Justitias Jellita Zulkarnain, Siti Lailatul Fitriyah

GAMELAN KUTAI DALAM PROSESI DEWA MEMANAH PADA RITUAL BEPELAS DI KUTAI KARTANEGARA KALIMANTAN TIMUR

Introduction

Gamelan kutai dalam prosesi dewa memanah pada ritual bepelas di kutai kartanegara kalimantan timur. Mengungkap fungsi Gamelan Kutai dalam prosesi Dewa Memanah pada ritual Bepelas Sultan di Kutai Kartanegara, Kalimantan Timur. Pahami peran lagu khusus dalam upacara adat.

Abstract

 Gamelan Kutai memiliki fungsi penting dalam keberlangsungan upacara adat erau, seperti halnya pada ritual malam bepelas Sultan hampir semua prosesi menggunakan gamelan. Akan tetapi setiap prosesi yang menggunakan gamelan memiliki ketentuan gending atau lagu, gending merupakan penyebutan istilah komposisi di Jawa, masyarakat Kutai menyebut dengan lagu. Setiap prosesi pada malam ritual bepelas Sultan memiliki lagu yang telah ditetapkan pada masing-masing prosesi, maka dari itu tidak akan terjadi kesalahan penggunaan. Seperti halnya pada salah satu prosesi pada ritual bepelas yaitu prosesi dewa memanah.

Review

This paper introduces an investigation into the integral role of Gamelan Kutai within the 'Dewa Memanah' procession, a specific component of the 'Bepelas' ritual performed for the Sultan in Kutai Kartanegara, East Kalimantan. The abstract highlights the pervasive presence of Gamelan Kutai in crucial traditional ceremonies like Eran, and particularly emphasizes its indispensable function during the Sultan's Bepelas ritual. The authors note that almost all segments of this ritual incorporate gamelan music, setting the stage for a detailed examination of its application in a highly specific cultural context. A key strength of this work lies in its specific focus on the prescribed musical compositions, referred to as 'lagu' by the Kutai community (analogous to Javanese 'gending'), which are meticulously assigned to each distinct procession. The abstract clearly states that these 'lagu' are fixed, ensuring accuracy and traditional adherence in their usage, thereby preventing errors. This level of detail regarding the pre-determined musical repertoire for ritual segments offers valuable insight into the structured nature of Kutai ceremonial music. By documenting this precise relationship between music and ritual within the 'Dewa Memanah' procession, the paper promises to contribute significantly to the ethnomusicological understanding of regional gamelan traditions and their deep integration into specific cultural practices in East Kalimantan. While the abstract effectively establishes the subject matter and the regulated use of Gamelan Kutai, a full paper would benefit from deeper elaboration on several fronts. For instance, it would be valuable to understand the specific characteristics of these 'lagu' – their melodic structures, rhythmic patterns, or instrumentation – and how these musical elements contribute to the symbolic meaning or emotional impact of the 'Dewa Memanah' procession. Furthermore, exploring the historical background of the 'Bepelas' ritual, the 'Dewa Memanah' segment, and the evolution of Gamelan Kutai's role within them would provide richer context. Future analysis could also delve into the socio-cultural implications of maintaining such a fixed musical repertoire, and the mechanisms through which this tradition is preserved and transmitted within the Kutai community.

Full Text

Comments

You need to be logged in to post a comment.