habitus of the involving parties (Richter, 2012:88).
The Habitus has a very
strong role in developing the knowledge and experiencing habituation. Such art as the Senggakan in the Dangdut
Koplo music may well established based upon the experience which helps
interpret an issue,
for the interest of the musicians and audience as well. In that regard, it is implied that in practice the Senggakan is not as easy as it may seem, in which, the Senggakan has its own essence and history in its performance. Murwaningrum (2012:1) states that the Senggakan as a musical phenomenon is emerging as a voluntary response which is generally triggered by previous action or
situation, whether musical
or not. The Senggakan does merely not stop in
responding the
existing issues
but will respond once again in a sustainable manner and at a point which will eventually cease. The Senggakan is typically
used to support the creation of a bustling atmosphere. The Senggakan seems to appear in the fullest liberty of action as a response to the existing situation.
Interactions which are established among singers, musicians and audience have formed the source of life in the perormance thereof. Participation of the audience is very important in the performance. Even the audience in 3 types of rows do participate in the music being played in their own interpretation. Although the audience in the front, middle and back rows are divided based upon the way they
enjoy the performance, the
interaction is established whether explicitly or implicitly as the form of expression in the relevant situation. Participation of each element in the performance is a symbol indicating the success delivery of the message and meaning thereof and is interpreted by the audience through the Senggakan, shouting and dancing. Participation and interaction are important parts which create the sustainability of the Dangdut Koplo music, as represented by the Senggakan, and form a unity in the the Dangdut Koplo music as a whole (Turino, 2008:26).
The Senggakan also grows stronger
as the essence contained therein affects the community. It involves profound function and utility, as found in the Senggakan as the tool of emotional expression, aesthetic appreciation, entertainment,
communication, symbol, physical reactions, related to social norms, social institutions legalization and part of the ceremony, cultural continuation and community integrity (Merriam , 1984:223). From the utility point of
view, the Senggakan runs with its own context, which is similar to culture, social and economic. There is more value in the insertion of the Senggakan in a musical performance.
From the above reference, the Senggakan forms an identity, be it musicality or
contextuality, in the Dangdut Koplo music. The Senggakan has become an identity due to
legitimacy given by a large groups of community,
and it can be traced back to the community habitus. Unwittingly, the community has established the Senggakan as the most important part in the sustainability of the Dangdut Koplo music. Refers to as the identity shall be the
same experience both culturally or socially, and the same is owned by both individuals and groups (Merriam, 1984:210). The similarity shall form a communal legitimacy upon any subject matter, and in this case, the subject matter is the Senggakan which is the identity of the Dangdut Koplo
music (Hall, 1990:28). Identity constantly evolves
and survives because
of the habitus of the relevant community. Essentially, when people consider anything as
having an identity but without any associated habitus, it will be considered as a mere surface
and contain no more than a mere
interpretation.
The Senggakan in its continuity has become powerful, and is no longer loud cries. It forms an integral part of drums, shouting, dancing and other musical instruments. In its music, the Senggakan obtains its strength for its integrity and mutual reinforcement between one element and the other in its survival. The Senggakan has its strong influence in the Dangdut
Koplo music due to the habitus of the supportive community, increasing interaction of the Senggakan, the important function and utility of
the Senggakan in the community, and as the
identity of the Dangdut
Koplo music and community.
CONCLUSION
In
sum, the existence of Senggakan applied
on Dangdut Koplo has been integrated
with other elements, such as kendang,
goyang, and other musical instruments. This integration creates one new
character whose existence subsequently becomes a particular type of Senggakan applied on DangdutKoplo. This can happen due to the
habitus similarity between the performer and the audience. Habitus is also a
cause of the emergence between the production pattern and the acceptance
pattern of the audience. The success of the transmission is signalized by the
participation of the audience in witnessing the performance of Senggakan. The Senggakan
has now adays
been more essential to the society due to its function andits use for the
society. Consequently, the Senggakan becomes
the Dangdut Koplo musical identity as
well as the cultural identity of the society who enjoys theDangdutKoplo.
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