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<<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          <<< Welcome to Angklung Web Institute (AWI)! This website is a medium of information exchange about angklung knowledge and competence, especially diatonic angklung in orchestral composition. The Father of Angklung Daeng Sutigna first created the diatonic angklung in 1938. Until now, angklung still has to face many challenges of identity to be acknowledged as one of world’s standard music instruments. One major problem is that there is no firm standard yet in constructing, tuning, forming, playing, and compositing angklung. Another problem is that until today, an angklung music community as a media of education and industrialization of the angklung music hasn’t been founded yet. Through this website we would like to ask you who have a great concern to the development of angklung to pass this piece of information to the world in order to support this developing music instrument. Through this website we would like to convey an angklung-ical activity to an angklung team or community and hopefully someday the industrialization of angklung can be realized. Last, it is our duty to raise our angklung to be appreciated just like the other world’s standard music instruments. Thank you.          
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AWI Home arrow AWI News &amp; Event arrow Sinar Harapan Daily arrow ANGKLUNG, ALAT MUSIK TRADISIONAL YANG TETAP LESTARI (Sinar Harapan, 4 Juli 2001)

ANGKLUNG, ALAT MUSIK TRADISIONAL YANG TETAP LESTARI (Sinar Harapan, 4 Juli 2001) Print E-mail
Ditulis Oleh: Budi Supardiman   
Wednesday, 04 July 2001
Jakarta – Gerai-gerai ratusan daun bambu gemerisik gemulai tertiup angin. Puluhan pohon bambu kokoh berdiri tegak di hutan bambu daerah Surade, Sukabumi Selatan, Jawa Barat. Siapa nyana dari tangan-tangan piawai bambu-bambu itu terangkai menjadi alat musik yang hampir semua orang dapat memainkannya, yaitu angklung.

Hal ini menunjukkan bahwa naluri musik ada pada tiap orang. Buktinya, cukup dengan mengikuti aba-aba dari pemimpinnya untuk menggoyang alat musik tradisional Jawa Barat itu secara bergantian, kelompok yang biasa terdiri dari puluhan orang itu langsung dapat menyajikan sebuah lagu terkenal La Paloma. Setiap angklung memang punya nada tertentu, di mana tiap pemainnya harus waspada untuk bergantian menggoyangnya. Angklung dapat menghasilkan berbagai melodi yang tengah populer, baik musik dangdut maupun musik masa kini.

Tak heran apabila pengunjung atau turis mancanegara yang mengunjungi Bandung pasti mampir di Saung Angklung Udjo. Karena, selain disuguhi berbagai tarian khas Jabar, seperti tari topeng, mereka pun diajak bermain angklung, bahkan ikut menari bersama anak-anak. Nuansa seperti ini pula yang ingin dihadirkan oleh Kuswandi dan Drs. H. Rachmat Syam, pensiunan pegawai Dinas Kebudayaan DKI. Mereka adalah generasi ketiga setelah Udjo Ngalagena yang terkenal dengan Mang Udjo, Sanui Hidajat dan Agam Ngadimin (ketiga almarhum). Ketiganya merupakan murid perintis angklung dengan nada-nada pentatonis, Daeng Soetigna (alm).

Angklung dapat dinkmati siapapun. Tak hanya dipakai sebagai alat upacara ritual, seperti panen di Badui, Bantent, atau sebagai permainan anak-anak SD hingga SMU dapat memainkannya. Kelestariannya pun terjaga.

Uniknya, dengan bermain angklung generasi muda pun mempunyai kegiatan di kegiatan di luar sekolah daripada mengganggu dan terlibat narkoba. Untuk itu, Rachmat Syam dan Kuswandi yan sangat mencintai bidangnya itu dengan sukarela hampir setiap hari datang ke pusat Kesenian Wilayah, seperti Jakarta Utara, Selatan sampai Jakarta Timur,. Mereka melatih remaja-remaja membuat konser angklung, membawakan puluhan lagu Barat sampai dangdut yang telah diaransir Rachmat ke musik angklung. Dengan serius, mereka bergantian mengguncang angklung secara horizontal dan teratur.

Diakui, tak mudah memang melatih kawula muda yang sama sekali belum mengenal not balok. Namun, dengan bekal kesabaran, dalam waktu tak sampai enam bulan, mereka cukup mahir memainkan angklung dan arumba. Bahkan mereka telah tampil mengisi berbagai acara. Semuanya tanpa dipungut biaya. Namun kepuasan batin diperoleh Rachmat Syam dan Kuswandi.

Ternyata kiprah kedua orang pencinta seni musii bambu itu tak cuma di situ. Murid dari Udjo Ngalegena (alm) memiliki angan-angan musik tradisional bambu tetap lestari. Masyarakat Jakarta pun dapat menikmati berbagai kesenian bambu seperti milik Mang Udjo. Karena itu, tahun 1975, didirikan Sanggar Seni Hasta Gurian, artinya tangan-tangan suc. Sanggar ini, selain membuat berbagai mebel dan souvenir dari bambu, juga memproduksi alat musik bambu, seperti suling, calung, selain angklung.

Kegiatan produksi yang terus berkembang dan semula masih di rumah pendirinya, makin terasa sempit. Karena itu, sanggar pun pindah ke daerah Petamburan, Jakarta Pusat. Maka, didirikan Sanggar Seni Hasta Guriang yang semuanya terbuat dari bambu mulai dari tempat produksi, ruang pameran dan latihan.

Namun, di atas lahan seluas 600 meter ini yang baru dua tahun ditempati juga terasa tak cukup, karena makin lama makin banyak orang asing datang dengan bus-bus pariwisata. Murid-muridnya pun terus bertambah, baik dari dalam dan luar negeri. Sehingga, mereka pun siap pindah di tempat yang baru seluas 2000 meter per segi di daerah Bintaro, lengkap dengan bengkel, showroom, tempat latihan dan asrama. “Semua ini berkat dari sponsor dan pembina yang tanpa pamrih memberikan dukungan,” tutur Rachmat Syam di sanggarnya yang terlihat mulai dibongkar.

Optimis

Baik Kuswandi maupun Rachmat optimis alat bambu ini akan tetap lestari sampai kapan pun. Mereka pun agaknya tidak menemui kesulitan dalam mempromosikannya. Karena, banyak pesanan dari dalam dan luar negeri, terutama Kedutaan Indonesia. Maklum harganya relatif murah. Satu set lengkapnya yang terdiri dari melodi kecil, besar hingga bas, dihargai 5 juta rupiah dan dapat selesai dalam 2 minggun.

Hampir setiap tahun dua atau tiga kali mereka melanglang buana bermain angklung. Entah itu, untuk memberbaiki suara-suara angklung buatannya sambil mengajari bermain angklung di sana atau selalu diikutsertakan ke dalam rombongan kesenian Indonesia yang pentas di luar negeri. Mereka juga mengisi acara resmi kenegaraan di istana atau acara gubernur. “Dengan angklung, kami punya cukup pengalaman batin yang tak terlupakan,” lanjut Rachmat yang juga penulis buku-buku seni budaya ini seirus.

Alat musik bambu ini pun ternyata merupakan identitas tersendiri dan telah diakui di mana pun, termasuk pada International Organization Folk Art yang disahkan PBB. Angklung pun bernyanyi di seluruh pelosok dunia.

Tampaknya ada kepuasan tersendiri menekuni bidang yang dicintai. Karena, selain turut melestarikan tradisi bangsa, bidang ini pun membantu mereka yang putus sekolah dan tak punya pekerjaan. Dengan belajar Angklung, sekaligus juga diajari cara membuatnya. Sehingga mereka menjadi tenaga-tenaga trampil yang serba bisa. Satu hal yang masih direncanakan adalah rekaman khusus alat musik bambu dan membuat pusat kegiatan kerajinan bambu, semacam Saung Angklung Mang Udjo, untuk turis dalam dan luar negeri. “Semua hampir terwujud di Jonggol di atas tanah satu hektar,” jelas ayah dari empat orang ini optimis.

(Kania Damayanti)

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