Turonggo Karyo Budoyo is one of the Jaranan arts groups in the city of Samarinda. This group managed to maintain its existence amidst the reduced public interest in the performing arts of jaranan, especially the youth who should be the successors in preserving local arts. It is done through the creativity offered by the Jaranan Turonggo Karyo Budoyo Art Group, which combines pop songs with jaranan gending in their performances. This study aims to analyze the processes that occur in creativity and describe how the audience's acceptance of creativity. This study uses a qualitative research methodology and a participant approach using 3 (three) stages in the study, namely determining the research location, data collection techniques, and data analysis techniques. Determination of the location aims to focus on the object of research. Data collection techniques include literature study, observation, interviews, and documentation. As for the data analysis technique using data triangulation between researcher observations, interview data, and analyzed documentation. The results of this study can answer the formulation of the problem and research objectives that have been determined. The creative process is carried out through regular practice by paying attention to the budget, duration, and song selection. The process also involves four dimensions of creativity that influence each other: person, process, press, and product. The creativity offered is well received by the public or audience. The community considers combining pop songs with gending to be one way to introduce Javanese art to the broader community, especially young people, to be preserved.   Abstrak: Turonggo Karyo Budoyo merupakan salah satu grup kesenian jaranan yang ada di kota Samarinda. Grup ini berhasil mempertahankan eksistensinya ditengah berkurangnya minat masyarakat terhadap seni pertunjukan jaranan terutama para pemuda yang seharusnya menjadi penerus dalam melestarikan kesenian daerah. Hal ini dilakukan melalui kreativitas yang ditawarkan oleh Grup Kesenian Jaranan Turonggo Karyo Budoyo, yaitu menggabungkan lagu pop dengan gending jaranan dalam pertunjukannya. Tujuan penelitian ini adalah menganalisa proses yang terjadi di dalam kreativitas serta menjabarkan bagaimana penerimaan penonton terhadap kreativitas tersebut. Penelitian ini menggunakan metodologi penelitian kualitatif dan pendekatan partisipan dengan menggunakan 3 (tiga) tahapan dalam penelitian, yaitu menentukan lokasi penelitian, menentukan teknik pengumpulan data serta menentukan teknik analisa data. Penentuan lokasi bertujuan untuk memfokuskan objek penelitian. Teknik pengumpulan data meliputi studi kepustakaan, observasi, wawancara, dan dokumentasi. Adapun untuk teknik analisa data menggunakan tringulasi data antara observasi peneliti, data wawancara, dan dokumentasi yang dianalisis. Hasil penelitian ini mampu menjawab rumusan masalah dan tujuan penelitian yang telah ditentukan. Proses kreativitas dilakukan melalui latihan rutin dengan memperhatikan budget, durasi serta pemilihan lagu. Dalam prosesnya juga melibatkan empat dimensi kreativitas yang saling mempengaruhi, yaitu person (orang), process (proses), press (tekanan), serta product (produk). Kreativitas yang ditawarkan diterima baik oleh masyarakat (penonton). Penggabungan lagu pop dengan gending dinilai masyarakat menjadi salah satu cara memperkenalkan kesenian jawa kepada masyarakat luas terutama para pemuda agar dapat dilestarikan.

The Dayak people of East Kalimantan have long been involved in the world of tourism. There is a cultural village in Samarinda called Pampang, mostly inhabited by the Dayak Kenyah community. In many ways, the government 'takes care of' the development of the Kenyah Pampang community, including its culture and music. It can indicate the government's concern for marginalized groups. However, at the same time, images of 'original', 'exotic' and 'primitive' cultures are being constructed to fit into commodified 'goods'. This view does affect not only the Dayaks themselves but also the government, tourists and private institutions involved in it. This paper aims to discuss how the history of the commodification of Kenyah's musical culture. The research method used is descriptive qualitative with a historical approach. The study results show that the development of the Kenyah Pampang community's musical culture cannot be separated from the commodification brought in by the tourism body. The commodification of Dayak Kenyah's music culture has changed relations among the people, increasing competition and suspicion, both intra and between ethnic groups. Often commodification is carried out with ideology, as in an effort to 'purify tradition'.   Abstrak: Masyarakat Dayak di Kalimantan Timur telah lama mengambil bagian dalam dunia pariwisata. Terdapat sebuah desa budaya di Samarinda bernama Pampang, yang sebagian besar dihuni oleh masyarakat Dayak Kenyah. Dalam banyak hal pemerintah ‘mengurus’ pembangunan masyarakat Kenyah Pampang, termasuk budaya dan musiknya. Hal ini dapat menandakan kepedulian pemerintah terhadap kelompok marjinal. Namun saat bersamaan, imaji-imaji  tentang kebudayaan ‘asli’, ‘eksotis’ dan ‘primitif’ sedang didikonstruksi agar layak menjadi ‘barang’ komodifikasi. Pandangan ini tidak hanya mempengaruhi Orang Dayak Sendiri tetapi juga pemerintah, wisatawan dan lembaga swasta yang terlibat di dalamnya. Tujuan penulisan ini adalah untuk membahas bagaimana sejarah komodifikasi budaya musik sampeq Kenyah. Metode penelitian yang digunakan adalah deskriptif kualitatif dengan pendekatan sejarah. Hasil penelitian menunjukkan perkembangan budaya musik masyarakat Kenyah Pampang tidak lepas dari komodifikasi yang dibawa dalam tubuh Pariwisata. Komodifikasi budaya musik Dayak Kenyah telah mengubah relasi di antara masyarakat, meningkatkan persaingan dan kecurigaan, baik intra maupun antar etnis. Seringkali komodifikasi dijalankan dengan ideologi, seperti dalam upaya ‘memurnikan tradisi’.

Mamanda Kutai (Ladon) music is a crucial aspect of Mamanda Kutai's performance. This is because, without the music, Mamanda Kutai is just an ordinary drama. Mamanda is a show originating from South Kalimantan. Mamanda arrived in East Kalimantan because Kutai was one of the areas controlled by the Banjarmasin Sultanate. The heyday of Mamanda Kutai occurred when this art was performed regularly by Kutainese society (not only in the Kutai Kartanegara Ing Maradipura Sultanate as the Karesmenan Aji). In its heyday, every village in Kutai Kartanegara had Mamanda Kutai group. Nowadays, there is only one group left, namely Mamanda Panji Berseri. This study aims to find out how to preserve Mamanda Kutai music by the Mamanda performer and the government. This study used a descriptive analysis method by collecting several sources of text and interview. The sustainability of Mamanda Kutai has degenerated in terms of the existing group’s quantity. This is due to the lack of preservation of the Mamanda Kutai musical ecosystem. Some of the challenges faced by Mamanda Kutai are (1) the lack of teachers with cultural literacy; (2) the lack of economic welfare of the Kutai Mamanda performer; (3) the absence of the documentation of this art; and (4) the lack of broadcasting of Mamanda Kutai's performances. ABSTRAK Musik Mamanda Kutai (Ladon) menjadi aspek yang sangat penting pada pertunjukan Mamanda Kutai. Hal ini dikarenakan, tidak adanya Musik Mamanda Kutai maka pertunjukan ini hanya sebagai drama biasa. Mamanda merupakan pertunjukan yang berasal dari Kalimantan Selatan. Mamanda sampai di Kalimantan Timur dikarenakan Kutai menjadi salah satu daerah yang dikuasai Kesultanan Banjarmasin. Masa kejayaan Mamanda Kutai pada saat kesenian ini dipertunjukan di masyarakat (tidak hanya di Kesultanan Kutai Kartanegara Ing Maradipura sebagai Keresmenan Aji). Pada masa kejayaannya, setiap desa di Kutai Kartanegara memiliki kelompok Mamanda Kutai. Pada saat ini hanya tersisa satu kelompok saja, yaitu Mamanda Panji Berseri. Penelitian ini bertujuan untuk mengetahui cara preservasi musik Mamanda Kutai oleh pelaku dan pemerintah. Penelitian ini menggunakan metode deskriptif analisis dengan mengumpulkan beberapa sumber literasi dan data wawancara. Keberlanjutan Mamanda Kutai mengalami kemunduran dilihat dari kuantitas kelompok yang ada. Hal ini disebabkan oleh kurangnya preservasi ekosistem musikal dari Mamanda Kutai. Beberapa tantangan yang dihadapi Mamanda Kutai yaitu (1) kurangnya guru pembawa kebudayaan; (2) kurangnya kesejahteraan ekonomi para pelaku Mamanda Kutai; (3) tidak adanya pengarsipan dari kesenian ini; dan (4) kurangnya penyiaran pertunjukan Mamanda Kutai.

Traditional music is an expression of hereditary culture that is owned by certain ethnic groups. The young Dayak Bahau generation is committed to preserving traditional music even though they have experienced modern life and live in big cities. However, conservation efforts are always carried out in monotonous ways, resulting in various obstacles that are beyond the control of this ethnic group. Therefore, it is necessary to carry out empowerment activities so that the maintenance and preservation of traditional music can be sustainable. An understanding of the dangers of traditional music extinction is needed, the factors causing extinction and maintenance strategies. This service provides training to the young Dayak Bahau generation in exploring challenges and opportunities for the sustainability of traditional music. Assistance is also carried out in revitalizing traditional arts that are threatened with extinction. This knowledge and skills make traditional music more preserved with an approach that emphasizes the decisions of traditional music owners.

In the Kenyah community in the Pampang Cultural Village, Datun Kendau has undergone many changes, which are more likely to add Sampe and change the lyrics of the song to the Kenyah language commonly used in Pampang Village. This study aims to describe the form and meaning of Datun Kendau in the Kenyah community in Pampang Cultural Village. This research uses qualitative methods with observation techniques, data collection techniques and data analysis. The observation technique includes the object of study and the determination of informants. Data collection techniques include literature study, interviews, and documentation. Finally, data analysis techniques using field data. The results show that the Datun Kendau show's form has changed, which consists of a simple musical structure and consists of repeated melodic motifs. Datun Kendau has adapted to the activities of tourism events and young Kenyah artists' interests in Pampang Village. The creation of the reality of the meaning of Datun Kendau is interpreted as a way of adaptation, the formality of performances, and activities that are profitable and occur because of broken communication between the older generation and the younger generation