Dualisme Pelestarian dan Pengembangan Musik Keroncong pada Tahun 1970-an

Abstract

Keroncong merupakan suatu genre musik yang khas Indonesia, keberadaanya selalu dikaitkan dengan statusnya sebagai salah satu warisan seni budaya bangsa Indonesia yang perlu dilestarikan. Selain perlu dilestarikan, para penggiat keroncong dan pemerintah pun menganggap perlu mengembangkan keroncong dalam segi musik maupun perluasan peminatnya, khususnya di kalangan generasi muda. Penelitian ini memperlihatkan popularitas keroncong yang sudah menurun sejak akhir tahun 1960-an bahkan pada tahun 1970-an keroncong sudah dinyatakan harus diselamatkan atau dilestarikan. Perkembangan keroncong terhambat oleh semangat pelestarian musik tersebut. Pelestarian keroncong terhambat oleh pakem-pakem yang ditentukan oleh para tokoh senior musik tersebut. Pakem-pakem keroncong merupakan suatu bentuk hegemoni para tokoh senior keroncong untuk memberi batasan keroncong yang baik dan benar menurut versi mereka. Pada satu sisi, pakem-pakem dalam keroncong telah dapat menjaga kelestarian keroncong, sementara pada sisi lainnya tidak berhasil mengembangkan keroncong kepada peminat yang lebih luas. Keroncong is a music genre that is typical of Indonesia, its existence is always associated with its status as one of the Indonesian cultural arts heritage that needs to be preserved. Besides needing to be preserved, keroncong activists and the government also consider it necessary to develop keroncong in terms of music and the expansion of their interests, especially among the younger generation. This study examine that the popularity of keroncong which has declined since the late 1960s even in the 1970s that keroncong has been declared to be saved or preserved. Keroncong development is hampered by the spirit of preservation of the music. Keroncong conservation is hampered by the standards determined by the senior figures of the music. Pakem-pakem (standards) keroncong is a form of hegemony of senior keroncong figures to limit the keroncong to good and correct according to their version. On the one hand, the features in keroncong have been able to preserve keroncong, while on the other hand they have not succeeded in developing keroncong for wider interested ones.

The Learning Stages of Ngroncongi/Undul usuk: Achieving the Original Solo Keroncong Singing Style

“…Kebaya, which is also the identity of Javanese women, adds to the essence and aesthetics of keroncong music as a hyperfeminist embodiment (Meloni, 2021). The rules in this way of dressing are in line with those put forward (Mulyadi & Indira, 2019) in which for singers and keroncong musicians, female singers usually wear a kebaya with their hair tied in a bun, and male singers usually wear batik or a suit. Nowadays, it is rare to find keroncong singers with such appearances, but being polite and neat is still prioritised.…”

“…He is often nicknamed "The King of Keroncong" because of his vocal ability in processing and improvising songs, which has a distinctive twist as a representation of the Soloan style. At the beginning of his career, Mus Mulyadi changed the original keroncong song entitled Dewi Murni into a pop keroncong style, so that it was more easily accepted by the market (Mulyadi & Indira, 2019). Meanwhile, Rama Aiphama can be said to be a singer who tries to present fresh air for the development of keroncong music by collaborating the reggae style with keroncong music, as well as creating an eccentric performance style (Arbie & Bandung, 2022).…”

“…The dominance of the Solo singing style occurs due to the holding of festivals and keroncong singing competitions where the judges refer to the Soloan Surakarta singing style. In addition, many keroncong singers from Surakarta dominate the recording industry of keroncong music (Mulyadi & Indira, 2019;Puguh, 2018;Supiarza & Sarbeni, 2021). Meanwhile, the Tugu singing style is explained in the results of research by Prof. Victor Ganap (Keroncong Tugu, 2017), Pinta Resti Ayu Ayunda (Singing style in Tugu kerontjong music "Saartje Michiels style analysis").…”