Campursari Music Management Strategy in Sumatera Utara

Heristina Dewi

, Arwina Sufika

and Arifninetrirosa

Lecturer of Faculty of Cultural Sciences, Universitas Sumatera Utara, Medan, Indonesia

Keywords: Campursari, strategy, management.

Abstract: In the midst of the changes and progress of the entertainment world, the Javanese artists in Sumatera Utara

keep trying to continue and develop the arts in accordance with the interests of the community of the

audience. It takes effort and creativity in managing music, one of them is Campusari Music. Campursari is a

musical color resulting from a fusion between gamelan music with musical instruments from outside the

Javanese culture. This study identifies Campursari's music management strategy in Sumatera Utara. In

managing musical performances of Campursari require the procedure in terms of preparing music material

or arranging and marketing to the middle of the community to be interested. This research uses qualitative

research methods, data collection using snowball sampling technique by doing observation, interview, and

documentation. The results of the Campursari musical study are presented with the format between

appearing with gamelan consisting of saron, demung, gender, gong, kendangciblon, kendaijaipong,

ketipungdangdut, melodic guitar, bass guitar, keyboard and drum. The songs are brought together with

popular ethnic songs outside Java. The songs are sung consisting of classical Javanese songs, popular Java,

and other ethnic popular outside Java such as Batak, Simalungun, Karo, and Mandarin. Collaboration

among players in groups and between groups makes campursari music group able to continue its existence.

1 INTRODUCTION

Cultures that live in the community always

experience changes and developments. The form and

shape can be updated and adapted to the interests of

the community. Culture is always dynamic and the

pace of development is different. This is due to the

development of the human mindset that is influenced

by education, social, technology, and natural

confusion. Furthermore, the same is explained

(Budiono, 1984) the development of modern science

and technology that so rapidly affect the insider's

view of life continue the tradition. Being a result of

culture one of them is art that in the middle of

society function as entertainment, supporting

facilities of event. Furthermore, (Kayam, 1981)

states that art is one of the elements that support

culture, so art should be understood in the situation

of the community of the audience.

The Javanese people have traditional art, one of

them is gamelan music. Gamelan music can be used

in the context of ceremonies and entertainment.

Especially in the context of entertainment has

undergone development with the additional Western

or modern musical instruments. From this fusion it

produces many different and new forms in the

culture of Javanese and Indonesian society. Where

one form of change that occurred with the

emergence of campursari music. According to

(Wiyoso, 2013) campusari music is an acculturation

category syncretism. Its indication is blending or

mixing of old elements in this case existing music

into a new music system, which meant the old

elements of Indonesian music tradition that is

Javanese gamelan that holds pentatonic tones

combine with modern western music that holds

diatonic tones. According (Widiyono, 2013)

Instruments pentatonic and diatonic used

simultaneously so it becomes heard more barrel.

Frequently used campursari instruments include

kendang, demung, saron, gender, gong, keyboard,

guitar, bass, drums, ukulele, and the like. The demon

who sings the campursari, namely the entrepreneur

(son) and entrepreneur / swarawati (daughter). The

ordinance of singing by following the sound of

gamelan / gamelan.

1324

Dewi, H., Suﬁka, A. and Arifninetrirosa, .

Campursari Music Management Strategy in Sumatera Utara.

DOI: 10.5220/0010073013241329

In Proceedings of the International Conference of Science, Technology, Engineering, Environmental and Ramiﬁcation Researches (ICOSTEERR 2018) - Research in Industry 4.0, pages

1324-1329

ISBN: 978-989-758-449-7

Campursari music is a blend of gamelan

instruments with musical instruments from outside

the Javanese culture. Musical instruments include

saron, demung, kendang, gender, gong,

kendaijaipong, kendangkoplo, keyboard, melodic

guitar, bass guitar and drums played by the

musicians and their songs are performed by one or

more singers. This blend creates new music color.

Gamelan is usually aligned slendro or pelog has

been changed and adapted to the diatonic music that

usually plays or accompanies the songs that are

popular nuances of Java and other ethnic groups.

Campursari musical performances are encountered

in the thanksgiving ceremony and party of a family

or other event. Campursari is an acculturation

product that is formed from a process of blending

traditional Javanese music that is gamelan and

modern western music. According to (Wadiyo,

2011) Campursari shows the blending between

traditional and modern. The music is a mixture of

gamelan music and music known as now. The music

itself is a dialogue between the traditional and the

non-traditional while the campursari musical

phenomenon thus demonstrates the dialectical

supportist community mentality between the

traditional mental and the modern mentality.

According to (Endang, 2017) through the work

of Manthous (pencetus campursari) adapting

gendingkarawitan has a very big share in the effort

to bring the art of karawitan tradition, especially to

the younger generation can inspire listeners

community to be interested in knowing and learning

karawitan.

Campursari music is widely known after the

famous work of artists Manthous According to

(Wiyoso, 2007) The presence of music campursari

90s pioneered by a musician who was born in the

PlayenGunungKidul Yogyakarta, Manthous,

received a remarkable welcome from the community

and the subsequent development of music

campursari no longer known locally (region), but

known nationally or even in today's global era

through a sophisticated telecommunications tool is

not impossible that the outside world already about

campursari music.

The Javanese community in Medan and

Sumatera Utara accept and support the Campursari

music style as entertainment at various events such

as marriage, circumcision, big day and other

inauguration ceremonies. In managing musical

performances Campursari require procedures in

terms of preparing music material and arranging the

campursari music, as well as marketing it into the

middle of the community in order to attract

community supporters. From the stand of music

Campursari still continues to exist in the community,

especially the Java community in Medan and

generally in Sumatera Utara. The Campursari Group

was invited to various areas outside the city of

Medan such as Siantar municipality, RantauParapat

district, Sidikalang district, Aceh Singkil district,

Sibolga city, Kuala Simpang district and out of

Sumatera Utara province such as Riau, Jambi and so

on.

Campursari music developed in the city of

Medan began in 2000 formed by Mr. Sunardi. The

idea of forming a Campursari musical group was

inspired by the performances seen on the island of

Java. this desire is realized by forming a musical

group called KampursariKridoLaras. Pak Sunardi is

a Javanese artist who can play gamelan instruments

and have them. To form this Campursari group he

invited popular music artists in the city of Medan to

join so formed CampursariKridoLaras Music. In

addition, the group also grows another Campursari

group, which is currently developing in the area in

North Sumatra.

Campursari music is acceptable in Javanese

society and the public. This is evident from the

frequent Campursari music groups invited to

weddings and other celebrations. To see the

continuity of the music campursari, it is needed to

know how the management system and strategy are

in demand by the audience.

In the course of an art performance, the quality

of the player and the selection of songs played will

contribute to make the show popular with the

community. So that artists should see the

development of the trend of songs that are in popular

society. To achieve the success of a musical

performance of Campursari there are several

elements that must be managed namely the material

of the song that will be sung, manage the members

and know the situation of the community in the

place of the show that will be held. On the basis of

these considerations then conducted research on how

Campursari Music Management Strategy

2 METHOD

The method used in this study qualitative approach.

Data collection comes from primary data sources

and secondary data sources. Primary data sources

obtained through interviews and observations with

the purpose of gathering information about the

Campursari Music Management Strategy in

Sumatera Utara. (Spradley, 1997) suggests that

Campursari Music Management Strategy in Sumatera Utara

1325

qualitative research is more appropriately used in

cultural / behavioral research in social situations-

efforts to express the behavior and actions of people

in various social situations in society. Data

collection used snow ball sampling technique with

observation, interview, and documentation.

The study included cameras and tape recorders to

avoid misinterpretation and document the conduct of

field research. Selection of 10 informants based on

informants' knowledge of the socio-cultural

development of local communities, artists,

Campursari groups and players. Secondary data

sources such as a description of the arts activities in

Sumatera Utara, the activities of group artists and

activities obtained from government agencies and

other arts groups.

Conducting a domain analysis, which determines

between parts and parts with the whole as how the

basis of the show and how the development. In

addition, a focused observation analysis will be

conducted to identify in the effort to look for the

development of wayang kulit and the supporting

community situation that occurred in the research

area. Then, the taxonomic analysis of looking for

relationships between components and component

analysis, finds the related components of the social

situation under study.

3 RESULTS AND DISCUSSION

Campursari music management includes the

management of group members, supporters,

performance forms, and marketing. Between one

part with the other part are interrelated, so it must be

formulated right in the running so that the

campursari music can be run better in terms of the

quality of performances and can generate interest of

its supporters to continue to display and

mengembangklan music campursari.

In Sumatera Utara, the campursari group

KridoLaras who is domiciled in Medan started his

pioneering, led by Sunardi who is a versatile

Javanese musical artist or musician. His expertise in

the field of Javanese gamelan music has been

recognized by fellow artists. Furthermore,

campursari music evolved with the formation of new

groups. Campursari music group that still survive its

existence up to now include the group KridoLaras,

LangenBudoyo, NgudiLaras, and Ariska. This is

because people love Java community in particular.

In the development of campursari music can be

enjoyed and enjoyed by the general public. But the

invited campursari group to entertain in the marriage

ceremony, circumcision, Halal Bi Halal, and other

celebrations are always related to Javanese ethnicity.

It is the result of interview with member of

KridoLaras on May 5

2018.

Before the performance of the campursari group

it is necessary to make preparations by the

leadership or chairman and members. Preparation is

done with regard to exercise of music material and

songs to be displayed. The training procedures set

among them started by listening to music and

campursari songs through a tape or CD that was in

the market together. The choice of songs tends to the

songs that are popular or known and popular. In this

exercise will be determined music or songs to be

played imitated directly or arranged. So, in bringing

campursari songs so more interesting. There are also

tailored to the ability of musicians and singers and

tastes of the audience or listeners. For example, in

musical performances campursari by KridoLaras

group in the middle of the audience such as

campursari songs with Java style like Nyidam Sari,

CapingGunung, Yen IngLawang, Mehrahino, Kui

Wei Sopo, Compassion is always displayed. The

song is considered very liked the audience or

listeners. For campursari music that beralran pop

and koplo include Virgin Borneo, SewuKuto,

SekonyongKoder, and Wes He Wes He Wes. Also

bringing campursari songs are rhythmic koplo, such

as love songs, Nonoro hut, and TrisnoIki. Hali is

also explained by (Kobi, 2017) Creativity in need of

musical aspects such as determining the type of

music, choosing singers that are considered most

suitable, and arrange the sequence of songs in a

campursari musical packaging is very important. In

addition, it is important that, promote and channel to

other parties who are deemed to be able to distribute

the product well, in the sense of this product should

be easy to reach the hands of consumers.

Campursari music is fostered and recruited by

the group among others by recruiting new members,

although the singing ability is not yet of character /

genre campursari. But already singing and have a

melodious voice. They will be trained and imitated

campursari songs through CDs and youtubes in the

market. For groups with music players or singers

who already have the ability to arrange music and

songs they will create a new arrangement to have

their own character. According to (Tika, 2015) states

that Campursari is a new type of music in the world

of performing arts that are able to give color in

Javanese music and able to become a medium for

the younger generation.

Coaching is done with regular training and

improvements in appearance. Routine exercise

ICOSTEERR 2018 - International Conference of Science, Technology, Engineering, Environmental and Ramiﬁcation Researches

1326

routine is done diverse one weekly, there are two or

three times a week. To practice the songs the singers

train themselves first. Having memorized the

arrangement done trained together with musician.

Along with the development of the times and

technology, campursari singers can practice

themselves by hearing new songs from youtube.

Musicians can practice their music by hearing the

singer's song from youtube. The arts workers can

sometimes only coordinate each other on the day to

perform just so it does not require joint training.

However, for the songs that are special requests

from the buyer they will make a schedule for the

joint exercise.

Campursari management strategies include the

music players and campursari singer between groups

that one with another established a good

relationship. Interagency groups can work together

and support each other. The players can fill in or

participate in other group performances when

needed. This can be resolved if the lack of members

in the show. This is one way the music group can

fulfill the performance of the show requested by the

buyer. Leaders or group leaders do not forbid their

members to fill out or assist other groups by sharing

information with each other. In addition to the artists

of musicians and singers who can cooperate with

each other, also musical equipment if needed

between groups can also help or lend each other.

This principle of mutual help and help is instilled.

Only if at the same time all the groups have a

schedule of filling performances in various events.

This is a rather difficult time to borrow from one

another. This simultaneous event used to happen

frequently in clean village events in Suro month.

It's a step to keep the campursari group going

well, the issues of cooperation among members or

players need to be well established. This is always

the effort of the coach or group leader. This is one of

the keys to a group's success in order to survive. In

addition to that approach Between leaders and

members tend to have to be closer or can

communicate well and lancer. So, if found problems

in the show or performance performances can be

overcome by deliberation. For example, in a show in

a place, sometimes a lot of spectators or guests

attending the ceremony who ask to be sung their

songs or even enjoy the songs that are displayed.

Not infrequently many singers receive saweran from

the audience. This can create jealousy between

players. Because of the success of singers bringing

the songs are supported by the music players. For

such a matter, group-based pemimoin based on

deliberation with the agreed member of the proceeds

of all received sanctions will be collected. After the

show will be shared with fellow members. Singers

get fifty percent of the collected saweran funds. The

musicians and other supporters can part by keeping

in mind the more dominant role and expertise in

terms of skill and the difficulty level of playing a

musical instrument there is more.

The musical performances of campursari at the

events that are considered by the buyer.Usually

starting from the negotiation between the buyer and

the campursari leader. The matter discussed related

to the event to be filled, time, place and fund

performances. For example, the buyer at the

wedding event. The campursari music leader will

ask you about the selected songs to be sung or

displayed. The subscriber will deliver the song

requests that will be displayed or the full selection of

songs to be displayed submitted to the groupthe

campus. The cost of complete campursari musical

performances that performs saron, demung, gender,

gong, keyboard, guitar, bass, kendngciblon,

kendopkoplo and singers with sounds ranging from

Eight to Ten Million Rupiah. Campursari in the

show is supported by musical instruments consisting

of saron, demung, gender, keyboard, drum, and

drums koplo cost of performances about Six Million

rupiah. While the campursari in the show supported

by musical instruments saron, keyboard, kendang,

kendangkoplo and sound ranged from Three Million

Five Hundred Thousand Rupiah. These costs can

also be more expensive if the show is held outside

the city, it must be added transportation and other

costs. The fund generated from the buyers will be

distributed to the campursari players. The singers

were honored for about Three Hundred Thousand to

Five Hundred Thousand Rupiah. The music players

are about Three Hundred Thousand Rupiah per

person. Only in the awarding of honorages can be

deductions or additions based on their respective

roles. The higher the role and the difficulty level of

the tool being played.

The campursari show is displayed in the middle

of society in two versions, this happens to be

tailored to the subscribers. The first version, If the

invite appears or order the Javanese Genuine and its

guests are also people who have Java tribe usually

only displayed songs Java style, if requested

campursarikoplodangdut songs but who speak Java.

The second version of the more common campur,

meaning that in addition to the Javanese campursari

songs can also be presented campursari nuanced

songs but from popolar or other ethnic traditions

such as Batak, Karo, Minang, and Malay. Also, from

Campursari Music Management Strategy in Sumatera Utara

1327

China. It is presented at the event that its guests of

various ethnic.

Campursari performances are managed

independently by groups or collaborate with other

group artists. Both in terms of providing the

necessary equipment and in terms of training its

members, as well as in terms of seeking funds to be

able to continue running the arts. Sri (Hastanto,

2002) reveals that the art of the area has become the

property of the community and his life is left entirely

to the community. Need to be managed in a planned

manner, then the art management concept should be

handled carefully. For that must understand true

basic of art form a region and know its formation.

Campursari performances in order to survive, in

addition to maintaining that there must also make

new breakthroughs. Arrangement and addition of

songs according to the times without leaving

standard rules. The development not only rely on the

festive songs but also on the beauty of sound and

music composition. According (Murniasih, 2013)

tembang campursari classified type of Javanese song

crunchy, passionate, and full of joy. Integration of

elements of gamelan and national music (modern)

that gives a special scent on campursari.

Furthermore (Kusnadi, 2016) states that the form of

the song, song-JagucampursariManthous creation

still refers to the traditional songs and gendhing

especially Javanese conventional style,

Ielagondolanan, or a mixture of both.

In marketing strategies that carried out

dissemination or introducing and increasing the

public appreciation of the show. This is useful to

attract the public interest in campursari

performances. If people know, know and familiar or

not familiar with the music then the show is more

easily accepted by the community. For this matter,

the campursari music group is willing to hold a

performance in voluntary kinship. For example, the

show held at the event for the festivities seventeen

august. In addition to this, one of the ways to go

inintroducingcampursari music by participating in

festivities, circumcision, and others.

Developing campursari music also faces

challenges.For instance, MudiLarasCampursari

group still holding the grip of Javanese traditional

music.Sometimes orders that want to campursari

more towards koplo music only, change this

direction is difficult to do. In line with that, (Lindsay

,2006: 3) explains that traditional art is less closely

related to the market, more sticking to the social

context.

4 CONCLUSIONS

Campursari music is interested in Sumatera

Utara community, especially Javanese society. The

Campursari performances are considered or invited

to weddings, circumcision, celebratory and other

celebrations as community entertainment.

The Campursari in Sumatera Utara was initiated

by the KridoLaras group inspired by a group of

artists on Java Island created by Manthous and also

popularized by other artists such as DidiKempot.

Subsequently in North Sumatra the Campursari

music group managed it to suit the interests of the

local community. This is done on the selection of

songs to be displayed. In addition to these costs to

display the Campursari group as well as the budget

can be adjusted to the inviting ability.

The form of the Kampursari music show features

Javanese style songs and Java pop versions coupled

with other ethnic pop songs. In addition, there are

campursaricampursari music version. To manage the

Campursari musical group the artists can work

together with each other to support each other's

players if needed. Cooperation and smooth

communication between fellow players and leaders

make a campursari music group can survive and

continue its existence.

ACKNOWLEDGEMENTS

The author would like to thank to

Chancellor of University of Sumatera Utara and the

Chairman of the University of Sumatera Utara

Research Institute and the Directorate of Research

and Community Service of the Directorate General

of Research and Development Strengthening the

Ministry of Research, Technology, and Higher

Education who have provided financial assistance so

that the DRPM Research Report for 2018 fiscal year

can be completed. Contract: 94 / UN5.2.3.1 / PPM /

KP-DRPM / 2018.

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