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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 & Event arrow Kompas Cyber Media arrow INDONESIA-MALAYSIA: JANGAN AMBIL ANGKLUNG KAMI, PAKCIKů (kompas, 14 November 2007)

INDONESIA-MALAYSIA: JANGAN AMBIL ANGKLUNG KAMI, PAKCIKů (kompas, 14 November 2007) Print E-mail
Written by Administrator AWI   
Wednesday, 14 November 2007
Diplomasi kebudayaan dalam arti yang sesungguhnya terjadi pada Minggu (11/11) malam di Kuala Lumpur Convention Centre. Dan itu dilakukan dengan cerdik oleh seorang wanita yang bukan diplomat, tapi oleh seniman yang sehari- hari adalah instruktur (musik) angklung.

Lewat pergelaran angklung interaktif pada salah satu sesi "Malam Budaya Indonesia" di ibu kota negeri jiran tersebut, Ika Widyaningsih dari Saung Angklung Mang Udjo mengajari para undangan dari Malaysia tentang bagaimana seharusnya bermain angklung. Padahal, di Malaysia, seni tradisi ini sudah diklaim sebagai musik nasional kerajaan dengan label music bamboo malay dan (konon) tengah diupayakan untuk mendapat pengakuan UNESCO.

Di antara tamu kehormatan yang hadir adalah Menteri Kebudayaan Kesenian dan Warisan Nasional Kerajaan Malaysia Dato’ Sri Rais Yatim. Menteri Kebudayaan dan Pariwisata RI Jero Wacik, Dirjen Nilai Budaya Seni dan Film Mukhlis PaEni, serta Halim Kalla dari Kadin Indonesia Komite Malaysia ikut duduk mendampingi Dato’ Sri Rais Yatim dalam satu meja.

Sebelum "permainan" dimulai, pemain-pemain angklung dari Saung Angklung Mang Udjo membagikan suvenir berupa sebuah angklung kepada setiap penonton. Dari atas panggung, Ika dengan fasih menuntun mereka bagaimana cara memegang dan membunyikan angklung yang benar. Dato’ Sri Rais Yatim bersama istri juga mengikuti peragaan Ika, yang kemudian disusul instruksi tentang bagaimana posisi dan cara menggerakkan angklung agar menghasilkan nada-nada dasar musik yang diinginkan.

Sebagian besar undangan terlihat hanyut mengikuti instruksi Ika. Mereka seperti menikmati permainan baru dari alat musik bambu yang sederhana, tetapi sungguh menakjubkan karena ternyata mampu menghasilkan nada-nada musik yang inspiratif dan menawan.

Awalnya, beberapa lagu dimainkan dengan tertatih-tatih. Sekitar 200 undangan semula kikuk memegang dan menggoyang-goyangkan alat musik bambu tersebut. Beberapa di antaranya bahkan tampak frustrasi, lalu meletakkan angklungnya di meja, sebelum akhirnya ikut kembali "bergabung" sambil menggeleng-gelengkan kepala.

Di sinilah kepiawaian Ika Widyaningsih sebagai instruktur. Berkat pengalamannya selama bertahun-tahun sebagai instruktur, Ika mampu membangkitkan minat para "pembelajar" angklung untuk mengikuti setiap gerakan jari tangannya guna menemukan nada yang pas, sesuai irama lagu yang dimainkan.

"We are the best. Semoga dengan angklung persahabatan Indonesia-Malaysia tetap jaya," kata Ika memuji, setelah lagu Falling in Love dalam iringan musik angklung yang dimainkan secara interaktif itu mengumandang, dan diakhiri aplaus meriah.

Bermakna Ganda

Misi kesenian yang diusung lewat program "Jembatan Budaya Indonesia-Malaysia" pada Minggu malam lalu sesungguhnya memiliki makna ganda. Di satu sisi, "Malam Budaya Indonesia" itu sebagai ungkapan persahabatan di antara kedua negara sebagai bangsa serumpun. Di sisi lain—diakui atau tidak—misi kesenian Indonesia kali ini juga untuk mengingatkan Malaysia pada etika dan nilai persahabatan yang hakiki.

Tindakan Malaysia dalam beberapa waktu terakhir terhadap bangsa Indonesia sempat menyulut sentimen negatif di Tanah Air. Hal itu terjadi lantaran sikap dan/atau langkah yang mereka tempuh dirasakan telah menyinggung harga diri dan martabat bangsa Indonesia.

Khusus di bidang kebudayaan, kegalauan itu dipicu klaim sepihak Malaysia atas produk-produk budaya Indonesia. Dalam kasus pematenan batik oleh Malaysia, misalnya, meski hanya menyangkut motifnya, citra yang kemudian mendunia akhirnya bisa memunculkan anggapan bahwa batik secara keseluruhan adalah milik Malaysia.

Begitu pun klaim Malaysia terhadap angklung, yang mereka pasarkan lewat dunia perpelancongannya sebagai music bamboo malay. Bukan tidak mungkin klaim ini akan meminggirkan posisi angklung di pergaulan antarbangsa lantaran Indonesia bisa dianggap sebagai pengekor.

"Padahal, dari sejarah dan penelitian yang kami lakukan, angklung benar-benar musik tradisi asli Indonesia," kata Satria Yanuar Akbar, Direktur Operasi Saung Angklung Mang Udjo.

Angklung merupakan alat musik yang berasal dari Jawa Barat. Angklung gubrag di Jasinga, Bogor, adalah salah satu yang masih hidup sejak lebih dari 400 tahun lampau. Kemunculannya berawal dari ritus padi. Angklung diciptakan dan dimainkan untuk memikat Dewi Sri turun ke Bumi agar tanaman padi rakyat tumbuh subur.

Dalam perkembangannya, angklung berkembang dan menyebar ke seantero Jawa, lalu ke Kalimantan dan Sumatera. Pada 1908 tercatat sebuah misi kebudayaan dari Indonesia ke Thailand, antara lain ditandai penyerahan angklung, lalu permainan musik bambu ini pun sempat menyebar di sana.

Bahkan, sejak 1966, Mang Udjo—tokoh angklung yang mengembangkan teknik permainan berdasarkan laras-laras pelog, salendro, dan madenda—mulai mengajarkan bagaimana bermain angklung kepada banyak orang dari berbagai komunitas. Termasuk mereka yang berasal dari Malaysia.

Kini, setelah Malaysia menyatakan angklung sebagai musik nasional kerajaan, keinginan dari pemerintah negeri jiran itu untuk mendatangkan instruktur dari Saung Angklung Mang Udjo terus berdatangan. Dengan iming-iming gaji besar, mereka ingin agar dibentuk komunitas music bamboo malay di sana, lalu minta juga diajarkan bagaimana cara bermain angklung.

"Ika sebagai murid senior Mang Udjo beberapa kali ditawari pindah ke Malaysia. Namun, hingga sejauh ini kami hanya memberikan jawaban diplomatis: belum ada waktu. Kami sebetulnya juga ingin menyebarkan angklung ke seluruh dunia. Tapi, pada saat bersamaan apa tindakan pemerintah untuk memagari agar angklung tetap jadi milik kita?" kata Satria.

Atau, boleh jadi pandangan Mang Udjo (alm) terhadap masa depan angklung beberapa tahun lampau benar-benar akan jadi kenyataan. Bahwa, "Mungkin bangsa yang dihargai (dunia) adalah yang memelihara budaya, bukan yang menciptakannya". Jika itu yang terjadi, masih pantaskah kita bersikukuh untuk berkata kepada Malaysia: "Jangan ambil angklung kami, Pakcik…." (ken)

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Jangan pernah ragu...

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[2008-05-27 07:48:42]

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[2008-05-17 06:48:50]

kok bisa?

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