Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district.To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music.The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turntable which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as 202 Celt, Volume 16, Number 2, December 2016, pp. 201-216 the narration of local themes and certain sites that represent Ruteng.

The development of infrastructure and information technology has a significant impact on the relationship between Ruteng, the capital of the Manggarai district, and the surrounding villages. The mobility of the people between the cities and villages has led to new problems which previously did not have a significant influence. The shrinking of the rural agricultural sector and the development of the informal sector in the city are indicative of the dynamic relationship between the two. In order to see the phenomenon of changes that occur in the relationship between Ruteng and the surrounding villages, a theory of landscapes by Arjun Appadurai is used. Interviews were conducted with two entrepreneurs who employed people from five villages, namely Wae Belang, Pong Murung, Purang, Lando, and Nanu, and ten workers from those villages. Observations and literature reviews were carried out to support and complement the data obtained by the interview method. Technoscape, in the form of physical infrastructure development in rural areas and mediascape in the form of television and radio shows, as well as social media, became a pull factor for migration to Ruteng. Meanwhile, the traditional view in the form of go’et (traditional expressions) and the similarity of culture become the push factors for urbanization to Ruteng.

Migration is one of important issues in the Manggaraians' life. Their migration from Manggarai to various regions in Indonesia has made subtantial impacts on Manggaraian society. Over a long period of time, they have transformed from an agrarian society into an industrial society. This socioeconomic shift has become one of recurrent themes in Manggaraian popular songs. Two of the songs featuring this theme are “Lelak Loce Renda” written by Felix Edon and “Hemong Beo” written by Yasintus S.A. Jaar. Two questions that the present study intends to answer are, what factors encourage Manggaraian people to migrate out of their home region according to the lyrics of the abovementioned two songs? and how do they perceive migration as part of their socioculturalral realities? The answers to these questions are developed using a sociocultural perspective based on a theoretical concept posited by Everett E.Lee named pull and push factors. The study has led to the conclusion that the factors that has motivated the Manggaraians to migrate out of their home region thus far can be grouped into "push" factors and "pull" factors. The greatest push factor is found in a Manggaraian cultural value called goet-goet because of which they see migrating for better future is a respectable decision. The greatest pull factor is the expectation that the places to which they want to migrate offer more economic opportunities than those available in their hometown or home villages.

One significant factor that has brought the Manggaraians into contact with many people from various cultures outside their place of origin is migration. Their awareness of the importance of preserving and retaining their cultural identity is growing once they experience intercultural interactions. Rap songs have become one of the means by which they observe migration and cultural identity closer as important phenomena in their life. The present article studies these phenomena in Manggaraian rap songs. For this purpose, the concept of rural idyll suggested by Marc Mormont is used to understand the Manggaraians perspective on their home region, and the concept of identity as defined by Stuart Hall is used to examine the way the Manggaraians construe their cultural identity. This study is focused on 30 Manggaraian rap song that feature migration and Manggaraian cultural identity as the themes of the lyrics. The study has led to the insight that the main reasons that motivate the Manggaraians to migrate are their desires to continue their education, find better livelihood, gain new experiences in foreign regions and look for better accesses and facilities that are unavailable in their home region to achieve their goals. The experience of living among people from many different cultures in foreign regions confront them with the need to maintain their cultural identity and contact with their home region. To fulfill this need they make attempts of revitalizing Manggaraian traditional values that they are familiar with throughout their growing-up years in Manggarai.

This article aims to discuss the understanding of Manggarai youth of their folklore and the methods of transmission between generations. A qualitative research design was used with survey and interview methods to obtain data. The survey was conducted on 146 students and in-depth interviews took 15 people who were considered to be representative of all respondents. Based on the analysis, it can be seen that the inheritance of Manggarai folktales still occurs, although the number of known folktales is insignificant compared to the number of Manggarai folktales that have been transliterated and known by the Manggarai community. In addition, based on the level of education and the language used for intergenerational inheritance, it shows the reduced role of the Manggarai language, and a new transmission method is needed by the dynamics of the community so that the preservation of folklore can be carried out in the future.