Satrio Bogie Syamsudin

GRUP HANGSUN GANDRUNG DALAM ACARA “BUKAN MUSIK BIASA” DI SURAKARTA

Introduction

Grup hangsun gandrung dalam acara “bukan musik biasa” di surakarta. Telusuri grup Hangsun Gandrung, seni Banyuwangi di Surakarta. Studi etnomusikologis ini menganalisis pola garap dan reproduksi budaya mereka dalam event "Bukan Musik Biasa".

Abstract

Hangsun Gandrung merupakan nama sebuah grup kesenian Banyuwangi yang hidup dan berkembang di Surakarta. Upaya grup Hangsun Gandrung tersebut untuk dapat diterima salah satunya mengikuti event “Bukan Musik Biasa” di wilayah Surakarta. Berdasarkan hal tersebut maka perlu diketahui tentang pola garap dan bagaimana grup tersebut mereproduksi kebudayaan Banyuwangi di Surakarta. Penelitian ini menggunakan pendekatan etnomusikologis. Teori untuk mengupas teks adalah dari konseptual Rahayu Supanggah tentang garap dan dalam mengupas konteks menggunakan teori Pierre Bourdieu tentang reproduksi kebudayaan. Anggota Grup Hangsun Gandrung terdiri dari praktisi karawitan yang memiliki habitus atau pengalaman multi musikal. Bekal tersebut dimasukkan ke dalam komposisi bertajuk “Celah” yang kemudian dipresentasikan dalam event “Bukan Musik Biasa.” Komposisi “Celah” digarap dengan menghadirkan vokal khas Banyuwangen berupa Embat-embat Banyuwangen, vokal tersebut juga merupakan salah satu unsur modal budaya dalam mereproduksi kebudayaan.

Review

The paper "GRUP HANGSUN GANDRUNG DALAM ACARA 'BUKAN MUSIK BIASA' DI SURAKARTA" presents an intriguing ethnomusicological study of a Banyuwangi art group's adaptation and cultural reproduction in a new urban context. The core inquiry revolves around how the Hangsun Gandrung group, originally from Banyuwangi, navigates its presence and seeks acceptance in Surakarta, specifically through its participation in the "Bukan Musik Biasa" event. The research aims to elucidate the group's *pola garap* (compositional patterns/processes) and the mechanisms by which they reproduce their Banyuwangi cultural heritage. This topic holds significant relevance for understanding cultural resilience, adaptation, and artistic hybridity in contemporary Indonesian society. A significant strength of this research lies in its clear focus on the dynamic interplay between cultural heritage and contemporary performance. The application of an ethnomusicological approach, combined with Rahayu Supanggah's concept of *garap* for compositional analysis and Pierre Bourdieu's theory of cultural reproduction for contextual understanding, promises a robust analytical framework. The abstract highlights specific elements, such as the group members' multi-musical *habitus* and the composition "Celah," which incorporates the distinctive *Embat-embat Banyuwangen* vocal style. These details suggest a rich dataset for demonstrating how specific cultural elements are strategically employed as cultural capital, contributing to both the artistic distinctiveness and the cultural reproduction efforts of the group. The focus on a specific event ("Bukan Musik Biasa") also provides a concrete case study for examining these processes. While the abstract provides a compelling outline, a full paper would benefit from deeper exploration of certain aspects. For instance, further elaboration on the specific challenges and opportunities faced by the Hangsun Gandrung group in establishing themselves in Surakarta, beyond merely "seeking acceptance," would enrich the understanding of Bourdieu's framework in practice. Additionally, an analysis of audience reception at the "Bukan Musik Biasa" event, and how it informs or challenges the group's reproductive strategies, could provide valuable insights. Comparative analysis with other migrating artistic groups or a more nuanced discussion of potential cultural negotiations and transformations, rather than just "reproduction," might also broaden the paper's theoretical impact. Nevertheless, this study offers a valuable contribution to the discourse on performing arts, cultural identity, and adaptation within an Indonesian context.

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