The Inheritance of Saronen Instrument in Sumenep, Madura

Ni Made Ruastiti; Rino Ega Vebrian; I Ketut Sariada

doi:10.21512/humaniora.v11i3.6677

Authors

Ni Made Ruastiti Denpasar Institute of Indonesian Arts http://orcid.org/0000-0001-9617-9540
Rino Ega Vebrian Denpasar Institute of Indonesian Arts http://orcid.org/0000-0002-4982-2684
I Ketut Sariada Denpasar Institute of Indonesian Arts http://orcid.org/0000-0003-3200-5191

DOI:

https://doi.org/10.21512/humaniora.v11i3.6677

Keywords:

cultural inheritance, saronen instrument, Madura ethnic

Abstract

The research aimed to discuss the position and function of the saronen instrument in Sumenep, Madura. Saronen, as one of the cultural heritage of the Madurese people, was still preserved. The research questions were: (1) what was the position of the saronen instrument in the culture of the Madurese people? (2) How was the strategy for the inheritance of the instrument carried out by the people of Sumenep, Madura? The research was conducted using qualitative methods. The data collection process was carried out through observation, literature study, and interviews with ten informants. Data analysis was carried out in a descriptive qualitative manner using semiotic theory and structural-functional theory. The results show (1) the saronen instrument has an important position in the culture of the Madurese people, including Madurese ethnic identity, as a public relations media, and the branding of Sumenep as a tourist destination in East Java. The saronen instrument, which is originally used as a da'wah medium, has now developed as a musical accompaniment to the activities of the sapi sono and karapan sapi contest and entertainment medium for the Madurese people in celebratory events and government events. (2) The inheritance strategy of the saronen instrument is carried out by the indigenous people through a vertical system, namely an inheritance system through a genetic mechanism passed down from time to time across generations and a horizontal system, namely inheritance through institutions, including educational institutions such as schools and art studios.

Dimensions

Plum Analytics

Author Biographies

Ni Made Ruastiti, Denpasar Institute of Indonesian Arts

Ni Made Ruastiti is a Lecturer in Performing Art, Faculty of Indonesia Art Institute Denpasar, Bali. After finishing Strata 1 Program in Performing Art, since 1992 she has been appointed a teaching staff member at the said institution where she is currently teaching. From 1999-2001, she was a teaching staff member of the Faculty of Performing Art, Indonesia Institute of the Arts Denpasar, Bali then pursued her Master Program in Cultural Studies at the School of Postgraduate Studies of Udayana University. From 2004 to 2008, she pursued her Doctorate program at the School of Postgraduate Studies of Udayana University. In addition to teaching, she is also a reliable practicioner, observer and writer of matters pertaining to Performing Art.

National Department Rank of Dance Studies program Denpasar Institute of Indonesian Arts in Sinta Ristekbrin : 2

Rino Ega Vebrian, Denpasar Institute of Indonesian Arts

He is a student of the master's art studies at the Denpasar Institute of Indonesian Arts postgraduate program. He is a Scholar of Music, who has a big interest in ethnomusicology.

National Department Rank of Master's Art Studies, Postgraduate Program in Sinta Ristekbrin : 7

I Ketut Sariada, Denpasar Institute of Indonesian Arts

He is a lecturer in the dance studies program, the performing arts faculty at Denpasar Institute of Indonesian Arts. He served as head of the ISI Denpasar art studies program.

National Department Rank of Dance Studies program Denpasar Institute of Indonesian Arts in Sinta Ristekbrin : 2

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