This study focused on the transformation of Arumba music caused by the urge of want to be more acceptable and acknowledged its existence by the current environment. It is influenced by it popularity among Bandung Society. It needs to be observed because there are still limited numbers of research that illustrate the journey of arumba music and it role in Bandung society. This research employed descriptive method and qualitative approach. The result shows the cultural space and personal interpretation take effect on the transformation of arumba music into an interesting music. It build up Jorgensen theory on musical transformation sketch. It can be concluded that the arumba music transformation is reaction for seeking authenticity. Moreover, this phenomenon caused a significant effect, especially in determiining the position, image, and role of arumba music in the popular music repertoire in West Java.Keywords: Arumba, transformation, bamboo musicABSTRAKPenelitian ini difokuskan pada transformasi musik Arumba yang disebabkan oleh adanya dorongan keinginan untuk lebih dapat diterima dan diakui keberadaannya oleh lingkungan baru. Hal ini dipengaruhi oleh popularitasnya di kalangan masyarakat Bandung. Sejak kelahirannya musik Arumba dijadikan hiburan dan kemudian bergeser menjadi alat pendidikan di perguruan tinggi. Penelitian ini menjadi penting karena kondisi jumlah penelitian yang membahas perjalanan musik arumba dan perannya dalam masyarakat Bandung sangat terbatas. Penelitian ini menggunakan metode deskriptif dengan pendekatan kualitatif. Hasil penelitian ini menunjukkan bahwa ruang budaya dan interpretasi pribadi mempengaruhi transformasi yang terjadi pada musik arumba. Studi ini akan dibicarakan dalam sketsa transformasi musik Jorgensen. Dapat disimpulkan bahwa transformasi musik arumba adalah reaksi pelakunya dalam upaya mencari otentisitas musiknya. Selain itu, fenomena ini menyebabkan dampak yang cukup signifikan, terutama dalam menentukan posisi, citra, dan peran musik arumba dalam repertoar musik populer di Jawa Barat.Kata kunci: Arumba, transformasi, Bandung, musik bambu

The global metal scene has long provided narratives and methods for solving issues of masculinities since in their particular environment in the music industry, and they are generally considered masculine. This article explores the stereotypical construction of masculinities in the Bandung metal music scene. This analysis based on in-depth interviews with Bandung professional metal male musicians who are aged 39-44 years old and are married. This investigation examines how these metal musicians negotiate alternative masculinities in various contexts, taking into account the predominantly Muslim culture in Indonesia. Using an ethnographic approach and borrowing from Millett's concepts of temperament, role, and status, this paper argues that metal music, which is generally considered hypermasculine, does not display the same construction in their performing their functions in the family. Through their roles as breadwinner, musicians maintain normative Indonesian masculinity, as well as fulfilling their responsibility to their family. However, they negotiate equity in the private space, which regards household labor division, childcare, and sharing of income. This paper argues that to some extent, musicians in the metal music scene in Bandung provide a role model of masculinity that is more gender-sensitive and egalitarian.

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The study focuses on the impact of the karinding popularity on Bandung society. In trying to understand its focus, the study uses interdisciplinary approaches including sociology and anthropology. It employs qualitative research method including data collection from oral and wri! en sources. Since being played by a band called Karinding A! ack, karinding became popular in Bandung. Further, the popularity of karinding gave some impacts on Bandung people, both its practitioners and its audience. Some programs and activities considered as the result of the popularity of karinding include multiple activities such as tourism activities, networking development, educational activities, revitalization of traditional arts other than karinding, music development, literacy development, and the development of the creative economy.