126 The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey Asep Ganjar Wiresna1, Cece Sobarna1, Endang Caturwati2, Gugun Gunardi1 1Universitas Padjajaran, Indonesia 2Institut Seni Budaya Indonesia, Indonesia Submitted: June 15, 2020. Revised: September 9, 2020. Accepted: November 24, 2020 Abstract This study aims to describe the Kendang relationship, as a traditional Priangan musical instru- ment, to the Jaipongan performing arts and dance. Kendang, which has a central function in the Jaipongan dance performance, has received less appreciation in West Java arts’ discourse. The Jaipongan dance art focuses on dance movements, although the song (gending) that accompanies the dance movement depends entirely on the Kendang music playing. This study used qualita- tive research methods. The data collection technique is done through interviews, observation, and document study. Data were analyzed through complete data collection activities and then adjusted the data and literature review, and in the end, described the research data. The results showed that Kendang, as a musical instrument has a relationship and attachment with the crea- tion and development of the Jaipongan dance art. Kendang and the player (pengendang) have a vital function, in contrast to the stereotype that these instruments are only accompaniment to songs/dances in the performing arts. The Kendang instrument is an important part that regu- lates the tempo and the course of the Jaipongan dance performance. Pengendang, as artists and musicians, contribute greatly in communicating the performance of the performance both with dancers and the audience. Kendang is a source of inspiration for the creation of Jaipongan dance art. During the process of creating the Jaipongan dance, Gugum Gumbira acts as a creator com- municating with other artists, both dancers, and pengendang. Keywords: Kendang; Jaipongan; kendang musicality How to Cite: Wiresna, A. G., Sobarna, C., Caturwati, E., & Gunardi, G. (2020). The Relation of Kendang and Jaipongan: Functions and Inspirations of Kendang Musicality on Jaipongan’s Journey. Harmonia: Journal of Arts Research And Education, 20(2), 126-134 Harmonia: Journal of Arts Research and Education 20 (2) (2020), 126-134 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i2.24953 Tayub, and so on. Through the Kendang play, the identity attached to the perfor- ming arts and the locus (place) that is the development of the art can be easily iden- tified. Jaipongan, an art that uses Kendang is a popular dance art form. Jaipongan is a dance art that was created since 1979, combining traditional dance and martial arts (pencak silat) from West Java (Durban, 2010). According to Durban, Jaipongan dance, in its current development, pre- INTRODUCTION Kendang, a traditional musical instrument from West Java (Priangan), plays an important role, namely, as a re- ference to the beat in each song. Kendang is a symbol or representation of culture, used in the Priangan arts, one of which is the Jaipongan dance. Kendang’s musicali- ty in Jaipongan dance is different from ot- her arts such as Bajidoran, Wayang Golek, Corresponding author: E-mail: asepganjarwiresna@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 127 sents a variety of movements, music, and clothing and is displayed in local and in- ternational performances. Although the Jaipongan dance was born in Bandung, it is well known throughout the Priangan area. Jaipongan dance reached its peak of glory and popularity in 1980 (Durban, 2010). In its development, the Jaipongan dance is known throughout Indonesia and is performed in art events both locally and abroad. According to Caturwati (2007), in contrast to other performing arts, Jaipon- gan was born in the modern era so that all aspects underlying this art can be found clearly. Aspects such as the origin of the character, timing, process, results of cho- reography, as well as the recording of gen- ding accompaniment in Jaipongan can be found. Jaipongan is a representation of the dynamics of modern society towards performing arts. Jaipongan is a form of Gugum Gumbira’s dissatisfaction, which is the creator of this dance against existing folk dances (Nalan, 2007). However, the Jaipongan dance is also a fragment of folk dance so that the folk-dance configurati- on is still present in the Jaipongan dance. According to Heriyani (2012), the source of the creation of Jaipongan dance is folk arts/dances such as Ketuk Tilu, Pencak Si- lat, Bajidoran, and Banjet. The Jaipongan dance repertoire has dynamic, attractive, and sensual dance movements. It is sta- ted that sensuality and eroticization are elements that cannot be separated and the main attraction of Jaipongan dance. There are two sequences in the Jaipongan dance, namely the main movement sequence and the whole sequence. Jaipongan is a dance that has clarity and a systematic pattern. Dance and music movements are harmo- nized in the Jaipongan dance with each ot- her to complement each other so that they become a harmonious whole. Names such as Gugum Gumbira Tir- tasonjaya and Tati Saleh are important and well-known figures in Jaipongan dance. Gugum Gumbira is the creator of Jaipon- gan and Tati Saleh is a prominent dancer. However, the literature on the art of Jai- pongan dance does not discuss the musi- cians/pengrawit as an essential part in the history of the development and preservati- on of this art. The birth and development of Jaipongan cannot be separated from the role and existence of musicians (nayaga) and Kendang instrument. For example, a singer named Suanda, in collaborati- on with Gugum Gumbira is a figure who has contributed in creating the works that will become known as Jaipongan. Suanda, as a skilled pengendang, is also known as a musician who dares to break out of tra- dition when accompanying Asikin (dan- cer and leader of Topeng Banjet Karawang). Suanda’s expertise contributed to creating Jaipongan, which is a dance form that bre- aks out of the preceding traditional rules. It can be said that apart from choreographers and dancers, Kendang and musicians also have an important relationship with the existence of Jaipongan art. Previous studies generally focused on the variety of Kendang’s variety of tepak/ performance in Jaipongan, which is consi- dered to have its characteristics. Tirwana (2017) in his writing, discusses how pen- gendang named Agus Supriyawan and Yayan Suryadi have different patterns. If Agus Supriyawan prefers to use tepak das- ar bukaan jugala, Yayan Suryadi prefers to change tepak bukaan Jaipongan instead. According to Tirwana (2017), his research concludes that tepak Kendang in Jaipon- gan is something that can be developed but cannot be separated from its basic form and essence. Another study conducted by Saepudin (2013) explores the process of creating the Kendang Jaipongan tepak by Suwanda. This research examines the ide- as, concepts, and methods used by a crea- tor in creating tepak kendang jaipongan. This research is different from what has been done by previous researchers who have focused on the tepak kendang and a creator but tries to generally review the relation- ship of Kendang as a musical instrument and pengendang with the Jaipongan dance art. This research is essential to do, consi- dering the central function of the Kendang Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134128 instrument in the creation and develop- ment of the Jaipongan dance, which, un- fortunately, has not been discussed and reviewed much. Kendang and pengendang as artists and musicians should get the spotlight the same as the creators/choreo- graphers, puppeteers, sinden/singers, and dancers get, considering the significant contribution to the arts of West Java, inclu- ding the Jaipongan dance. METHOD This research uses qualitative re- search methods. In this case study, data collection techniques of the relationship between Kendang and the Jaipongan dan- ce are interviews, observation, and docu- ment study. This study explores the rela- tionship between Kendang and Jaipongan dance, and this art with the community through symbolic meanings. So, a quali- tative research method is a method that is following the research objectives. Inter- views were conducted with three Kendang musicians/pengendang named Oman Roh- man, who came from Tasikmalaya, Mamat Rahmat, and Ido, who came from Soreang, Bandung district. Observations are made through activities such as watching the Jaipongan dance performance, training in playing Kendang, participating as a Ken- dang player in performances, and other significant and relevant activities in col- lecting data and information. Meanwhile, document study is carried out in order to complement research data and check the truth through literature reviews, which can be accessed online, in public libraries, and in private data sources/sources. Data were analyzed through qualitative stages such as complete data collection, sorting out relevant and needed data to answer re- search problems, matching the data found with existing references/literature, and describing the research results that had been processed into narrative sentences. RESULTS AND DISCUSSION The presentation of the relationship between Kendang and Jaipongan Dance is divided into several parts, namely (1) the relationship between Kendang and Pen- gendang; (2) Kendang in West Java Arts; and (3) Kendang and Jaipongan Dance. Kendang and Pengendang Kendang is waditra percussion made of wood, which is perforated in the mid- dle, closed with dry skin, and tightened with ropes, tapped with palms and middle fingers. Rosidi (2000), Satjadibrata (2011), and Danadibrata (2009) define Kendang as an instrument or waditra which are equally defined as “gendang” in Indonesian. Ken- dang functions to regulate the rhythm of the song/gending, determine the song’s rhythm, and create the song characteristics or gending. Kendang can be considered as an instrument that is dominant in the en- semble/performance of Sundanese Kara- witan instruments. Musical instruments are a form of art, which are created based on human taste and aesthetic value. Musical instruments are divided simply into two parts, namely waditra tradisi, a standard instrument, and waditra baru, a form of instrument deve- loped and reconstructed. Musical instru- ments are manifested through tenacious thinking and a relatively long process so that they become a work that contains an accountable intellectual value. Kendang is a work of art that can be classified in wadit- ra tradisi, which has been known for a long time by the people of West Java. In waditra Kendang, there are two circles on the top and bottom, nine binding holes (rarawat), nine binders (ali-ali), resonator holes (udel), and black and white outer and inner shells. There are two types of Kendang, namely Kendang Indung and Kendang Anak (Ku- lanter). Kendang is a musical instrument made of wood and played by tapping or beating using a Kendang drummer. Sundanese Kendang usually uses the tones contained in the gamelan (pen- tatonic scale), namely ketiplak which has a high 5 tone (la, singgul), quotes that have a moderate 3 tone (), or that has a tone of da, goods, and or which has 4 medium tones Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 129 (ti, bem). Figure 1. Kendang Unlike the Javanese and Balinese Kendang, the Sundanese Kendang is pla- ced on the left to the right or vice versa while lying straight/parallel in Java and Bali. The Sundanese Kendang is shaped the same as the Javanese Kendang and is different from the Balinese Kendang, which is formed straight without any in- dentation. One similarity between the Sun- danese Kendang and the Jaipongan dance lies in the tendency to seem to break tradi- tional idioms. Jaipongan dance is conside- red to ‘violate’ the generality of the grace- ful, gentle, and feminine traditional dance. Like the Sundanese Kendang, which is played more attractively and expressively. According to Oman the Sundanese Ken- dang was born in the Saka year during the Tarumanegara kingdom (Sundanese King- dom). Kendang is made from various na- tural materials; for example, to make ku- luwung (resonator material), it should use jackfruit wood to make ancak from kanan- ga wood, and the drummer should use chrysolite wood (Oman, interview, 2011). The use of these materials is not without reason, jackfruit wood, for example, is con- sidered not easily cracked and has a distin- ctive golden yellow color. Munding, buf- falo skin, is also used because it is strong and not hot for the pengendang hands. Even better, if the buffalo skin used is the skin of the calf that died in its mother’s womb or it is usually called handalam. Bamboo is used as awi tali, generally sought from a flexible material, so it is not easily cracked. These materials are ideal materials used in ma- king/producing Kendang. However, in its current develop- ment, the production of Kendang Sunda has undergone adjustments in terms of material, function, and wasp pattern. This phenomenon causes the emergence of new pengendang, who have good skills and po- tential. However, the respect and appre- ciation for Kaditra Kendang began to dec- rease, such as sitting, pulling, and striding Kendang. It is not proper to do because Waditra Kendang is a source of livelihood that should be affixed with negative ima- ges and values. The behavior that does not respect and appreciate Waditra Kendang shows the thought that this musical instru- ment is not a valuable item. Waditra Ken- dang should be treated like western mu- sical instruments such as guitar, drums, piano, bass, or cello that get special treat- ment from the artist. Traditional musical instruments should be parallel to western musical instruments because they have the potential to be recognized and compete in the international arena. The treatment of the new pengendang for Waditra Kendang is currently influenced by self-taught lear- ning through audio-visual media without the presence of a teacher. The presence of a teacher for pengen- dang is very important because it provides guidance and direction on the formation of potential, quality, and attitude. The teach- er provides an understanding of the noble philosophical meanings and symbols of Waditra Kendang, based on the teacher’s empirical experience. It is not easy to be a good pengendang because it takes skill and mastery of the material. According to Rahmat, who is a pengendang of the classical dance (interviewed on June 12, 2011, Bandung), the correct and upright sitting method for pengendang is a func- tion of improving blood circulation. The beating technique that is carried out must produce a round sound, pengendang must adjust the power appropriately, as well as understand the character of the dance, song, dancer, and measure the quality of the pengrawit. Pengendang must also have spiritual provisions by doing tawasul, na- mely asking permission from God who he Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134130 believes and respects his parents, teach- ers, ancestors, and himself. A pengendang named Ido (interviewed on June 14, 2011) stated that the clapping technique changed to slapping to produce a rounder sound. Contemplation accompanied by remembe- ring the ancestors and teachers is believed to help pengendang and read the verses of the Koran, which are believed to increase the pengendang’s self-confidence. According to Pranoto (2013), the Kendang is a percussion instrument that functions to provide rhythmic accompani- ment to the gamelan ensemble. Oktriadi (2017) defines pengendang as a pengrawit in a gamelan ensemble which is tasked with playing waditra kendang. Pengendang must have more musical knowledge than other pengrawit. The pengendang’s task is to lead the musical presentation course, namely, to control the rhythm, tempo, and stop the performance. Knowledge of rhythm, tem- po, songs contained in Sundanese musi- cals is the main asset for pengendang. If a pengendang does not own the basic know- ledge, then the musical’s aesthetic perfor- mance will not be adequately conveyed. Oktriadi (2017) provides general descriptions of pengendang subjects who have special skills based on the locus of an institution in the arts, such as; Bah Rapi, Mamat Rahmat, to Yayan Supriadi. From the information presented by Oktriadi in the mention of these names, there are im- portant notes related to the dynamics of kendang pengendang, one of which is the data that shows the regeneration journey of the pengendang subject in the same pla- ce as well as the same specialization but produces different creativity. According to Martopo (2006), creativity is a person’s ability to change the old order into a new order. The three names above represent dynamic time, namely; 1960s, 1970s, until the pengendang subject representing the 1990s to the present, all of which show the dynamics of changing creativity in the play of Kendang, even though it is in a function of traditional art, such as; tayub and keurseus. There is an important point that pengendang creativity has occurred for a long time, and another important point that creativity occurs in the dimensions of a traditional performance. The formation of identity as a pen- gendang requires a very long stage to cul- tivate a sense of self-confidence (Tawajuh). Tawajuh, according to Rohmat (intervie- wed on 12 June 2011) is a ripening process both physically and mentally, also known as “nyirepkeun”. Through these stages, the pengendang will be able to release the ener- gy that will be released through Waditra Kendang. Thus, the expected Kendang sound will come out. Through these stages, the pengendang can also control the concept of bodily recall - a momentary installati- on in a body frame that will be written on Waditra Kendang. This process also affects the level of awareness of pengendang to be- have well. Kendang in West Java Art Kendang is a musical instrument that functions as a carrier of rhythm, tem- po, and embat in both musical and dance arts. Kendang is very influential in the art of dance because it accompanies dance movements. Kendang also encourages the dancer’s characteristics in performing a type of dance so that the performance can be interesting and enjoyable not only for dancers, musicians/pengendang, but also for the audience. Kendang is played diffe- rently in various dances so that the pengen- dang must understand and memorize each type of dance’s musicality. For example, in Tari Topeng Klana Cirebon, there are clap- ping such as bango tong-tong, pring ketim- pak, adu bapa, tumpak mobil Bandung, and so on. Kendang is played to accompany and create the nuances of Tari Topeng Klana Ci- rebon, a dance art depicting a Klana cha- racter who is known as a figure with bad character. The Kendang used in Tayub art is different, namely Kendang Kendor. The Kendang has to adapt to the various cha- racters and different movements in Tayub art. Tayuban was started by using gending tataluan, which was in the form of instru- mental songs; the music presented inclu- ded: Gending Kebo Jiro, Bajeman, Watangan, Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 131 Jipang Walik, Sarangan, Kaloran, Panglima, Gendu, Senggot and so on (Ramlan, 2003). The Kendang played in accompanying Tari Gatot Kaca also distinguishes it from other dance arts. In Tari Gatot Kaca, the technique used is bobot tepak , depicting the character of Ponggawa Lungguh, which is characteri- zed by a dance that fluctuates. The arts in West Java (Sunda) cannot be separated from Waditra Kendang, such as Wayang Golek, Wayang Wong Prian- gan, Sandiwara, Ketuk Tilu, Ronggeng Gunung, Ronggeng Amen, and Jaipongan. Kendang serves as accentuation in musi- cality towards the movements of people and puppets. Kendang also functions as a rhythm in channeling harmonization in the music performance. Moreover, Ken- dang provides aesthetic value and mar- kers to the audience and communicates a type of art performance. In a traditional performance setting, the pengendang has fans or followers (related to the kendang performance pattern). The local communi- ty likes pengendang who are considered to have the ability, understanding of the Ken- dang Tepak treasury, as well as the pen- gendang relationship with the community. Kendang is closely related to the Priangan community and their arts. Kendang Sunda is found in almost all dance works ranging from puppet dances, folk dances, mask dances, New Creation Dances, and Con- temporary Dances. Kendang is found in Sundanese arts, such as Gong Renteng or Kromong. Kendang has a symbolization of sound in an art performance, which is interwoven as oral communication. For example, the sound tertektek in Bangreng art from Sumedang and pengendang sounds kuluwung (the resonator part of the Ken- dang) indicates that the dancer must tip to the pengendang. Another example is what happened in Ciamis Regency in the art of Ronggeng Amen, when the clapping pattern became mincid , the dancer’s position beca- me a big circle. The dancers follow the tem- po performed by the Kendang instrument so that it can be said that the pengendang gives accentuation, so the dancer follows by filling in the dance movements. Kendang and Jaipongan Dance Gugum Gumbira as the creator of the Jaipongan dance is a composer and cho- reographer who often explores several arts types. Arts such as Ronggeng Amen, Topeng Pendul, Ronggeng Gunung, Bajidoran, Ban- greng, Pencak Silat, and Ketuk Tilu. This af- fects the dynamic rhythm and complexity of Jaipongan dance art. Jaipongan became known and became very popular. Accor- ding to Durban (2010), Jaipong reached its peak of popularity in 1980, so that both ru- ral and urban communities favor this dan- ce art. Jaipongan is favored by all groups, from the young to the older generation, from the lower middle class to the upper- middle class. The existence of Jaipongan causes this dance art to be known in the country and in the international arena. Jai- pongan is a popular dance art that is a bre- akthrough form of the development of per- forming arts. Jaipongan’s popularity has made this dance as performance material for most art groups (Nuriawati & Nalan, 2018), and even some art groups/commu- nities that previously worked in other po- pular arts have switched to Jaipongan. However, besides the popularity, existence, and progressiveness of Jaipon- gan, history has recorded that the role of musicality is only a small part of the dance art. There is even a stereotype that karawi- tan (music) is only an accompaniment to the Jaipongan dance art. This affects the existence and role of the underrated mu- sic in Jaipongan. This causes Kendang, as a musical instrument, to be not well known and favored by art connoisseurs or audi- ences. Kendang’s appreciation and popu- larity follow from what the audience gives to dance/performance because this instru- ment is known only as an accompaniment to song and dance. This situation changed with the times and technology so that there was a collaboration between genres such as Jaz, Dangdut, and Pop. Kendang, as a musical instrument, was previously only known and focused on traditional space and installation [genre]. Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134132 The fact is that there is an inherent attachment between Jaipongan dance and musical instruments that cannot be se- parated. Kendang is the most influential musical instrument in the Jaipongan dan- ce because the tempo and dynamics are completely controlled in every Jaipongan dance movement by the Pengendang. There is a conception that the naming of Jaipon- gan is an onomatopoeia of the Kendang sound. In this context, sound and Kendang as an instrument represent music elements in Jaipongan (Aziz, 2007). It can be said that Kendang is the inspiration for the for- mation of Jaipongan art. The emergence of the Jaipongan dance by Gugum Gumbira, which was created in the city of Bandung inspired and influenced the performan- ce of Kliningan Bajidoran in the Pantura area. The erotic movements of the Jaipon- gan dance and the attractive tepak Kendang have dominated the Kliningan Bajidoran show for up to ten years (Caturwati, 2011). This shows the attachment of the Kendang instrument, which has high progressivity, balanced and harmonious development in every development with the Jaipongan art itself. Jaipongan is the birth of a “new” dance movement that emerges from creati- vity, thus giving rise to new tepak Kendang musically. According to Saepudin and Haryono (2010), the creation of a variety of tepak Kendang Jaipongan that is new, original, and acceptable to West Java peop- le shows the creativity and ability to play Kendang that is owned by the artist. Durban (2010) explains that creating Jaipongan began when Gugum Gumbira discovered another type of Ketuk Tilu, with simple dance movements and energetic music. The attractive music, the voice of the singer, and the spontaneous rhythm of the gamelan player, as well as the joy and determination of the dancers, inspired him in creating the Jaipongan dance. It can be said that every element, including music in which there is Kendang, has an equal and central role in the creation of the Jaipongan dance art. The Jaipongan dance was then created into an art that was more dynamic and attractive than Ketuk Tilu. The move- ments of the arms and legs that are wider and alive are the advantages and differen- ces that are found in the Jaipongan dance. According to Ratih (2001), the birth of re- latively new dances has become a reality and demands of the soul who want the freedom of character, soul, and rhythm and escape from all forms of tradition. Jai- pongan, which was born in the modern era, is an expression of the desire for free- dom and releases the performing arts from the traditional standards and idioms that have long existed in people’s lives. In creating dance compositions, there is often a stagnation or deadlock in practice, so it is necessary to find an inspi- ration that can be drawn from the musical aspect. This confirms that there is a depen- dence on dance composition with a musi- cal system and composition. Kendang and pengendang have a central position in the Jaipongan dance, for example the pengen- dang named Suanda creates many varia- tions of the tepuk Kendang patterns and is elaborated with the Gugum Gumbira dance movements. Tepak Kendang, such as Bongbang, Oray Welang, Galeong, Mincid Keureup, and so on which are then widely used by other pengendang. Tepak is a term used in analogizing the Kendang punch in Sundanese musicals (Soepandi, 1995). Tepak can also be interpreted as a charac- teristic of a musician (pengendang) in play- ing Kendang, which is influenced by the ability and experience of the pengendang. Tepak Kendang was popular and used as a barometer in the development of other Te- pak Kendang in around 1978, even today. According to Mamat Rahmat (interviewed on June 8, 2019), the naming/terminology of the developing tepak Kendang name is a process of creativity in work. The name tepak Kendang becomes a communication sentence or symbol of meaning to preserve tepak Kendang Sunda. The relationship between Ken- dang/Pengendang and Jaipongan is exp- lained by Saepudin (2007) that the elements of improvisation of the tepak Kendang in the Jaipongan dance are very high. Jaipon- gan dancers, especially those who are pro- Asep Ganjar Wiresna et al., The Relation of Kendang and Jaipongan: Functions and Inspira- 133 ficient and experienced, tend not to follow the tempo, movement, or variety of taps to communicate and sensitivity from a pen- gendang must occur. This reason also causes Jaipongan dancers to prefer to be accompa- nied by music and direct musicians, rather than only by audio/recording media. As a means of appreciation and entertainment, improvisation is an interesting side of Jai- pongan dance. Kendang, who controls the musical instruments in the Jaipongan dan- ce, then needs a pengendang who is obser- vant of the dancers’ improvisations so that the performance is successfully delivered. What is unique is that, through improvisa- tion in the Jaipongan dance, new patterns or motifs in the Kendang Sundanese also emerge. The relationship between the two is a dynamic relationship that brings toget- her the creation of new works in the per- forming arts. Creativity and development of the Jaipongan dance have occurred to date, affecting elements of music, choreo- graphy, clothing, and make-up (Nuriawati & Nalan, 2018). CONCLUSION From the explanation above, it can be concluded three points about Kendang and Jaipongan dance. First, there have been several Kendang changes in terms of function, manufacturing materials, and pengendang ethics. Traditionally, Kendang is made with selected materials such as jackfruit wood and calfskin that died in its mother’s womb (handalam) to create good musical instruments and produce quali- ty sound. Pengendang as a player of this instrument, is required to have good ethics towards Kendang, such as not sitting and striding, and showing respect for Kendang as a musical instrument and a source of li- velihood. Changes in Kendang production that do not meet the material requirements of choice have also reduced pengendang ethics for this instrument. The absence of the teacher for the pengendang also affects the attitude of the musicians towards Ken- dang. Meanwhile, the requirement to be a pengendang requires the ability to play mu- sic and spiritual acuity. Second, Kendang is a musical instru- ment that plays a major role in the perfor- ming arts of West Java (Priangan). Arts such as Wayang Golek, Wayang Wong Priangan, Sandiwara, Ketuk Tilu, Rong- geng Gunung, Ronggeng Amen, or Jaipon- gan use Kendang as a carrier of rhythm and tempo. Kendang is an important element in both the traditional and contemporary realms, serving to provide a musicality and identity for each art type. Kendang is played differently in each performing art, adapting to various characters and dance movements. This marks the third conclusi- on from the above discussion. Third, Kendang has a relationship in the process of creating the Jaipongan dance and the development of the art. During the process of creating the Jaipongan dance, Gugum Gumbira as the creator, communi- cated and discussed both with dancers and pengendang, marking the importance of dance movements and Kendang musicali- ty in the art. Jaipongan dance is known as a new breakthrough in the traditional arts of West Java, which presents energetic and sensual female dance movements. The te- pak Kendang Sunda that accompanies the Jaipongan dance is considered out of the traditional idiom, played with an attracti- ve and expressive tepak pattern. Kendang has complete control over the tempo and rhythm of every movement in the Jaipon- gan dance. On the other hand, the Jaipon- gan dance gives rise to creativity and the creation of a variety of new, dynamic, ac- ceptable, and even popular tepak Kendang by the people of West Java. REFERENCES Aziz, A. (2007). Pencugan Merupakan Kreativitas Tari Jaipongan, in En- dang Caturwati, ed., Gugum Gumbi- ra Dari ChaCha ke Jaipongan. Band- ung: Sunan Ambu Press. Caturwati, E. (2007). Tari di Tatar Sunda. Bandung: STSI Bandung. Caturwati, E. (2011). Kajian Seni Pertunju- kan. Bandung: STSI Bandung. Harmonia: Journal of Arts Research and Education 20 (2) (2020): 126-134134 Herdiani, E. (2012). Ronggeng, Ketuk Tilu dan Jaipongan; Studi Tentang Tari Rakyat di Priangan (Abad ke-19 Sampai Awal Abad ke-21). 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