East Kalimantan is a province rich in natural resources and the diversity of its traditional arts. The diversity of traditional art forms, particularly traditional music, can be observed in the Outback, Coastal, and Palace Music (Kedaton Kutai)—which is still being maintained—of course, cannot be separated from the continuity and changes that accompany it. This study aims to form a collective awareness of the community through a space of contemplation on the sustainable preservation of traditional music with the importance of involving practitioners, artists, communities, cultural observers, academics, and the government as a strengthening of the sustainable literacy movement. Strengthening literacy in traditional music includes documentation, archiving, and recording of WBTB, cultural dissemination, and regeneration processes. This research uses a qualitative approach through case studies. The study results indicate that literacy strengthening in IKN East Kalimantan related to development policies and culture must go hand in hand so that the continuity and change of arts and culture are more dynamic. Kalimantan Timur merupakan provinsi yang kaya akan sumber daya alam maupun keragaman seni tradisinya. Keragaman bentuk kesenian tradisi, khususnya musik tradisi, dapat diamati pada musik Pedalaman, Pesisir, dan musik Istana (Kedaton Kutai)—yang hingga kini masih terus dipertahankan—tentu tidak terlepas dengan adanya kontinuitas dan perubahan yang menyertainya. Penelitian ini bertujuan membentuk kesadaran kolektif masyarakat melalui ruang kontemplasi terhadap pelestarian musik tradisi yang berkelanjutan dengan pentingnya melibatkan praktisi, seniman, masyarakat, budayawan, akademisi dan pemerintah, sebagai penguatan gerakan literasi berkelanjutan. Penguatan literasi pada musik tradisi di antaranya: pendokumentasian, pengarsipan, dan pencatatan WBTB, diseminasi budaya dan proses regenerasi. Penelitian ini menggunakan pendekatan kualitatif melalui studi kasus. Hasil penelitian menunjukkan bahwa penguatan literasi di IKN Kalimantan Timur terkait kebijakan pembangunan dan kebudayaan harus berjalan seiring, agar kontinuitas dan perubahan seni dan budaya di IKN lebih dinamis.

Komposisi “ Mapalalian” merupakan representasi dari sebuah aktifi tas permainan anak-anak di Bali yaitu Meduldulan.Di balik kesederhanaan permainan Medul-dulan terkandung nilai-nilai seperti belajar untuk menghormatisesama teman, bersifat sportif dan saling tenggang rasa. Di samping itu dalam permainan Medul-dulan terdapat pulasuasana kegembiraan, kelincahan, riang, gembira, senang, bersembunyi, serta berlarian. Hal-hal tersebut dicobadiolah melalui proses musikalisasi menjadi suatu bentuk komposisi musik etnis. Beberapa tahap yang dilalui dalampembuatan komposisi ini ialah eksplorasi, improvisasi, pembentukan, serta evaluasi. Instrumen yang dipilih sebagaimedia ungkap dalam komposisi ini adalah instrumen yang diambil dari Gong Kebyar, kendang Banyuwangi, sulingGambuh, Ongek-ongekan. Instrumen-instrumen tersebut dipilih karena memiliki karakter suara yang sesuai denganide garapan dalam komposisi ini.Kata Kunci: mapalalian, medul-medulan, komposisi musik.ABSTRACT” Mapalalian” Composition. This composition represents a children’s play activity in Bali called Medul-dulan.Behind its simplicity Medul-dulan game contains values such as learning to respect peers, sportsmanship and mutualtolerance. In addition, Medul-dulan game also presents the atmosphere of excitement, agility, cheerful, happiness, hidingand running. Those things were tried to be processed through the music and resulted in a form of ethnic musical composition.Some of the stages traversed in making this composition were exploration, improvisation, creation, and evaluation. Theinstruments selected as the showing media in this composition were partly taken from Gong Kebyar, Banyuwangi drums,Gambuh fl ute, and Ongek-ongekan. These instruments were selected due to their voice character which fi t the idea of thiscomposition.Keywords: mapalalian, medul-medulan, musical composition, Balinese music

Artikel ini merupakan analisis dari penciptaan karya musik yang bertemakan “Lacur”. Kata “Lacur” dalam bahasa Bali dapat diartikan miskin. Karya yang bertemakan Lacur, merupakan karya yang ide dasarnya memusikalisasi kemiskinan yang terjadi pada masa ini. Ada tiga bentuk kemiskinan yang menjadi ide garapan dalam karya musik “Lacur”diantaranya: 1) Kemiskinan Pengetahuan diberi judul “Awidya” 2) Kemiskinan materi diberi judul “I ketunan” dan 3) Kemiskinan Moral yang berjudul “Awidya”. Adapun media ungkap yang digunakan dalam garapan ini ialah Gong Kebyar, Gamelan Joged Bumbung, dan Gamelan Semarandhana. Tujuan dari penciptaan karya yang bertemakan ”Lacur” harapannya ialah agar keadaan kemiskinan yang terjadi dapat ditanggulangi secara lebih dini serta tujuan lainnya adalah keinginan untuk memberi sumbangsih pemikiran terhadap pengolahan yang dapat dilakukan pada ansambel gamelan yang digunakan.Kata Kunci: “Lacur”, karya musik.ABSTRACTThis article is an analysis of the creation of music entitled “Lacur”. The word “Lacur” in Balinese language can be interpreted poor. “Lacur” in this article means a piece of music based on the musical of poverty that occurs today. There are three forms of poverty which is the basis of this article : 1) Knowledge entitled “Awidya”; 2) Material poverty entitled “I Ketunan” ; dan 3) Moral poverty entitled “Awidya”. Media used are Gong Kebyar, Gamelan Joged Bumbung, and Gamelan Semarandhana. The goal of this article is to reduce poverty early on. Beside that, it can contribute ideas to the processing that can be performed on gamelan ensemble used.keywords : “Lacur”, Creation of Music.

The Odalan ceremony can be found in Hindu places of worship or temples in Bali, Java and Kalimantan. However, each region has its characteristics or specificities that are not found in other regions. It is an attraction for researchers to find out, explore, and discover the Odalan ceremony's uniqueness outside Bali, namely onKalimnantan. This study aims to describe the procedure or sequence of Odalan ceremonial activities, the cultural elements found in the Odalan ceremony, and the meaning of the Odalan ceremony's implementation. This research is descriptive qualitative research. The approach used is the ethnographic approach. The research object is the Odalan ceremony held at Pura Payogan Agung Kutai, East Kalimantan. This study's results indicate that the Odalan ceremony, which took place at Payogan Agung Kutai Temple, lasted for 71 days from 3 November 2019 to 12 January 2020. The sequence of activities started from the committee's formation, installing the attributes, cleaning the place for the ceremony until the Odalan Ceremony by carrying out prayers, Nyineb, until the committee's dissolution. The community was very enthusiastic in celebrating this ceremony, as evidenced by various parties' participation, both from Hindus themselves and the community around the temple. The Odalan ceremony was attended by Hindus from East Kalimantan, Bali, Java and Lombok. The Odalan or Piodalan ceremony is the anniversary of the birth of a Hindu holy place. In this case, the birthday of Pura Payogan Agung Kutai, East Kalimantan. Elements of Bali, Java, and Kalimantan (especially Dayak) culture, color the Odalan Ceremony at Pura Payogan Agung Kutai. The Odalan ceremony in each area is carried out according to local culture. Balinese, Javanese and Dayak cultural elements are reflected when presenting arts, offerings, tetabuhan, and dance.