43 The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan Asep Saepudin, Ela Yulaeliah Institut Seni Indonesia Yogyakarta, Indonesia Submitted: 2021-01-02. Revised: 2021-03-18. Accepted: 2021-04-26 Abstract This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrange- ment of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kilinin- gan genre has a specific punch motif name for Gede’s song. The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs. The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan. Keywords: tepak, Lagu Gedé, drumming, Jaipongan How to Cite: Saepudin, A. & Yulaeliah, E. (2021). The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan. Harmonia: Journal of Arts Research And Education, 21(1), 43-59 Harmonia: Journal of Arts Research and Education 21 (1) (2021), 43-59 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i1.28206 Suwanda was encouraged by Gugum Gumbira, who made several drumming styles for Jaipongan dance movements. Gu- gum acts as the innovator, conception, and director. At the same time, Suwanda and Gugum Gumbira made Jaipongan music in collaboration with other artists such as En- dang Barmaya, Dali, Bao Samin Batu, Su- wanda, Namin (Herdini, 2014, p. 196). The collaboration of creative minds, especially INTRODUCTION Tepak kendang Jaipongan or Jaipongan drumming strokes are an arrangement/ technique of playing Sundanese drums to accompany Jaipongan dances. Kendang are symbols or cultural representations used in Jaipongan dances (Wiresna et al., 2020, p. 1). Suwanda, an artist from Karawang, created the Jaipongan drumming strokes. Corresponding author: E-mail: asepisiyogya@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5944 between Suwanda and Gugum with the help of other pangrawit, was the decisive factor in the success of Jaipongan. This dan- ce art reached its peak of popularity in the 1980s (Saepudin, 2013, pp. 224–234). Like- wise, karawitan is also known as gamelan music (Widodo, 2015, p. 36), grows and develops to achieve its stability thanks to the community’s support as the collective owners of karawitan (Supanggah, 2009, p. 298). The artists working on Jaipongan drums never run out of artistic creativity. Creativity is meant, among other forms of experience, encounters, and slimness, with something beyond itself, especially nature and social circles (Darmasti, 2012, p. 110). The number of drummers in each genera- tion, the more Jaipongan work is produced, and Jaipongan’s broader range of inventions is a testament to his imagination. Jaipongan drumming strokes result from changes of various types of art living in West Java, such as Ketuk Tilu, Topeng Banjét, Wayang Golék, and Kiliningan Bajidoran, Penca Silat, and Tarling (Saepudin, 2013, pp. 27–112). Ketuk Tilu and Topeng Banjét are two essen- tial arts underlying the Jaipongan karawitan arrangement (Ruchimat, 2015, pp. 1–521). At the turn of the 21st Century, the- re was a striking change in the Jaipongan arrangement with the emergence of Lagu Gedé entitled Karatagan (Irawan, 2014, p. 392). In the “Jaipongan Award 2004,” a cre- ator composed a Gedé song called Kawitan written in the Jaipongan version (Suratno, 2007, pp. 129–131). It was an innovation in the development of Sundanese karawitan. Jaipongan drumming strokes, once used to accompany songs in embat dua wilet, were used to accompany songs in embat opat wilet at the turn of the 21st Century. Therefore, Gedé’s piece’s arrangement is an innovation because it is outside the tra- ditional Sundanese tradition. The novelty in the creation includes the changes in va- rious aspects, such as the tempo, rhythm, dynamics, drumming motifs, song melo- dies, musical roles, and instrument beats. Equally important, the drum’s musical function, which initially serves to accom- pany the vocals, has changed to fulfill the dance needs (Irawan, 2014, pp. 391–398). Kiliningan, Wayang golek, Tembang Sunda, and Degung Classical performan- ces usually present Gedé songs. These four genres present Gedé songs in a soft and slow arrangement, except in Wayang Go- lek performance characters’ dance accom- paniment. Particularly in Kiliningan, the drum arrangement is called tepak Melem, i.e., drumming in the subtle character. Te- pak kendang or drumming serves to sup- port the vocal of the pesinden so that the song character is following the aesthetic value contained in the Sundanese music ensemble. Lagu Gedé, as the source of Jaipongan creativity, is the result of artistic innovati- on to interpret Lagu Gedé in different gen- res. Artists yearned for the golden days of Lagu Gedé in the past. Encouraged by the diminishing popularity of Lagu Gedé, artists adopted Lagu Gedé to be the creative sour- ce in Jaipongan performance art. Equipped with years of experience and vast know- ledge, strong sensitivity to various karawi- tan phenomena to various phenomena in karawitan, some artists could describe and explain karawitan arrangement in a comp- lete, sharp, and exciting way (Waridi in Supanggah, 2009, p. ix). The artists revita- lized Lagu Gedé with a new arrangement and technique in the Jaipongan version. This arrangement reflects creative artists’ notion with attitudes, perspectives, new concepts, sensitivity, and responsiveness to their environment, cultural traditions, and their environment’s factual reality (Sumardjo, 2000a, pp. 81–85). Some of the emerging works of Jaipongan come from Lagu Gedé such as Tablo, Kastawa, Karata- gan, Kulu-Kulu Bem, Jalak Ngejat, Rawayan, and Raspati (see Figure 1). Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 45 Figure 1. Jaipongan drumming performance art in Lagu Gedé by Jugala Raya Group, Bandung, entitled “Rawayan.” (Doc: Adjie Dunston I, 2015). According to the writer, the revita- lization of Lagu Gedé as the source of Jai- pongan creation is impressive. First, the player does not readily present Gede’s song because this song is immense. Second, the drummer’s mastery of the character of Lagu Gedé is at stake because the drum functions as the mungkus of a piece or to bind the song. Therefore, playing Jaipongan drumming strokes in Lagu Gedé requires an accumulation of the drummer’s expe- riences, knowledge, and skill in arranging the music ensemble elements to support the song’s character and dance. The arrangement of Jaipongan drum- ming in Lagu Gedé is the result of the ar- tists’ creativity Supanggah states that: “Artistic production is a series of creati- ve work from a person or group of per- formers in presenting a musical ensemb- le or karawitan composition to produce a sound with a certain quality or result by the purpose, needs, or goal of a work presentation of karawitan. Artistic pro- duction is creativity in traditional arts” (Supanggah, 2009, p. 4). ... ... “The freedom to behave, have an at- titude in artistic expression and social interaction in society, as well as the de- mands to fulfill various needs and in- terests are the determining and driving factors for artistic innovation, including encouraging the development of fine arts ...” (Supanggah, 2009, p. 242). Accordingly, working on the Jaipon- gan drumming strokes in Lagu Gedé is a se- ries of creative works carried out by artists to produce a good quality of Jaipongan per- formance that meets the purpose, needs, or goal. Lagu Gedé in Jaipongan aims to ac- company the dance instead of performing independently as in the Kiliningan art. The- refore, an understanding of embat (rhythm) is needed by a drummer. Embat plays a significant role in the character formation of gendhing. Moreover, embat is conside- red as the heart of gendhing. The drummer plays a crucial role in shaping the charac- ter of gendhing compositions through the interpretation of embat. Jaipongan art pro- vides artists with an opportunity to beha- ve, create, and socialize in the community to develop gamelan ensemble works. The artists work on Jaipongan art in folk art so that it is easy to adjust to the time. Flexible rules, norms, and laws in Lagu Gedé are the assets for artists to innovate to create new arts based on traditions. This paper aims to describe the jai- pongan drumming strokes in Lagu Gedé. The writer discussed the birth of creativi- ty in the Jaipongan drumming of Lagu Gedé due to the Sundanese artists’ freedom of artistic expression arts to meet various demands and interests. This article’s final stages compare Jaipongan drumming or te- pakan kendang Jaipongan using embat dua wilet, and embat opat wilet of Lagu Gedé was analyzed. The analysis result found that the various motifs of drumming in Lagu Gedé did not have common names. This fact shows that Gedé songs are composed based on improvisation and the high de- gree of artists’ freedom in expressing their musicality. Improvisation, according to the wri- ter, does not refer to spontaneous irregular characteristics. Instead, it refers to the stan- dardized traditions shared among the ar- tists and the competent artists’ accumula- ted history, experiences, knowledge, skills, and ability to respond to the movement and music spontaneously on a performan- ce stage. Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5946 METHODS This research used observation and interview methods using the ethnomusico- logical approach. The author conducts ob- servations to uncover images of art events, behaviors, and instruments used in a stu- dy, taking into account places and spaces, actors, activities, times, events, and ob- jectives (Tjetjep, 2011, pp. 181–194). Data search through Jaipongan performance observations in various circumstances. Si- multaneously, the author conducted inter- views with several key informants directly involved in the Jaipongan arrangement, such as Gugum Gumbira, Suwanda, Caca Sopandi, Ismet Ruchimat, Asep Mulyana, Ayi Mulyadi, Yaya Suryadi, and musicians from Jugala Group in Bandung. Researchers discard their judgment to understand the culture from the owners’ perspective (Nakagawa, 2000, p. 5). The principle is to process and interpret data through the cultural and habitual lenses of the owners of the culture, be they physical objects, musical events, or human feelings, which have something to do with music (Hastanto, 2009, p. 5). Therefore, any data relevant to the Jaipongan drumming gathe- red from interviews with the informants is considered the primary data used as wri- ting and analysis materials. The study used video cameras and photo cameras (Soedarsono, 1999, p. 57) to obtain more accurate data. Data collec- tion through library studies in ISBI Ban- dung library and ISI library in Yogyakarta to find references, originality, and related theories. The research data is then compi- led and selected to see the validity of the data from the informant. The author uses approach emic to categorize phenomena based on cultural owners (Endraswara, 2006, pp. 33–36). The next step is to analyze and inter- pret the relationship between the Jaipongan drumming strokes phenomena to conclude (Nazir, 2005, p. 346). The analysis was also done on the Jaipongan composition in Lagu Gedé to transcribe it in musical notation. The notation is essential to see Lagu Gedé musically in terms of its embat and tepak kendang. RESULT AND DISCUSSION The Jaipongan Drumming Strokes Tepak kendang Jaipongan or the Jai- pongan drumming strokes are the arran- gement/variant/pattern and drumming technique used to accompany the Jaipon- gan dance. The word tepak means that the drumming is done by the hands’ palms, either using one hand or two hands (Soe- pandi, 1995, p. 205). Sunarto classifies the tepak into six categories, namely: tepak as a technique to sound the drum, the style of presentation, the level of rhythm, as a variety of drum composition in one phrase or line of a song, as a unity of variants of a particular dance, and as the distinctive markers of a specific drummer’s quality in drumming. Sunarto concludes that the de- finition of tepak includes three categories, namely tepak, as art production, variety, and motifs of drums (Sunarto, 2009, pp. 113–116). The drumming strokes are the unique characteristics that give the nuances, sense, and style so that upon hearing the strokes, we will associate it with Jaipongan (Surat- no, 2007, p. 124). Unique characteristics are seen in the techniques, patterns, embat, and motifs of gamelan play. The Jaipongan drumming strokes are played using the di- teunggeul method, namely by hard, power- ful, and energetic strokes. The difference between this stroke from the other drum- ming strokes can be felt when the karawitan production presentation is changed. For example, in the Kiliningan art production, the drumming strokes are suddenly alte- red by the drummer with strong strokes, then the display is automatically categori- zed in the Jaipongan drumming strokes. Besides, the drumming strokes are found in the golėk puppet show. Even though the embat or tempo used to accom- pany a puppet show performance is embat sawilet, the Jaipongan drumming strokes can be practiced when attending the puna- kawan or four comical companions’ main Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 47 heroes, the puppet characters. For examp- le, when the drummer accompanies the music for the scene with the knights in the puppet dance, the drumming strokes alter the Jaipongan drumming strokes when the punakawan characters enter the stage. The- re can be identified from the strong drum- ming strokes played by the drummer. The fact above shows that the Jaipongan drum- ming strokes are created from the close re- lationship between the drumming strokes and the dance requirement. In this regard, Trustho states that: “Kendang and dance are partners in a show. The success of both parties de- pends heavily on the manners of com- munication. Reciprocity occurs when both have a balanced consequence. The relationship goes from the dance to the drummer or the other way around. Such a process happens naturally in a show, both conventionally and incidentally (Trustho, 2005, p. 92). According to Trustho, drums and dance have a close relationship. Drums and dance have nonverbal communica- tion. Trustho defines the drumming as a miraga or the drumming piece that mo- tivates dance movement for expression (Trustho, 2005, pp. 94–98). The drummer should carefully follow the tempo of the dancers because if delayed a knock, it all becomes different (Wahyu, 2013, p. 102). The connection between drum and dance in Jaipongan is called drumming ngigelan for dance and dance ngigelan drumming (Saepudin, 2013, pp. 201–202). It means that there is a close connection between the drum and the dance. There are times when drums have to follow the dance and vice versa; there are times when the dance follows the drums. The relationship between dance and drum also occurs in the Sundanese dance cour- ses or keurseus (Spiller, 2016, pp. 13–30). There are three media in the dance courses where the choreographic unit is expressed in the dancer’s body movement, drum- ming patterns, and mouth drumming. The drummer and the dancer both use a mne- monic vocal system to learn the parts of the dance. The syllables spoken by the mouth drumming mimick the drumming sound, and the drumming imitates the dance. The dancers and the drummers do the same choreographic unit in two different senso- ry media, namely aural/audio (sonic) and gestural/tactile. There is an interdepen- dence between the sonic aspect and the gestural aspect. In his conclusion, Spiller states that the use of mouth drumming/ syllables in the music and dance proves ar- tists’ roles in developing the ritual, social, and performance Sundanese dance. Hood (2016) highlights the relation- ship pattern between the drum and Bali dance. He states that the interdependent relationship between the drummer and the Balinese dancers is defined as ngunda bayu. Ngunda means the use or distributi- on, while bayu means power or energy. Ngunda bayu is transference and a system of channeling musical sounds’ power ente- ring the dancer’s body. The dancer and the drummer are involved and learn the distri- bution of energy when interpreting and communicating in performance. Ngunda Bayu is a communication system where many gestures, responses, warnings, and signs are explicitly traded to interact when the drummer reads the dancer’s power. The dancer projects her energy (bayu) and experiences a direct presence (taksu) vi- sible for the drummer to adjust the show. Ngunda bayu is a transference of energy (bayu), where there is an interdependence between the sound of drums (ka-pak) and the dance movement (ki-pek). (Trimillos, 2016, pp. 6–8) concludes that the relation- ship between the dance and the music is the result of the role of the body as a set of unity, namely as a medium to bring about the aesthetic impression to the audience, musicians, dancers, musician-dancers, and the dancer-musicians. According to Gugum, generally, the Jaipongan variety of movements includes bukaan, pencugan, besotan, and nibakeun (Gugum, May 21, 2015). The structure of the Jaipongan drumming strokes consist of pangkat (initial), pangjadi (transition), bu- kaan (accompaniment), mincid (walking), Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5948 and the repetition of bukaan and mincid, and ngeureunkeun (stop). The variety of structure, repetition, and motif depends on the song being accompanied. Every frame has a different motif. For example, a pangkat could be initiated with a drum- ming stroke without using the rebab or a stringed instrument. Another example is that repetition can happen in the bukaan part or the mincid part. It implies flexibility in the Jaipongan drumming strokes. Every structure has many motifs and variations in the drumming strokes of pangkat, pang- jadi, bukaan, mincid, and ngeureunkeun. The wide variety of drumming stro- kes and the flexibility of structure are the innovative results for artists’ creative genius. The Sundanese artists generally have a folk music background and have freedom for action and self-expression according to their full potentials (Supang- gah, 2009, p. 242). The binding handbook rules do not burden Their innovations as in the palace court arts. The norms of handbooks in Sun- danese karawitan are not left as is but in- terpreted by artists. Artists use the rule as a reference for creativity by modifying pakem into other forms or deviating from existing norms.The deviation from the re- quirements is called “pamijen” or creativi- ty (Supanggah, 2009, p. 298). According to Herdini, the birth of the innovative Sundanese karawitan is not merely the result of artists’ expressions but also influenced by the times and circums- tances (Herdini, 2014, p. 119). The situation and circumstances of the times are chan- ging, altering the mode of communication among artists in West Java to become freer. In short, communication is getting more comfortable between artists in Bandung and artists in Pantura (Karawang and Sa- bang). The freedom of associating provi- des a chance to grow the zeal of innovati- on and the Jaipongan production blending. Jaipongan production is getting more va- rious, attractive, and dynamic. The show is more complex, the drumming motif is inc- reasing in numbers, and the gamelan pro- duction is getting more active. Artists keep developing innovation to fulfill various needs, especially in meeting market de- mands. The results show in the Jaipongan drumming strokes structure, which blends the Bandung style and Pantura style due to reciprocal borrowing of a kind. The Jaipongan drumming strokes are in the embat dua wilet, which means that the embat group consists of eight bars and thirty-two beats. The kenong stroke is soun- ded on the 8th, 16th, 24th, and 32nd beats, followed by the kempul stroke on the 4th, 12th, 20th, 24th, and 28th beats. Embat dua wilet in the Sundanese karawitan is usually used in the Kiliningan genre. However, in its development, embat dua wilet is a steady embat used to accompany the Jaipongan, characterized by the typical drumming strokes. Saepudin (2012) explains that in the Jaipongan drumming strokes, the ga- melan piece’s signature characteristic is the use of bonang, kempul, and kecrek instruments (Saepudin, 2012, pp. 133–135). In this piece, bonang is not only played in a particular method, i.e., digembyang or tapping two notes using both right hands and left hand simultaneously in one stro- ke. It is also played as a melody. Likewise, kempul, which is usually played only five or six strokes in one gong, is hit many ti- mes, sometimes 50 strokes, in the Jaipongan drumming strokes. Kecrek in the Jaipongan also adds a distinctive character because the strokes are not as steady as a rule. It is played in a rhythmic and varied when it is hit to follow the drumming strokes. The Jaipongan karawitan to accompany the dance is usually much more straightfor- ward, open, innovative, and daring than karawitan in an independent composition (Suratno, 2007, p. 131). Lagu Gedé in Sundanese Traditional Mu- sic Ensemble Lagu Gedé is one of the types of songs in the Tembang Sunda, Classical Degung, Golek shadow puppet, and Kiliningan arts. The function of Lagu Gedé (besides the accompaniment of a specific puppet cha- racter in the Golek shadow puppet) is ge- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 49 nerally not to accompany a dance. Still, as an independent music ensemble, namely melem gending accentuates the vocal aspect. In its development, the song Gedé entered into melem gending and dance accompani- ment. Some dancers demanded to present Gedé songs in the art of Kiliningan. Automatically, the style of Jaipongan drumming strokes, which were initially tepak melem, changed into tepak diteung- geul. Even though the traditional artists initially protested, the community gra- dually accepted the change (Saepudin, 2013, pp. 116–118). Gedé presents the same character’s vocals accompanied by music barrel pelog saléndro and using an en- semble of degung music. According to Irawan (2014, p. 24), Lagu Gedé in kawih kepesindenan is a Sun- danese song containing literature and songs. Lagu Gedé is the type of kawih vocal presentation accompanied by traditional music ensemble or other instruments, mu- sically characterized by tone, tuning, suru- pan, embat, and gending. Lagu Gedé is a type of song bound by a tapping rule called Sekar tandak, or it can be called free met- rical songs with a freestyled rhythm. This song has the characteristics of a slow tem- po, embat opat wilet, tepak kendang melem or florid, subtle style of Sundanese hand drumming for instrumental music or vocal accompaniment, a similar number of lyrics or words as in other songs. It means that it does not determine the shape of the song. Salmun (as quoted on Irawan (2014, p. 92) states that the song Gedé began to exist in Wayang golék performances at the end of the 20th Century. Gedé’s song serves as the show’s opening act, accompaniment to Wayang dance, murwa, and interests in performing the play and Sabet. An examp- le is a kawitan song presented at the begin- ning of the performance, accompanied by puppeteer dance and puppeteer murwa. Female vocalists sing Kawitan to support the puppet dance movement. However, during the puppeteer’s murwa, Kawitan functions as titincakan or- cue for the puppeteer to sing a song in a puppeteer’s distinctive voice. As for the Lagu Gedé during the entertainment inter- lude, melem’s gending accentuates the song arrangement as the main focus of the work. Musically, Lagu Gedé in the puppet show dance is different from the Jaipongan dance in terms of structure, motif, tempo, and dynamics. The patterns, structures, and drum motifs for the puppet show ac- companiment have the standard to match the puppet characters. In contrast, in the Jaipongan dance, the pattern, structure, and motif can chan- ge according to the drummer’s style. The tempo in the puppet show accompaniment can be slow, medium, or quick, whereas the Jaipongan dance’s tempo is medium in general. Therefore, the golék puppet show’s tempo varies, making the dyna- mics of the drumming strokes very distin- ctively obvious when accompanying the golék puppet show. Lagu Gedé in the Kiliningan art first ap- peared in the 20th Century and gained po- pularity between the 1930s and 1960s (Sal- mun, 1961, p. 211). Kiliningan is a form of karawitan accentuating the female vocalist’s voice. The main characteristics of drum- ming strokes were tepak melem and sentug. Tepak melem or a florid, subtle style of Sun- danese hand drumming for instrumental music or vocal accompaniment supports the song’s characters so that the audience can feel the aesthetic value. Tepak sentug is a technique to play the drum by tapping the fingers on the skin of the gedug, or the surface of the big drum, without touching the drum’s skin. Gamelan functions to support the vocal presentation’s success, instead of accompanying the dance as in Jaipongan. When Jaipongan used Lagu Gedé, the reference is no longer to the song but the dance. The function of Lagu Gedé has changed from being an independent ka- rawitan to being a dance accompaniment. The changed leads to the change of roles and position of the gamelan as a whole, namely the change of dynamics, musical color, drum arrangement, and playing the instruments. These changes will, in turn, distinguish the characteristics of the Lagu Gedé arranged for Jaipongan from those of Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5950 the Lagu Gedé arranged for other genres. The Origin Of Jaipongan Drumming Strokes In Lagu Gedé The Sundanese karawitan occurred because of artists’ creative efforts who have had the practical experience, both art experience and symptoms outside of art that shape their attitudes, mentality, spirit, and views (Herdini, 2014, p. 9). Knowled- ge is the result of contact, association, and even the struggle between awareness and symptoms or reality processed by artists to become the main material of the artwork (Saini KM, 2001, pp. 21–30). Similarly, the development of the Jaipongan piece in Lagu Gedé is inseparab- le from the artist, Suwanda, who mol- ded the creative experiences and efforts. According to Suwanda, the diteunggeul drumming stroke in Lagu Gedé was alrea- dy present during the glorious days of the topéng banjét art in Karawang. In 1966, Suwanda watched Lagu Gedé, the song in the Tablo, played by Kang Mulud with the diteunggeul technique in the Topéng Banjét art group Wadas, Panyadapan (Saepu- din, 2010, pp. 194–195). Lagu Gedé in the diteunggeul stroke was not yet common in the Sundanese karawitan. Besides, dan- cers’ demand that Suwanda follow their dance movements in the soft arrangement of Lagu Gedé was the starting point for Su- wanda to work on Lagu Gedé by playing diteunggeul drumming strokes (Saepudin, 2013, pp. 116–118). Suwanda’s statement above proves that the birth of the Jaipongan drumming strokes is closely related to dance. This is reasonable because Karawang and Subang areas are famous for their improvised dan- ces performed by bajidor artists in the Jai- pongan Kiliningan. In this regard, Williams argues that the core relationship in Jaipon- gan is between drummers and dancers, not between musicians and dancers. The male drummers who are exclusively masculine occupy the highest position in the Jaipongan show. The drummer holds the key to the entire Jaipongan ensemble. Jaipongan can be performed anywhere and anytime as long as the drummer can provide dance pat- terns or improvise dancers. Therefore, the drummers and dancers are the most critical and central in Jaipongan, symbolizing mo- dern Sundanese autonomy. Williams also concluded that Jaipongan was a Sundanese art in response to the Javanese’s dominant role in regional and national politics. Thus, Jaipongan affirms the Sundanese identity, utterly different from the Javanese identity (Williams, 2016, pp. 335–355). Suwanda said the following: “Lagu Gedé diantawisna Lagu Tablo, Ki- dung, sareng Kembang Gadung tos digarap tibaheula, tapi ditarima ku masyarakat, pa- dahal kedahnamah ngalagena (gelenyu), tapi kendangna diteunggeul.” (Lagu Gedé such as Tablo, Kidung, and Kembang Gadung have been used for a long time and have been accepted by the public. It should have been played softly, but the drum was hit hard) (Suwanda, May 21 2015). Suwanda boldly played the drum to accompany Lagu Gedé using the diteung- geul method in the 1980s even though he received traditional artists’ protests. As time goes by, people gradually accepted the arrangement of Lagu Gedé using the diteunggeul drumming strokes, especially after the 2000s, when artists produced in- novations of Lagu Gedé. The innovation in Lagu Gedé is so flexible and easily accepted by the peop- le with various dynamics of change as one of the typical folk art that has flourished outside the palace. The flexibility of rules, norms, ethics, and folk art standards al- lows artists to create the freedom to create in each creativity stage. The standards do not restrain and burden the artists from fulfilling their needs for expression. This results in many new innovative works of Lagu Gedé produced in the Jaipongan versi- on to fulfill the Sundanese people’s musi- cal needs. Although the new creation has the same song or musical taste, the embo- diment, appearance, and taste are different (regional taste, local flavor, group taste, even individual taste (Supanggah, 2009, p. 5). The starting point for the production Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 51 of Lagu Gedé cannot be separated from the forerunner to the emergence of Jaipongan. According to Gugum, in Sundanese kara- witan, there are two types of arts represen- ting freedom of expression: Tembang Sunda (Sundanese song) and Penca Silat (martial art). Both of these arts have freedom of ex- pression, which inspires the origin of Lagu Gedé production. The liberty in question refers to the presentation that is not bound by the standard rules that can restrain the moving space, for example, by the number of kenongan, kempul, or gongan. Although both art types are still in the concept of tra- dition, they allow artists to develop their creativity. In this case, creativity is rooted in the rules that live in a society (Sumard- jo, 2000b, p. 84). The principle of creativity is the same as innovation, namely adding value to objects, ways of operating, ways of life so that new products are always cre- ated. Creating a work of art means reali- zing a work of art with new meaning and value (Bahari, 2014, p. 23). Thus, creativity results must have better, more beautiful, more true, more useful, more memorable values to satisfy those who need it (Rusya- na, 2008, p. 5). According to Gugum, Tembang Sun- da has a free-spirited rhythm in the main song called mamaos. In this song, each bar’s number of beats is not steady because the instrument, kacapi indung, is played to ac- company the theme presented by the ma- maos expert, juru mamaos (Hermawati et al., 2011, p. 14). It means that the music becomes the basis for processing rhyth- mic and melodic kacapi players. Mamaos songs are offered with free rhythms from the beginning to the end of the song. Even though freedom of expression is freedom, this freedom does not reduce the musical aesthetics in tembang Sunda. This can be applied in the production of Lagu Gedé to accompany the Jaipongan dance. According to Gugum, the Jaipongan drumming strokes can be traced from Pen- ca Silat (Gugum, May 21, 2015). The pa- dungdung kendor and padungdung gancang parts in Penca Silat are not bound by the number of wiletan and gongan (the space between each strike of the gong) the ga- melan. This is because the musical taste is satisfied only by ending it with the sound of kempul. The number of kempul stro- kes in one bar is not determined because it follows the cues from the pengibing Pen- ca (dancer). The length and the number of kempul blows and the drumming strokes depend on the pengibing Penca dancing (makalangan). Thus, the drum and other instruments function to accompany the dance. The drumming strokes, the number of beats, the tempo, and the performance course, depending on the dancers. Espe- cially in padungdung kendor, the dancers have the freedom when to stop and when to start moving. Dancers have the power to move because there is a free rhythm, even though the movement pattern is standard (Herdiani, 2012, p. 370). Based on the statement above, dan- cers have an essential role in the develop- ment of Jaipongan drumming strokes. The Jaipongan drumming strokes’ idioms emer- ged from the improvised dances perfor- med by Gugum and the bajidors (Saepudin, 2013, pp. 30–33). The improvised dance in Sunda is called an erotic triangle by Spiller, which reflects a Sundanese gender identity through three interrelated elements, name- ly ronggeng, drumming strokes, and male dancers. The erotic triangle model is patriar- chal and involves women in the division of labor and status. The implication is that women are the object of desire of the ot- her more substantial group (male). Men are the subject, ronggeng is the object of desire, and the drummer is the middle man or mediator. Drums are masculine, exoticizing the object of desire (ronggeng) as feminism. The male participant dances gender identity and his contradiction into immortality. The drummer has the power to influence and change the course of each body’s movements. So, the drummer rep- resents the power that men want to attain (Spiller, 2001, pp. 173–174). Setyobudi and Alkaf review the same thing: the dancer’s body in the Jaipongan dance is related to power/knowledge, le- Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5952 gitimizing male power. The Jaipongan dan- ce is the result of a ‘male gaze’ towards wo- men. Every tiniest part of a female body is carefully scrutinized. Men see women who are watching themselves to become objects of the male gaze. The man is the subject, and the woman is the object. But the wo- man looks at her body vaguely. The vagu- eness occurs because women do not treat their bodies independently/autonomous- ly. The Jaipongan movement is constructed to follow the values and norms that men bias. Likewise, women consider the Jaipon- gan dance’s actions erotic and disturbing because they are trapped in the bias cre- ated by men. The female body is entang- led in the formation of patriarchal culture so that the male body always guides and escorts the female body (Setyobudi, I, and Alkaf, 2011, pp. 37–48). Based on the opinions above, it can be concluded that in Sundanese impro- vised dances, there is a close power re- lation between drummers and dancers. The male power to reflect the freedom of expression is also reflected in Jaipongan. Gugum hopes that Jaipongan can express freedom of expression for dancers and mu- sicians as in the Lagu Gedé because it has a long embat/rhythm to improvise. Dyna- mic Sundanese improvised dances have stimulated people to move with drums as the main focus in dance while the implica- tions of drums’ sound manifest in physical movements (Spiller, 2001, pp. 119–120). According to the Author, improvisa- tion in the Sundanese dance is not sponta- neous without rules but is a tradition that artists must follow. Improvisation is a skill of competent artists willing to respond to motion and music spontaneously on an open stage. Improv provides their free- dom to behave and conduct themselves in the face of various needs and goals. The existence of improvisation can foster the zeal of innovation to promote Sundanese music’s growth and development. Artists interpret the rules, norms, and laws that apply in freestyle dances to make inno- vations. This freedom to improvise is one reason for Gugum to make innovations to produce the Jaipongan version of Lagu Gedé. The embat opat wilet of Lagu Gedé, having 64 beats, can demonstrate the element of freedom in dance and music even though it is not as free as PencaSilat. So it is not surprising, Gugum’s works use Lagu Gedé in Jaipongan, such as Rawayan dance with Gending Tablo, Paksi Tuwung. Even the new dance Jalak Ngejat, which was performed on May 22, 2015, uses the Lagu Gedé motif (see Figure 2). Figure 2. The Jaipongan Drumming Strokes Performance by Jugala Raya Group in Lagu Gedé entitled “Jalak Ngejat.” (Doc: Adjie Dun- ston I., 2015). Embat Opat Wilet Of Lagu Gedé In Jaipongan Dances The embat in Sundanese karawitan refers to the term rhythm, which is related to the technical aspect. The technical ele- ments that can affect the different levels of embat are aspects of the pattern of strokes, principles of presentation, and aspects of tempo (Suparli, 2010, pp. 77–80). Rhythm is related to two elements, namely space and time. Rhythm is associated with the area, giving space to some ricikan or vocal elements to fill the space specified or rela- ted to rhythm. Cadence relating to time is the tempo or grace period required for the presentation or movement of a balungan or note, a song or tetabuhan from a ricikan, a ricikan from one to the next following ba- lungan, strokes, tones, or songs/songs (Su- panggah, 2009, p. 262). Lagu Gedé has a big rhythm / embat, namely embat opat wilet. Embat opat wilet provides the freedom of movement for dancers to explore activities because of the Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 53 length of space and time in one stroke of a gong or gongan. However, Jaipongan dan- cers’ movement is not as free as the ngibing movement in Penca Silat because the game- lan play rules restrict the Jaipongan dance. In addition to the dancers, embat opat wilet also provides freedom for the drummers to manage the drumming strokes. The drummer has a huge role in shaping music by selecting rhythmic interpretations (Su- panggah, 2009, p. 268). The ample room for embat production allows drummers to demonstrate various drumming strokes to accompany the dance. Based on the results of interviews with artists, they explained that Lagu Gedé had the flexibility to modify for dancers and pengrawit or players of the musical instruments. Suwanda said that Lagu Gedé provided ample room for flexibility to exp- lore, especially drums (Suwanda, May 21, 2015). The results of interviews with other sources also show that in Lagu Gedé, there was a high degree of flexibility/uncharted territory to provide freedom for dancers and drummers to explore their move- ments or their drumming strokes (Gugum, Mulyana, Mulyadi, 21-22 May 2015). More explicitly, according to Caca Sopandi, in Lagu Gedé, there is an ample opportunity for artists to explore/innovate (Sopandi, May 22, 2015). Yaya Suryadi, a Jaipongan drum- mer from Bandung, stated that some of the advantages of recreating Lagu Gedé in Jaipongan include: First, Lagu Gedé has a clear structure and framework of songs so that artists need to understand a little more. Secondly, the space for modification in Lagu Gedé is vast, especially when vie- wed from the position of kenongan, pancer, and gongan. Third, it takes a high degree of creativity to produce Lagu Gedé. After all, it has a high level of difficulty, including Alok, kenongan, and gongan, which cannot be played anywhere because it has a cer- tain standard. Fourth, Lagu Gedé provides a higher level of complexity for drummers because they have to think about the song’s dance and character (Suryadi, November 20, 2015). The Production Of Jaipongan Drumming Strokes In Lagu Gedé According to Suryadi, to produce a work that suits the song’s character, all parties involved in the production, i.e., drummers, dancers, and karawitan arran- gers, must understand the song’s character before producing Jaipongan in Lagu Gedé. After the piece is composed, the drumming motif is created to match the drumming strokes and the song’s character. The next stage involves producing the music used to accompany the piece before making the dance choreography (Suryadi, November 20, 2015). Such a process is considered more memorable to produce a Jaipongan production that matches the character of Lagu Gedé. In contrast, another artist, Asep Mu- lyana, stated that: “lagu ageung digarap Jai- pongan teu sawios, asal ulah ngarobah, mung- kin karuhun urang teu nanaon asal kaangge, gendingna dikemas asal teu dirobah cengkok- cengkokna.” It means that “it’s all right to recreate Jaipongan as long as it’s not altered. The masters may not object to the modifi- cation, as long as it is useful and the gen- ding is rearranged, and the vocal twists are retained) (Asep Mulyana, May 22, 2015). Asep Mulyana’s opinion affirms that pro- ducing Lagu Gedé in the Jaipongan version is acceptable. It is legal and lawful as long as it pays attention to the whole presentation, especially the song ornaments. Although Lagu Gedé is used to accompany the dan- ce, the gamelan’s musical tradition should be maintained. Drummers guarantee that the song is presented intact to be enjoyed by the listeners, and the drumming strokes can accompany the dance movement. This is the test/challenge for drummers. On the one hand, they must think of the dance. On the other hand, they should also think about the song’s character to maintain the musical aesthetics by the rules in the Sun- danese karawitan. If the production of Lagu Gedé does not pay attention to the character of the song, it often happens that the song does not have its soul. This kind of thing often happens so that the Jaipongan song in Lagu Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5954 Gedé seems too dense (the term Asep Mu- lyana uses is “Bala teuing”/too crowded) (Mulyana, May 22, 2015). According to Suwanda, “garapan nu ayeuna, terampil nan- ging teu aya ruhna/teu aya mamanisna” (the current production is skillful but lacking in the spirit of sweetness) (Suwanda, May 21, 2015). Therefore, working on Lagu Gedé needs to consider various things, namely dance, drumming, song characters, and gending creations so that the results of his work can satisfy multiple parties. The explanation above confirms that the drummer has an essential role in working on Lagu Gedé. Therefore, being a drummer is not an easy task because it has a level of complexity. According to Suryadi, the artist’s background will give an impression of the drummer’s motif or style in producing his drumming strokes. This can be seen from the drum composi- tion, such as tepak pangkat, pangjadi, bukaan, mincid, even tepak ngeureunkeun (Suryadi, 20-11- 2015). Aspects to consider in com- posing Lagu Gedé include: first, the embat of Lagu Gedé is different from the embat in Jaipongan. Lagu Gedé uses embat opat wi- let, while the Jaipongan song uses embat dua wilet. The different embat requires the drummer’s hard work to understand the concept of composing the music in the Sundanese karawitan. Second, the difference between em- bat lagu-lagu Jalan and Lagu Gedé gives an impression of the widening bar and the in- crease in the number of beats twice than usual. Embat dua wilet contains 32 seconds, while embat opat wilet the number of beats increases to 64 seconds. Likewise, in em- bat dua wilet, the bar’s number is 16, while in embat opat wilet, the number is 32. This requires the drummer to understand the concept of working on both drums and their gending composition. Facts show that often inevitable things, for example, Lagu Gedé, are some- times not present in the full version. In one part of the openings, Lagu Gedé may only be shown in one gongan, immediate- ly followed by naėk tepak mincid or increa- sing drumming strokes. Gedé’s song is not enabled by independent karawitan, but rat- her as an accompaniment that prioritizes the dance. As a result, the production of Lagu Gedé does not match with the actual aest- hetics. Besides, there is also a change in the tone of the gongan at the end of the song. The contributing factors are: first, the song is cut in the middle of the performance to adjust to the dance. This results in a diffe- rent gongan at the end of the song. Second, when there is a transition from emba topat wilet to embat dua wilet (naėkeun), the last stroke of the kenongan is adjusted to the kenongan stroke of the next song in the em- bat dua wilet without following the rules of the song. It means that the standard of Lagu Gedé is no longer used. Those are the various phenomena that occur when mo- difying Lagu Gedé in the Jaipongan version. The Variety of Jaipongan Drumming Strokes In Lagu Gedé’s Embat Dua Wilet and Embat Opat Wilet Suparli (2010) says that changes in embat result in narrowing and widening the bar obtained from doubling the num- ber of beats, both twice fold and fewer. For example, when viewed from the number of seconds in one period, the embat opat wi- let consists of 64 beats (16 bars). Therefore, embat dua wilet consists of 32 beats (8 bars), while embat opat wilet consists of 64 se- conds (16 bars). Therefore, embat opat wilet is understood to have twice a slower embat or rhythm than embat dua wilet. Changes in embat/rhythm mean a difference in the vocal twist. Changes in rhythm can indica- te the level of capacity, ability, and creati- vity of a musician in supporting character, nature, and sense of gendhing (Supanggah, 2009b: 268). One of the differences between Lagu Gedé and other songs lies in the rhythm/ embat motif. According to Irawan (2014, p. 83), the wiletan motif of Lagu Gedé gene- rally uses a large or long wiletan, namely embat opat wilet or more, while the other Sundanese songs use embat sawilet or dua wilet. The opat wilet motif is the size of one drumming cycle in one large gong consis- Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 55 ting of 16 bars, 64 beats, and in the follo- wing the 16th, 32nd, 48th, 64th beats, the kenong stroke hits identified with the letter (N). The kempul stroke hits the 8th, 24th, 40th, 56th, and 60th beats, respectively. To describe an idea of the difference between the Jaipongan drumming strokes in Lagu Gedé’s embat dua wilet and opat wi- let, the notation of the Jaipongan drumming strokes as an overture is presented. In the openings, different ways of Jaipongan drumming strokes are widely presented. The way to read the notation is as follows: the symbol above the line shows the upper drum notation (kumpyang for the big drum and kutiplak for the small drum), while the sign below the bar shows the lower drum (gedug or big drum for large and katipung for small drums. The Jaipongan drumming strokes in the opening/overture in Embat Dua Wilet Embat dua wilet consists of 32 beats while embat opat wilet consists of 64 seconds in Lagu Gedé. There is a widening bar from four to eight, which affects the difference when the gong is sounded. The gong in embat dua wilet is displayed at the 32nd beat, while in embat opat wilet, the gong is displayed at the 64th beat. The kempul in embat dua wilet is sounded at the 4th, 12th, 20th, 24th, 28th beats, while in embat opat wilet, the kem- pul is displayed at the 8th, 24th, 40th, 56th, 60th beats (Suparli, 2010). In embat dua wilet, kenong is displayed at the 8th, 16th, 24th, 32nd beats, whereas in embat opat wi- let, the kenong is sounded at the 16th, 32nd, 48th, 64th beats. In brief, the kenong blows are twice more in embat opat wilet than that in embat dua wilet (see Figure 3-6). Figure 3. Tepak buka payung. (Notation: Asep S., 2020). Figure 4. Tepak pencugan. (Notation: Asep S., 2020). Figure 5. Tepak seredan. (Notation: Asep S., 2020). Figure 6. Tepak ngagooongkeun. (Notation: Asep S., 2020). Transition/Transfer From opening drum- ming strokes to tepak mincid The transition stroke occurs in both embats. The transition stroke in embat dua wilet is called tepak ngala, while the transi- tion stroke in embat opat wilet is called te- pak naékeun. Although both types of stro- kes have different functions, the transition stroke of tepak ngala in embat dua wilet fun- ctions as the transition of various strokes, i.e., from the opening strokes to the mincid stroke in the same embat, i.e., embat dua wi- let. On the other hand, the switching stroke of tepak naėkeun functions as the transition stroke from bukaan to mincid. It also func- tions as the transition from embat opat wilet to embat dua wilet. Thus, even though both are transition types of strokes, the motifs are different (see Figure 7-10). Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5956 Figure 7. Tepak ngala. (Notation: Asep S., 2020). Figure 8. Tepak mincid 1. (Notation: Asep S., 2020). Figure 9. Tepak mincid 2. (Notation: Asep S., 2020). Figure 10. Tepak ngagoongkeun. (Notation: Asep S., 2020). The Jaipongan Drumming Strokes in the opening or Bukaan part in Embat Opat Wilet Embat opat wilet in Lagu Gedé has more beats and bar, giving the impression that various motifs of drumming strokes can be explored. The drummers can pro- duce new motifs different from the pre- vious drumming motifs to add the styles’ variation and richness. The names of the drum motifs in Gedé’s Song have been well organized from the saggy wait, open um- brellas, wait for saggy, pencugan, seredan, cindek, and ngagoongkeun. As for Gedé’s song opatwilet, the motive is not organized explicitly depending on the drummer’s creativity. Therefore, the drumming stro- kes in Lagu Gedé are characterized by the bukaan or opening pencugan, cindek, dan ngagoongkeun/nibakeun drumming stro- kes, which have widely various motifs (see Figure 11-22). Figure 11. Tepak besotan 1. (Notation: Asep S., 2020). Figure 12. Tepak besotan 2. (Notation: Asep S., 2020). Figure 13. Tepak pencugan. (Notation: Asep S., 2020). Figure 14. Tepak besotan 2. (Notation: Asep S., 2020). Figure 15. Tepak besotan 3. (Notation: Asep S., 2020). Asep Saepudin & Ela Yulaeliah, The Jaipongan Drumming Strokes in Lagu Gedé in Sunda- 57 Figure 16. Tepak besotan 4. (Notation: Asep S., 2020). Figure 17. Tepak besotan 5. (Notation: Asep S., 2020). Figure 18. Tepak ngagoongkeun. (Notation: Asep S., 2020). Figure 19. Tepak Naékeun. (Notation: Asep S., 2020). Figure 20. Tepak mincid 1. (Notation: Asep S., 2020). Figure 21. Tepak mincid 2. (Notation: Asep S., 2020). Figure 22. Tepak ngagoongkeun. (Notation: Asep S., 2020). The Jaipongan drumming strokes in Lagu Gedé usually only works on the bu- kaan drumming strokes. Up until today, there has been no evidence of Lagu Gedé produced entirely from the beginning (te- pak pangkat) to the end (tepak ngeureunkeun). At the opening or bukaan, the pencugan drumming strokes dominate the gongan (space between each strike of the gong). Tepak openings are a motif to accompany the early movements of the dance. Pencu- gan is a fixed movement, while nibakeun to complete the action or ngagoongkeun. As for the most widely used song in the song Gedé. The musical sense in embat opat wilet of Lagu Gedé seems to be left hanging or unresolved, and it is the issue that must be answered in embat dua wilet. Why is it so? There is no evidence of the Jaipongan per- formance until today, which presents the whole Lagu Gedé using emba topat wilet en- tirely. Each Lagu Gedé’s embat opat wilet is usually continued with songs arranged in embat dua wilet, namely the steadiest embat in the Jaipongan karawitan (Jaipongan musi- cal ensemble). CONCLUSIONS Lagu Gedé in Jaipongan is flexible to work on. There is still ample room to exp- lore. It happens because the space for mo- dification in Lagu Gedé is vast, especially when it is arranged in an embat opat wilet, which affects the widening of the number of bars, beats, kenongan, pancer, and gongan. However, various motifs of drumming in Lagu Gedé did not have any familiar na- mes. It then shows that Lagu Gedé is ar- ranged based on improvisation and the high degree of the artist’s freedom in ex- Harmonia: Journal of Arts Research and Education 21 (1) (2021): 43-5958 pressing their musicality. The presentation of the Jaipongan version of Lagu Gedé was made possible because the Sundanese ar- tists have the freedom to behave and act in expressing themselves artistically, need to socialize in the community, and have the demand to fulfill various needs and inter- ests as well. It is mainly because Lagu Gedé is included in the famous art that flouri- shes outside the palace environment. 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(39 years old). a Jaipongan drummer from Jatihandap Bandung. Ismet Ruchimat.( 47 years old). the karawi- tan organizer of the Jugala Group, lecturer at the Karawitan Depart- ment, ISBI Bandung. Yaya Suryadi. (48 years old). a Jaipongan drummer in Bandung, a pangrawit or gamelan player at the Dance De- partment, ISBI Bandung.