Pertunjukan Keruncong Stambul Fajar Sebagai Simbol Sejarah
DOI:
https://doi.org/10.29408/tmmt.v1i1.1127Keywords:
Keruncong Stambul Fajar performances, symbol of historyAbstract
Stambul was introduced in Kota Pelabuhan Surabaya the late nineteenth century, until the early twentieth century. Stambul Music is part of a drama performance, the music accompaniment nuanced typical of Stambul, a variation of keroncong music. Keruncong Stambul Fajar in Mendanau Island, Belitung Regency, Bangka-Belitung Islands Province, has the same roots of the arts. Keruncong Stambul Fajar Pulau Mendanau is one form of artifacts, of the many artifacts in Belitung Island. This basic rhythmic music is a proof that the assimilation and alkuturation of Belitong Island has long been happening, as it has been in other parts of the archipelago, in different variants and forms. The problems studied in this paper are: 1) How can the Stambul music get to Belitung Island ?; 2) What is the concrete proof of cultural intercrops which then gave birth to assimilation and acculturation in music art Stambul Fajar Pulau Mendanau, Bangka Belitung Islands province with the same art, both spread in the archipelago, as well as those in the area of origin?
References
Budiawan. (2010). Ambivalensi: post-kolonialisme membedah musik sampai agama di Indonesia. Yogyakarta: JALASUTRA.
Budiman B.J. (1979). Mengenal Kroncong dari Dekat. Jakarta: Perpustakaan Akademi Musik LPKJ.
Cœdés, G dan L.-Ch. Damais. (1989). Kedatuan Sriwijaya: Penelitian tentang Sriwijaya. Jakarta
Cœdés, George. Asia Tenggara Masa Hindu-Buddha. (2010). Jakarta: KPG (Kepustakaan Populer Gramedia), École francaise d’Extrême-Orient, Forum Jakarta-Paris, Pusat Penelitian dan Pengembangan Arkeologi Nasional.
Cohen, Matthew Isaac. The Komedie Stamboel: Popular Theater in Colonial Indonesia, 1891-1903 (Ohio RIS Southeast Asia Series). Ohio University Press; annotated edition edition (April 17, 2006).
Erman, Erwiza. (2009). Dari Pembentukan Kampung ke Perkara Gelap; Menguak Sejarah Timah Bangka-Belitung. Yogyakarta: Ombak.
Erman, Erwiza. (1995). Kesenjangan Buruh Majikan; Pengusaha, Koeli dan Penguasa, Industri Timah Belitung, 1852-1940. Jakarta: Sinar Harapan.
Ganap, Victor. (2011). Krontjong Toegoe. Yogyakarta: BP ISI.
Ganap, Victorius. (2005). Krontjong Toegoe Musik dan Komunitasnya di Kampung Tugu Cilincing, Jakarta Utara (Disertasi). Yogyakarta: Universitas Gadjah Mada.
Heidhues, Mary Somers. (20013). Golddigers, Farmers, and Traders in the “Chinese Districts of West Kalimantan, Indonesia. United States of America: Southeast Asia Program.
Heidhues, Mary Somers. (2008). Penambang Emas, Petani, dan Pedagang di Distrik Tionghoa Kalimantan Barat. Jakarta: Yayasan Nabil.
Heidhues, Mary Somers. (2008). Timah Bangka dan Lada Mentok Peran Masyarakat Bangka dalam Pembangunan Pulau Bangka Abad VIII s/d Abad XX. Jakarta: Yayasan Nabil.
Koentjaraningrat. (1978). Metode-Metode Penelitian Masyarakat. Jakarta: Gramedia.
Link: http://selatnasik.belitungkab.go.id/profil/, diakses tanggal 20 Mei 2018.
Lombard, Denys. (1996). Nusa Jawa: Silang Budaya Bagian 1: Batas-batas Pembaratan. Jakarta: PT Gramedia Pustaka Utama.
Lombard, Denys. (1996). Nusa Jawa: Silang Budaya Bagian 2: Jaringan Asia. Jakarta: PT Gramedia Pustaka Utama.
Lombard, Denys. (2000). Nusa Jawa: Silang Budaya Bagian 3: Warisan Kerajaan-Kerajaan Konsentris. Jakarta: PT Gramedia Pustaka Utama.
Nakagawa, Shin. (2000). Musik dan Kosmos: Sebuah Pengantar Etnomusikologi. Jakarta: Yayasan Obor Indonesia.
Prier sj, Karl-Edmund. (1991). Sejarah Musik Jilid 1.. Yogyakarta: Pusat Musik Liturgi.
Prier sj, Karl-Edmund. (1993).Sejarah Musik Jilid 2. Yogyakarta: Pusat Musik Liturgi.
Ricklefs, M.C. (1995). Sejarah Indonesia Modern. Yogyakarta: Gadjah Mada University Press.
Ricklefs, M.C. (2008). Sejarah Indonesia Modern: 1200-2008. Jakarta: PT Serambi Ilmu Semesta.
Sujitno, Sutedjo. (1996).Sejarah Timah Indonesia. Jakarta: PT Gramedia Pustaka Utama.
Tan Ta Sen. (2010). Cheng Ho: Penyebar Islam dari Cina ke Nusantara. Jakarta: Penerbit Buku Kompas.
Downloads
Published
Issue
Section
License
All writings in this journal are the full responsibility of the author. Tamumatra : Jurnal Seni Pertunjukan provides open access to benefit anyone with valuable information and findings. Tamumatra : Jurnal Seni Pertunjukan can be accessed free of charge at no cost, following the creative commons license. Authors who publish articles in the Tamumatra : Jurnal Seni Pertunjukan must comply with the following conditions:
The author retains the copyright and grants the right of first publication with the work licensed simultaneously under the Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) license, allowing others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
Authors may make additional separate contractual arrangements for the non-exclusive distribution of the published journal version of the work (for example, posting it to an institution or publishing it in a book), acknowledging its initial publication in this journal.
Authors are permitted and encouraged to post their work online (for example, on institutional repositories or websites) before and during the submission process, resulting in a productive exchange and earlier and more extensive citations of the published work.
All articles in this journal are the sole responsibility of the author. Tamumatra : Jurnal Seni Pertunjukan provides open access to benefit anyone with valuable information and findings. Tamumatra : Jurnal Seni Pertunjukan can be accessed and downloaded for free, following the creative commons license.
Tamumatra : Jurnal Seni Pertunjukan is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License