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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 Pikiran Rakyat Online arrow TAMPIL PERCAYA DIRI DI TENGAH POLEMIK (Pikiran Rakyat, 31 Januari 2008)

TAMPIL PERCAYA DIRI DI TENGAH POLEMIK (Pikiran Rakyat, 31 Januari 2008) Print E-mail
Written by Setiyaji (PR)   
Thursday, 31 January 2008

EMPAT orang warga negara Taiwan tampak duduk di barisan depan kursi penonton di dalam hall gedung kebudayaan KBRI Kuala Lumpur, Senin (14/1). Di samping mereka, hadir pejabat KBRI yang notabene adalah Kepala Sekolah Indonesia Kuala Lumpur, Abdul Djawad, S.Pd.

Sementara itu, ratusan siswa Sekolah Indonesia Kuala Lumpur (SIK) duduk bersila di atas tikar. Baik warga Korea Selatan, Abdul Djawad, maupun siswa SIK saat itu sedang asyik menonton konser angklung dan rampak kendang tim SMP Darul Hikam Bandung.

Dengan mengenakan kebaya khas perempuan Priangan, konduktor tim angklung SMP DH Bandung, Roswita Amelinda, menggerak-gerakkan tangannya memberikan instruksi. Tiga lagu dimainkan oleh tim angklung yang didominasi siswa kelas VII SMP DH ini yakni lagu berjudul "Edelwise", "Rhythim of the Rain", dan "Waltzing Mathilda". Hadirin pun menikmati suara benturan bambu --angklung-- yang seolah-olah saling bersahutan.

Selanjutnya, tim angklung tampil bersama tim rampak kendang. Dalam penampilan kolaborasi siswa SMP DH ini, penonton sempat larut saat tim rampak kendang unjuk kebolehan "memainkan" gendang-gendang seraya menggerak-gerakkan tubuhnya. Terlebih lagi ketika nada lagu berjudul "Mamamia" diperdengarkan, beberapa penonton ada yang turut menyanyikannya dengan suara pelan.

Penonton pun tertawa sambil bertepuk tangan, ketika tim rampak kendang melakukan gerakan atraktif disertai dengan suara-suara aneh dan lucu. Para penonton --di Malaysia (Sekolah Indonesia Kuala Lumpur-red.) maupun Singapura (Sekolah Indonesia Singapura (SIS) dan Millennia Institute-red.)-- tampak tertawa ketika menyaksikan kekocakan para personel rampak kendang SMP DH tersebut. Padahal tutur bahasa yang mereka ucapkan adalah campuran antara bahasa Sunda dan Indonesia, yang tentunya kurang dipahami penonton non-Indonesia.

Berkaitan dengan hal ini, seorang guru kesenian Sekolah Indonesia Kuala Lumpur M. Dadang Sholeh, S.Pd. mengatakan, publik asing yang menonton penampilan tim rampak kendang SMP DH tampaknya lebih terangsang cita rasa humornya dari gerakan tubuh personel rampak kendang. Sungguh, ungkapnya, secara keseluruhan penampilan tim angklung dan rampak kendang SMP DH tampak penuh percaya diri alias "pe-de" dan berhasil menghibur penonton. Hal ini tentunya merupakan suatu hal yang positif di tengah polemik soal klaim-klaim hak milik oleh Malaysia atas sejumlah lagu dan budaya Indonesia. "Mereka tampil tanpa merasa ada beban," kata Dadang Sholeh, mantan pengurus Kabumi UPI (periode I/1992) ini.

Pemandu acara konser di Sekolah Indonesia Kuala Lumpur, Drs. Masturi, melontarkan pertanyaan tentang kualitas penampilan tim rampak kendang dan angklung SMP DH? "Ya, benar hebat. Kita di Malaysia ini semestinya juga bisa mencontoh tim SMP DH," tuturnya .

Seusai konser, seorang personel rampak kendang SMP DH, M. Faikar Rasyif mengatakan, masyarakat Malaysia dan Singapura ternyata bersahabat dengan Indonesia. "Soalnya, penampilan kami selalu diberi tepuk tangan. Bahkan saya dipaksa berfoto bersama mereka. Mungkin karena saya rada gemuk dan lucu," ungkap Faikar.

Persiapan Tim

Tim rampak kendang dan angklung ensambel SMP DH ternyata dituntut untuk memiliki kecermatan, kecepatan, dan ketepatan dalam memainkan peralatan musiknya. Penasihat tim rampak kendang dan angklung ensambel SMP DH Neni Sri Imaniyati, S.H., M.H mengatakan, timnya sudah berlatih sejak dua bulan sebelum keberangkatan. "Kami bekerja sama dengan Angklung Web Institute (AWI) dan Lingkung Seni Sunda (LSS) ITB," tutur Neni.

Berkaitan dengan eksistensi peralatan musik angklung di Malaysia, Kepala Sekolah Indonesia Kuala Lumpur Abdul Djawad, S.Pd. mengatakan, masyarakat Malaysia mengagumi angklung. Mengapa? Karena, mereka merasa heran dengan kemampuan bangsa Indonesia memadukan dan mendesain batang pohon bambu sedemikian rupa sehingga bila berbenturan dapat menghasilkan bunyi tertentu.

"Di negeri tanpa bambu ini (Malaysia-red.), angklung mahal harganya. Orang Malaysia banyak belajar dari Indonesia. Mereka membeli dan membawa angklung ke Malaysia, lalu menyebarkannya. Mereka membuka kursus angklung dan memainkannya," ujar Abdul Djawad.

Menurut pelatih angklung M. Sani Winandar, warga Malaysia yang tak sempat ke Indonesia biasanya belajar angklung dari rekan senegaranya atau memanggil pelatih angklung dari Indonesia. Warga Margaluyu Cimahi Jabar yang sudah enam tahun di Malaysia ini mengaku sering bolak-balik Indonesia-Malaysia. "Maklum ada order peralatan angklung dari warga Malaysia," ujar Sani, yang juga salah seorang pengurus Angklung Web Institute (AWI).

Apakah warga Malaysia mengetahui sejarah angklung? Menurut Sani, sedikit sekali warga Malaysia yang tahu persis ihwal sejarah angklung. Mereka hanya tahu ada peralatan musik bernama angklung dari Indonesia. Perkenalan mereka dengan angklung ada yang melalui jasa internet, buku, media massa, atau adanya persahabatan dengan warga Indonesia yang sudah lama menetap di Malaysia, seperti dari etnis Bugis dan Jawa. "Akhirnya orang Malaysia generasi sekarang ini ada yang mengklaim sebagai (angklung) milik budayanya," ujar Sani.

Dalam pandangan suami dari Aan Mulyani --guru seni tari Sekolah Indonesia Kuala Lumpur (SIK)-- ini, orang Malaysia sebenarnya tidaklah terlalu salah apabila tidak tahu persis sejarah angklung maupun lagu-lagu tertentu yang sesungguhnya made in Indonesia. "Mereka kan tahunya ada peralatan musik atau lagu di masa sekarang dan sering dinyanyikan warga Malaysia," kata Sani.

Demikian halnya soal seni rampak kendang, ternyata warga Malaysia tidak mengetahuinya. Soalnya saat menjelang tampil, "PR" bertanya kepada warga Malaysia tentang peralatan musik rampak kendang. "Saya tak tahu macam apa alat musik itu," ujar Rahman (27), warga Malaysia.

Rampak kendang, menurut pelatih rampak kendang SMP DH, Nova Friady W. Perkasa, merupakan sajian kesenian yang memainkan kendang (gendang) lebih dari satu perangkat secara bersama-sama. Rampak dalam bahasa Sunda berarti bersama-sama atau serempak sehingga rampak kendang berarti bermain gendang secara serempak. (Achmad Setiyaji/"PR")***

Catatan Redaksi AWI: Event ini adalah salah program pementasan ke luar negeri yang diselenggarakan melalui kerjasama dengan Angklung Web Institute (AWI). Bagi Sekolah atau Kelompok yang berminat melakukan program pengembangan tim angklung serta pementasan di luar negeri melalui kerjasama dengan AWI dapat menghubungi AWI via email ke , AWI Contact-Us atau telepon/SMS ke 0819 1000 6612 atau 0812 1465 158.

 

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