See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/281096102

The Implementation of Local Wisdom Values through Song Lyrics Creation using the Standard of Sekar Irama Tandak Pupuh Sunda CONFERENCE PAPER · MARCH 2013 DOI: 10.13140/RG.2.1.3463.2720

READS

21

1 AUTHOR: Julia Universitas Pendidikan Indonesia Kampus … 3 PUBLICATIONS 0 CITATIONS SEE PROFILE

Available from: Julia Retrieved on: 25 January 2016

The Implementation of Local Wisdom Values through Song Lyrics Creation using the Standard of Sekar Irama Tandak Pupuh Sunda Julia, M.Pd Universitas Pendidikan Indonesia Sumedang District Email: [email protected]

Abstract Tulisan ini mengkaji tentang proses kreativitas mahasiswa PGSD UPI Kampus Sumedang dalam membuat lirik lagu yang mengacu pada patokan lagu pupuh Sunda jenis sekar irama tandak. Tujuannya adalah supaya mereka dapat menggali kembali tentang nilai-nilai kearifan lokal, dan mencoba menyusun ulang sesuai dengan latarbelakang budaya mereka yang diselipkan melalui karya-karya lirik lagu untuk anakanak. Pengumpulan data dilakukan dengan cara observasi langsung terhadap 47 mahasiswa yang menempuh kuliah pendidikan seni musik. Dari hasil kajian dapat diidentifikasi bahwa: Pertama, pengenalan dan penggalian kearifan lokal dapat dilakukan melalui pembelajaran lagu-lagu tradisional daerah setempat, khususnya pada jenis seni tradisional yang bermutu tinggi (adiluhung). Kedua, kepedulian dalam menebarkan nilai-nilai kebaikan dapat dilakukan melalui karya cipta berupa lirik lagu yang bersumber pada budaya lokal. Ketiga, tema beserta makna yang dimunculkan dalam lirik hasil karya mahasiswa antara lain dipengaruhi oleh latarbelakang budaya dan kondisi sosial mereka, sehingga ada perbedaan nilai kearifan yang berkembang dalam konsep hidup mereka, namun ada pula nilai kearifan yang pada dasarnya bersifat universal. Kata Kunci: kearifan, lokal, lirik, sekar, pupuh, Sunda.

A. Introduction The revolutionary conditions of life in the city and suburban is inevitably occurred, in all aspects of life. Modernization, as Saud suggested (2009:16) is occurred as a social change of the society from traditional state to a more modern one indicated by the changing of human attitude and behavior along with the values within. As proven by Amin (2002:92), that modernization gives significant influence to social behavior especially children behavior. The specific behaviors aforementioned are: the way children talk to others, play their games, how they behave in front of their parents and treat each other. Those behaviors are changing. The fact should be seriously taken into account, as this changing is repeatedly continued and gives negative effect at some points. Furthermore the 1

condition can gradually change the values inherent in a culture, especially the accumulation of good deeds from the society, or it is coined as local wisdom. One of the local wisdoms that has been continuously affected by the changing is traditional art especially traditional music domain. Western music has magically grabbed youngsters’ taste of music, even adults. While the meaning of this western type of music is far away from local culture values. As a result, lifestyle of generations is also westernized. Meanwhile, Kusuma (2009) argued that not all western cultures are suitable to be implemented in Indonesia. Negative cultures that seem to displace the origin cultures are children are no longer respect their parents, free lifestyle and alike. Children are reluctantly engaged with local cultures, learn traditional music and songs. One important causal that should be also taken into consideration is that, the musical art educators condition and force this skill less than others to the students. This is resulted from their lack of competencies in musical art. Meanwhile in recent curriculum, teachers’ creativity is becoming the main foundation in developing teaching materials especially art and music. If teachers are less in creativity, low in innovation and lack of competencies, their students are put in risks. They can be a fragile adapter and imitator of western and popular cultures to be mingled to their habits everyday instead of learning, exploring and maintaining local and traditional cultures. To overcome the problem, one of the efforts is to equip teachers of musical art with the skill of creating song lyrics with local wisdom values within since song has been significantly researched as having the most powerful and simple meaning to be grasped by children. Nevertheless, since creating song in both its lyrics and tones are too difficult for some teachers, so it is offered by this research how to create lyrics in already available tones or melodies, especially those rooted from local songs and music. It is expected that if teachers can continuously create song lyrics, they will gradually capable of creating the melodies. This phenomenon is also depicted from the skill of PGSD students (Elementary School Teaching Education) Indonesia University of Education

2

(UPI) in Sumedang regional campus. In Musical Art Education, they are directed to create child songs rooted from their local cultures starting from its melody sweep through the lyrics. First stage of this creativity is exercised by asking the students to create the lyrics by the melody of traditionjal music, pupuh Sunda. This paper attempts to identify this creativity of PGSD students in creating song lyrics with local wisdoms contained. It does not mean that in Sumedang district or West Java Province this type of song is not existed. By creating it, the lyrics will be in line with the current situation, current needs and the context of the subject. With this strategy, it is expected that the local wisdom values can be re-explored and re-implemented, and along with that, the pupuh Sunda song can be continuously preserved.

B. Theoretical Foundation 1. Local Wisdom Local wisdom is differently defined by certain theories and articles. Terminologically, the term local wisdom contains two words: wisdom and local. In English-Indonesia dictionary by John M. Echols dan Hassan Syadily, local means regionally, wisdom is synonymous with astuteness. In general, local wisdom can be understood as local ideas which are constantly wise, full of values, good moralities and followed by its society. (in Sartini, 2009). In the other side, S. Swarsi Geriya conceptually explained that local wisdom and local positivity are human works of thoughts which are rooted from the philosophy of values, ethics, ways and attitudes that are traditionally blended. Local wisdoms are rightly-considered values that can be survive in a long period and even institutionalized (Sartini, 2009). Simply, local wisdom can be understood as a good value that is originated and existed in a region, whether it is a village, suburban, residential, regency, province or even a country. Local wisdom values are different from one place to another, nevertheless, these values are constantly assumed as the most suitable ones with where they are originated and they are appreciated forever even if the people in that area are

3

shifting from one generation to another. Art and local culture are two amongst the others. Thereby, Cia Syamsiar (2010) explained that Indonesian long existed arts like pre historical ones, classical and traditional arts, also all values which are rooted from nature and locality and have been preserved as Indonesian principles for ages should be maintained. As the traditional music, pupuh Sunda, as a apart of traditional music art of Indonesia, is worth analyzing as the music that reflects local wisdoms.

2. Pupuh In Sunda Dictionary (KBS) by Satjadibrata (2005:310), it is stated that pupuh defined as sekar, or aturan dangding. In Wikipedia (2012), it is explained that pupuh téh nya éta wangun puisi lisan tradisional Sunda (atawa, mun di Jawa, katelah ogé macapat) nu tangtu pola (jumlah engang jeung sora) kalimahna. Apung Supena Wiratmadja (1996:145) defined that pupuh nya eta 17 rupa patokan pikeun ngadangding. It can be concluded that pupuh is a patterned song, the song with certain rules of the lyrics within 17 rules in line with the number of pupuh types existed in West Java. The rules are listed by Wiratmadja (1996:149) as below. Pupuh teh mibanda aturan-aturan anu geus tangtu: 1. Reana padalisan (jajaran) 2. Reana engang unggal padalisan, disebut guruwilangan 3. Sora panungtung unggal padalisan (boh nutup boh muka) atawa osok oge disebut dangdingdungna tungtung padalisan, disebutna gurulagu 4. Watek pupuh Based on above quotations, pupuh has rules on its lines, syllables, vocal alphabet in the last syllable of each line, and morality (watek). Pupuh Sunda is deprived into two song classifications and two types of melodies. Based on song classifications, there are: 1) sekar ageung which contains pupuh Kinanti, Sinom, Asmarandana, dan Dangdanggula, 2) sekar alit which contains pupuh Balakbak, Durma,

Gambuh,

Gurisa,

Jurudemung,

Lambang,

Ladrang,

Magatru,

Maskumambang, Mijil, Pangkur, Pucung, dan Wirangrong. Based on song

4

melodies, there are: 1) sekar irama merdeka which has no rules of tones, and 2) sekar irama tandak which has rules of tones.

C. Methodology The observation was conducted along the lectures for 8 meetings (8 weeks) to 47 students as the participants. The method of collecting the data is direct observation and the researcher act as the teacher (participant observation). The observation is aimed at digging up the data and analyze phenomena related to the learning process especially students’ creativity in making the song lyrics with local wisdom contained as the purpose of the study suggests. The data analysis was performed after all the required data gained. The processes are: collecting, categorizing, analyzing, explaining, framing, making meaning and concluding.

D. Discussion 1. The Introduction of Pupuh Students of PGSD UPI Sumedang are generally unfamiliar in singing pupuh, even many of them could not sing it well, and could not sing it at all. Those who can only memorize one song dominated the memorization of the lyrics. Therefore, the learning is initiated by these stages.

a. Learning rhythm Rhythm learning is performed as many as two meetings. This stage is very important to be exercised because pupuh learning is conducted through the notation of the song. Meanwhile the students in general are not capable enough to do rhythmical readings, therefore, the teaching was conducted started from the basic rhythm. From these two meetings, the students are capable of reading various rhythmical patterns sufficiently starting from the full notation up to 1/16 notation. The rhythmical patterns can also be played through the game of rhythmical patterns in a group for a vocal exercise or using sounding media such as hands and feet.

5

b. Learning Notation Having finished with the rhythm, the next step is learning notation. The given notation is fentatonis, a type of notation that is used in west Java (daminatila). The learning of this notation is also based on the song of pupuh Sunda which used daminatila notation. The learning was conducted within two meetings. This subject is a bit hard for the students to master, because the vocal mastery or popularly coined as pitch control is a difficult skill to master if it is not initiated at a very early stage. As John Langstaff and Elizabeth Mayer (1996) argued in their researches about the rationale of how important it is to introduce musical art education at the earlier stage because in age 11, neuron circuit that administer all types of perceptions and perceptions, also sensory discriminations such as identifying pitch and melody, will be closed. In addition to that, Djohan (2003:105) stated that if this circuit is not used or inactive, a child will suffer from blindness of tone and melody forever.

c. Learning to read pupuh through notation In this stage, the principle applied is similar to the second stage. What makes it a bit different is that, the notation has been arranged as a whole song rooted from pupuh with the type of sekar irama tandak. The students are given the song notation to be read and learned seriously. Based on the process of teaching and learning, it is figured out that students’ skill is comprised into two categories. First, students who are able of singing pupuh with notations, but notations are memorized as song lyrics so that they are basically incapable of understanding notation or tone interval. Second, the students who are able to sing pupuh with notation, so that they understand well the notation, it is read not as the song lyrics but notations leveling instead. From this step, all students are finally familiar with the form and melody of pupuh song as a whole.

d. Learning to apply lyrics to the song melody In this stage, students learn how to sing pupuh with the existed lyrics. The process of synchronization between lyrics and melody is faster than the previous

6

stage, since all they need to do is replacing the lyrics which is initially positioned by the notation, with the real song lyrics. Therefore, the students’ assignment is more simple, to memorize the pupuh lyrics given.

2. Lyrics Creation It is this stage that determines the level of creativity of the students. At this stage also, lies the purpose of the learning and in turn, the purpose of this research, i.e. students are capable of making song lyrics with local wisdom contained within. The theme was also directed in line with elementary school students’ characteristics, and contain morality values or local wisdoms rooted from their origins. The creation of the lyrics was based on the standard of sekar irama tandak lagu pupuh Maskumambang. Here are the standards.

The melody, syllable and word is determined as such: four lines minimum, eight syllables in each lines. The language used is their own local language. Students who could not master local language are allowed to create lyrics in Indonesian language (bahasa).

7

Based on the observation, it can be concluded that creating the lyrics is not an easy job for the students. The skill needs the sense of appropriateness of using the words so that when the words are chaining, they will be meaningfully and at the same time beautifully heard. Some students who experienced this obstacle did not stay still; they consulted faithfully. Generally, the obstacle came from the way they should keep the theme in one track, that they should avoid changing theme in one side. At the other side, they should pick abundant words to be meaningfully chained without ignoring the song’s rules. This process is similar to making a poetry, and students considered it rather difficult. From 47 students being observed, the lyrics they created can be categorized into some themes: a) God and religion 13 people (27,65%), b) education 5 people (10,63%), c) ethics 5 people (17,02%), d) nature and its beauty 5 people (10,63%), e) love and affection 8 people (17,02%), f) culture and how to preserve it 5 people (10,63%), g) money and how to save them 2 people (4,25%), and h) life and its complexity 1 student (2,12%). Based on above statistics, it can be seen that students have the ability of creating lyrics embracing their understanding of local wisdom, since all themes rooted in local wisdom’s main contain, i.e. kindness including God values. As Sartini (2009) argued, local wisdom is an integral combination of God values and existed values. With this combination, the function of local wisdom as Mulyo (2013) stated to ‘rule the society with all the interactions within, the nature with all the treatments within, and the patterned behavior of all humans with all the hindrances within’, can be well achieved.

3. The Presentation of Song and Lyrics The last stage of the teaching is to ask all students to present the creation. They have to sing the lyrics along with the melody that they have originally created. The purpose is to exercise their understanding more and more of the meaning they have loaded into the song lyrics so that they can be motivated more to make better works continuously to spread the values of local wisdom to their students in the future, through the simple songs.

8

E. Conclusion From all the discussions, here are some conclusions. First, the introduction and exploration of local wisdom can be performed through the teaching of their traditional songs especially the high quality ones (adiluhung). Second, the effort to preserve and spread kindness values can be performed through the works of lyric creation rooted from local culture. Third, the theme and meaning the students have created are very much influenced by their social and cultural background; and it is found that their wisdom values are different one another yet they also share the universal values of the wisdom.

F. Reference Amin, Rifqonul. (2002). Dampak Modernisasi Terhadap Perubahan Perilaku Etika Anak Kepada Orangtua. [Online]. Tersedia: http://digilib.uinsuka.ac.id/4823/1/BAB%20I.%20V%2C%20DAFTAR%20PUSTAKA.pdf [2 Maret 2013]. Dhave, Dhanang. (2012). Kearifan Lokal Warisan Mahakarya Nenek Moyang. [Online]. Tersedia. http://sosbud.kompasiana.com/2012/10/17/kearifanlokal-warisan-mahakarya-nenek-moyang-496381.html [2 Maret 2013]. Djohan. (2003). Psikologi Musik. Yogyakarta: Buku Baik. Kusuma, Afandi. (2009). Dampak Positif dan Dampak Negatif Globalisasi dan Modernisasi. [Online]. Tersedia: http://afand.abatasa.com/post/detail/2761/dampak-positif-dan-dampaknegatif--globalisasi-dan-modernisasi.html [3 Maret 2013]. Mulyo, S. Satrio. (2013). Kearifan Lokal (Local Wisdom). [Online]. Tersedia: http://www.tanahimpian.org/dasar/148-kearifan-lokal-local-wisdom.html [4 Maret 2013]. Sartini. (2009). Menggali Kearifan Lokal Nusantara Sebuah Kajian Filsafati. [Online]. Tersedia: http://dgi-indonesia.com/wpcontent/uploads/2009/02/menggalikearifanlokalnusantara1.pdf [2 Maret 2013]. Satjadibrata, R. (2005). Kamus Basa Sunda. Bandung: Kiblat. Saud, Udin. S. (2009). Inovasi Pendidikan. Bandung: Alfabeta.

9

Syamsiar, Cia. (2010). Bentuk-Bentuk Kearifan Lokal dalam Kehidupan Masyarakat Indonesia Sebagai Sumber Gagasan Berkarya Seni Rupa. [Online]. Tersedia: http://jurnal.isiska.ac.id/index.php/brikolase/article/view/414 [3 Maret 2013]. Wikipedia. (2012). Pupuh. Tersedia: http://su.wikipedia.org/wiki/Pupuh [3 Maret 2013]. Wiratmadja, A. Supena. (1996). Kuring jeung Tembang Sunda: Pamanggih & Papanggihan. Bandung: Citra Mustika.

sSs ***Makalah disajikan dalam Seminar Internasional Pendidikan Seni Budaya 2013 dengan tema “Keberagaman dan Makna Nilai Kearifan Lokal Sebagai Sumber Inspirasi dalam Pembelajaran Seni Budaya yang Bermartabat dalam Jagad Pendidikan Kita di Tengah Kegalauan Kapitalisme” di FKIP UNS pada tanggal 13 Maret 2013***

10