144 Commodification of Gamelan Selonding in Tenganan Pegringsingan Village, Bali I Wayan Suharta Institut Seni Indonesia Denpasar, Indonesia Submitted: 2022-02-14. Revised: 2022-05-22. Accepted: 2022-06-20 Abstract Gamelan Selonding is a form of traditional music found in Tenganan Pegringsingan village, with a pelog tujuh nada in barungan alit classification that is sacred, unique, and deeply rooted in the com- munity. The traditional way of life and productive religious activities with their numerous man- ifestations ensure Gamelan Selonding’s continuity and authenticity. According to historical dy- namics, the influence of external culture and its various modernization styles disrupted Gamelan Selonding’s existence, resulting in its commodification. The commodification of Gamelan Selonding is a process that encompasses three stages, namely production, distribution, and consumption. In production, Gamelan Selonding is duplicated into a commodity by imitating its original form; distribution is an attempt to spread Gamelan Selonding production, which increases development consequences; and consumption Gamelan Selonding is used as a ritual compliment and an artis- tic medium. The Gamelan Selonding’s commodification occurs due to its adaptable nature; it can accept, absorb, and adapt to changing circumstances, resulting in a diversity of functions, not limited to ritual contexts, but a broader social context. The commodification of Gamelan Selond- ing is an artistic dynamic that empowers the potential of traditional arts in the formulation of contemporary performing arts expressions, accepted as a local spectacle capable of competing in a global culture. Keywords: Selonding, commodification, globalization, modern How to Cite: Suharta. I. W. (2022). Commodification of Gamelan Selonding in Tenganan Pegringsingan Village, Bali. Harmonia: Journal of Arts Research and Education, 22(1), 144-160 Harmonia: Journal of Arts Research and Education 22 (1) (2022), 144-160 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i1.35062 ding, as a form of art and a component of culture, is inextricably linked to the cont- ext of the community’s life, which inclu- des a system of knowledge, beliefs, values, and norms. According to Sedyawati (1984, p. 21), art will always convey cultural mes- sages that implicitly imply the aesthetic, creative, and appreciative requirements that constitute cultural needs. These requi- rements arise due to a person’s inherent desire to reflect on their existence as a ci- vilized being. Humans carry out the fulfillment of INTRODUCTION Gamelan Selonding is a form of local wisdom for the people of Tenganan Villa- ge, believed to be critical in preserving the people’s traditions and culture. Gamelan Selonding can serve as a source of social identity and a conduit for social meaning in society, capable of generating and sus- taining cultural assumptions and beliefs. The Gamelan Selonding helps make this be- lief a reality by influencing the activities of community life in Tenganan Village. Selon- Corresponding author: E-mail: wynsuharta@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 145 aesthetic needs and other needs through culture. Therefore, art is an inseparable part of the culture. Art is not just a fulfill- ment of a sense of beauty but rather an integrative need. By viewing art as an ele- ment in culture referring to Rohidi’s opini- on (2000, p. 164), it can be seen its function in human life, that art can be a process of forming a culture that values newness, di- versity, creation, imagination, sensibility, and freedom of self-expression. Cultural formation in the renewal process is a form of commodification that requires effort, imagination, and the crea- tive ability to realize the supporters’ free- dom of expression. The commodification of Gamelan Se- londing is a form of artistic representati- on through offerings that employ the de- construction concept and method. Born out of the desire and need to develop new musical languages and nuances in keeping with the spirit of the times while main- taining a firm foundation in traditional music. This does not mean abandoning tradition but instead expanding its mea- ning. Commodification is a beautiful and harmonious dialectic integration for Game- lan Selonding’s growth and development in satisfying people’s preferences. Several previous studies, especially with the theme of commodification, have been conducted in the Balinese art and cul- ture. First is a doctoral thesis of I Wayan Subrata entitle “Commodification of Ba- rong Performing Arts in Banjar Denjalan Batur, Batubulan Village, Gianyar” (2012), in which incorporating the theory of hege- mony, deconstruction, the theory of chan- ge, and the theory of aesthetics. Second is another doctoral thesis by Anak Agung Gede Raka entitled “Commodification of Cultural Heritage as a Tourist Attraction at Penataran Sasih Pejeng Temple, Giany- ar” (2015), with the commodification theo- ry, hegemony theory, theory of power and knowledge. Third is also another doctoral thesis by I Ketut Sariada entitled, “The Commodification of the Calonarang Tekte- kan in Baturiti Village, Kerambitan, Taba- nan” (2016), with the theory of deconstruc- tion, theory of social practice, theory of aesthetics, and theory of the power of kno- wledge. Ontologically, all three sources carry the theme of commodification. Ho- wever, the focus of the study, the object of research, and the location of the research are different compare to this research. In addition, several selected theories used in this research are also different from those three sources: the theory of commodifica- tion, power of knowledge theory, postmo- dern aesthetic theory, and semiotic theory. The analysis of this research is using a cultural studies approach-trying to view the Selonding not only on aesthetic prin- ciples, but also regarding its relationship with the current global local dialectic. Many researchers in the Balinese arts have not explored the use of local-global sub- jects in this research. Selonding commodi- fication is a form of adaptation based on the supporting community’s conditions, dispositions, and cultural representation. The renewal process that occurs is marked by the entry of new ideas to achieve con- ditions in accordance with the demands of the development of today’s society. METHODS As a material object, Gamelan Selon- ding becomes a source of information about how Gamelan Selonding is embedded in the lives of the people of Tenganan Village and serves as a medium for artistic creativity in Bali. Global developments directly impact Tenganan Village’s culture, including the Gamelan Selonding as a cultural heritage. In Tenganan Village, Gamelan Selonding spread to be owned by the Balinese and then developed significantly in response to the audience’s aesthetic preferences. The purpose of this study, which employs qualitative interpretive methods, is to comprehend and interpret empirical phenomena in conjunction with logic sys- tems and truth values pertaining to the commodification of the Gamelan Selonding in Bali. It included the following stages: preparation, location determination, data collection, data analysis, and presenta- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160146 tion of data analysis results. The data is collected from participant-observation method, interviews, and literature study. These data are then systematically redu- ced, presented, and sammurized in order to equally present the native voices and academic voices. The writing mechanism analyzed the text described as a starting point for comprehending the evolution of Gamelan Selonding’s function and presenta- tion. Selonding’s function is not limited to a socio-religious context but as a musical medium packaged and utilized in a secu- lar space with the sole purpose of artistic presentation. The analysis demonstrated Gamelan Selonding’s numerous unique characteristics and phenomena in a com- prehensive manner that is scientifically justified. Qualitative methods have been extended using interpretive techniques, which are typically textual in nature, refer- red to as qualitative interpretive methods. Commodification as an object desc- ribed in this paper is a process associated with capitalists, namely objects, signs, and qualities turned into commodities. Objects, signs, and qualities, are implied to have a use-value and exchange-value for getting more profit. Capitalism in accordance with its habitat is an effort to collect profits or surplus value in the form of money ob- tained by selling products, both those con- taining use values and exchange values as commodities. RESULTS AND DISCUSSION The Sacredness of Gamelan Selonding in Tenganan Village The Gamelan Selonding’s existence in Tenganan village is connected to a legend passed down through generations about discovering “three iron plates” that are said to be the blades of the Gamelan Selon- ding. The people of Tenganan Pegringsin- gan believe that these three blades of the Gamelan Selonding are a piturun, and have given them the title ‘Bhatara Bagus Salon- ding,’ which is extremely sacred and san- ctified by the Tenganan Village residents. The three blades that have not been instal- led and have never been struck are stored at Patemu Kelod (see Figure 1) and are car- ried and brought in a ceremony on specific days and times. Figure 1. One of the Bale Patemu in Tenganan Village (Photo is taken by the author) According to I Wayan Mudita Ad- nyana, a musician, traditional script wri- ter from Tenganan village, along with the three blades believed to be a piturun, the people of Tenganan Village inherited three barung of Gamelan Selonding that are also considered sacred and are placed in each Bale Patemu(see Figure 1), namely Patemu Kelod, Patemu Tengah, and Patemu Kaja (p.c. January 22, 2019). Each barungan is made up of eight gamelan tungguh. Six tungguh have four blades, while two tungguh have eight blades. The instruments that compo- sed the Gamelan Selonding are shown in Fi- gure 2. Figure 2. The instrument compositions of Gamelan Selonding (Source: Sudiarsa 2013) The residents of Tenganan Village uphold the gamelan’s sacred status by ad- hering to the concepts of desa (place), kala (time), and patra (state). The purpose of its sacredness is to preserve it by enforcing several ethics; it should not be touched by anyone other than a group of seven people known as juru gambel. According to I Ketut I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 147 Sudiastika (Interview in Tenganan Village, August 1st, 2017), the following described the juru gambel of Gamelan Selonding duwe in Tenganan Village. Yan dados juru gambel, duk inguni sam- pun mamargi wantah saking keturunan, sane kajudi krama desa adat malarapan pasikian pikayun, yan kadi ring Ten- ganan ketah kabaos uneh. Juru gambel madue swadarma ring katengetang lan kesucian Gamelan Selonding, ten da- dos kagenahang ring genahe sane nen- ten manut lan katabuh ring galahe sane sampun kasumanggemin. The traditional village chose juru Gam- bel based on the heredity and an agreement called uneh. Juru Gambel is responsible for the Gamelan Selonding’s sacredness and sanctity, which cannot be placed in ran- dom locations and can only be played at the appointed time. According to Durkheim’s statement in Sutrisno (2005, p. 89), the concept of sac- redness can be used to demonstrate that there are always sacred or sanctified values in society, which he refers to as the sacred. The sacred can be translated as morality or religion in a broad sense that refers to so- mething sacred, and that something sacred can take the form of primary symbols, va- lues, and beliefs that form the foundation of a society. Each person’s religious emotions are expressed humanely and naturally, and each person has their method of sta- bilizing their religious emotions. Religious emotions expressed through sacred art are an artist’s expression of an offering, begin- ning with adoration for whom they can offer their best, for their exquisite taste to connect them to God, nature, humans, and other creatures. Logic dictates that one of how religious rituals can express their sin- cere feelings is through art. According to Lurry (1998, p. 17), religious ceremonies give form and sub- stance to social relationships, restore or perpetuate social relationships, and con- firm the occurrence of events with a flow of meaning. As a fundamental component of all societies, ceremony acts as a sort of anchor against the flow of culture. When the ceremony is conducted verbally and is associated with art objects, it becomes a vi- sible part of the culture. From this vantage point, the use of art objects is critical to the success of a ceremony. Not only Gamelan Selonding is highly respected, sacred, and sanctified in Tenga- nan Village, but it also embodies all of the Tenganan Village community’s vibrations in appropriate space, time, and circums- tances. As a sacred object, the gamelan’s na- ture can be understood because it reveals the element of taste’s beauty. On the other hand, it can serve as the total of religious feelings experienced in the depths of hu- man intuition. Each community always maintains this natural balance of beauty and religious morals through the use of va- rious forms of media and the conduct of re- ligious ceremonies in a solemn atmosphe- re. The essence of the Gamelan Selonding’s sacred value is the totality of its thoughts, speech, behavior, and feelings. A desirab- le balance can be maintained in the inner peace that is holy, pure, and pure love. Commodification of Gamelan Selonding in Tenganan Village Global hegemony, which is perva- sive in all spheres of life, is also dynamic in the arts. According to Gramsci’s hege- mony theory (Soekanto, 1982, p. 287), a dominant way of thinking and life view is a concept that is disseminated throughout society, both institutionally and personal- ly, where ideology dictates all tastes, moral habits, religious principles, and politics, as well as all social relations, particularly in- tellectual and moral. This prevalent mode of thought has a sizable influence on com- modification in artistic life. Commodification in art is an indis- putable fact that commodification is a phenomenon that always colors the pro- cess and journey of art which has the im- pact of bringing change and renewal in the art. According to Fairlough (1995, p. 207), Commodification is a process that refers to the organization and conceptu- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160148 alization of the production, distribution, and consumption of commodities. Refer- ring to Fairlough’s opinion, the factors that influence the commodification of Gamelan Selonding in Tenganan Village are as fol- lows: (a) shifting attitudes and behavior of the community; (b) cultural heritage beco- ming a tourist attraction, and (c) the wave of globalization. Shifting Attitudes and Behavior of The Community Changes in the attitudes and beha- vior of people accustomed to western cul- tural norms can easily create space and time for commodification. Changes in at- titudes and behavior in society are not al- ways a result of external factors; they can also occur due to community encourage- ment. Thus, the causes of change originate both internally and externally. According to Barnet in Hoed (2011, p. 122), changes in attitudes and behavior that originate wit- hin the community (internal) typically oc- cur as a result of community desire. Three principles must be considered: (1) creative considerations that include practicality, efficiency, and economy, (2) avoiding mo- notony, and (3) earning a more significant role and income. Reflecting on Barnet’s concepts can help identify the internal factors that in- fluence the attitudes and behaviors of the people in Tenganan Village. External changes (external) that occur due to the introduction of external cultural elements significantly impact the occurrence of cultural changes in society. According to Ralph Linton in Hoed (2011, p. 155), exter- nal changes can occur as a result of cultu- ral ‘diffusion.’ Diffusion can help advance culture as a whole and enrich the content of individual cultures, thereby propelling the people who support them forward. This occurrence appears to have occurred in Tenganan Village, a popular tourist des- tination. Tenganan Village’s uniqueness and diversity of traditions make it an at- tractive tourist destination. As a result, it is difficult to escape the global culture’s influence. Global tourism can blur the sociocul- tural boundaries of traditional areas (Sala- zar, 2006, p. 188). Tourism has the ability to bring countries closer together as if there were no distances between them, inclu- ding Bali’s relationship with the rest of the world as Indonesia’s primary tourist des- tination. This existence facilitates the pro- cess of cultural diffusion on a global scale. According to Hoed (2011, p. 199), there are at least four channels through which inter- national culture is brought to rural com- munities: television, tourism, industry, trade, and, most recently, the internet. A global society with a capitalist cul- ture leverages space, time, and money as social assets (Piliang, 2010, p. 162). Capi- talism has developed into a force that can persuade segments of society to use va- rious resources to improve their lot in life. People’s perceptions of the world have shifted, particularly toward religion. Ac- cording to Abdullah (2006, p. 113), religi- on is not a source of value when shaping a lifestyle but rather a tool for doing so. The desire to influence society’s attitudes and behavior is materialist. Naturally, this principle runs counter to Indonesian cul- ture, particularly in Bali, which values and respects religious values. Capitalist culture with a materialistic bent has the potential to influence the at- titudes and behaviors of local communities toward modernity, defined by Hoed (2011, p. 210) as the attitudes and behaviors of people who tend to abandon things that have traditionally been part of a society’s culture in favor of giving space and time for modernization. A modern impression was created when electronic and moto- rized vehicles entered Tenganan Village. Tenganan Village residents have made ex- tensive use of the internet, television, and computer networks; even the average Ten- ganan resident has facilitated their lives through the use of cell phones. The Utilization of Cultural Heritages as Tourist Attractions Global tourism in its contemporary manifestations, both cultural and natural, I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 149 has unexpectedly become a source of con- tention for the international community. Csapo (2012, p. 2012) stated that the cul- tural tourism industry’s role and position as a subset of global tourism are changing and evolving rapidly, both theoretically and practically. In order to satisfy the va- rious desires of tourists, such as recreati- onal purposes, personal development, or learning about the uniqueness of a tourist attraction, cultural heritage is one of the primary commodities used as a tourist at- traction. Greg Ricards and Wil Musters in Lee (2006, p. vi) revealed that the 1990s saw an explosion of research on the rela- tionship between tourism and cultural he- ritage, owing to the discovery of cultural heritage as a general motor of postmodern economics. On the other hand, some ar- gue that the 1980s marked the beginning of the post-capitalist era. At that time, the leisure hunter society began to form. This decade has seen the birth of theme parks, industries dedicated to cultural preserva- tion, and increasingly exotic forms of tou- rism and travel entertainment. When dealing with global cultural currents and sacred and revered cultural heritages, it is unavoidable that clashes in the fields of culture, tradition, and religion will occur. Global culture, which blurs the line between sacred and profane, presents a challenge for traditional villages seeking to maintain their existence as a repository of indigenous wisdom. Durkheim warns us in Pals (2001, p. 168) not to fall into the trap of believing that the distinction bet- ween sacred and profane is a moral one, that the sacred is good and the profane is evil. However, the distinction between sacred and profane values must be preser- ved without fusing them. Both sacred and profane are necessary and cannot be elimi- nated. According to Ardika (2007, p. 35) cul- tural heritage is a commodity product that can be used as an object or tourist attracti- on, in addition to natural beauty, beaches, mountains, lakes, customs, religious cere- monies, and so on (see Figure 3). Tenganan Village’s inheritance of Gamelan Selonding, with its uniqueness, has the potential to at- tract tourists. Selonding was initially a non- commodity product that evolved into one. According to Barker’s (2014, p. 41) definiti- on, a commodity is an item whose prima- ry function is to be sold, in which objects, qualities, and signs are transformed into commodities. Commodities are all things that seek market legitimacy through the process of commodification, transforming into an image world packaged as a com- modity. Figure 3. Tenganan Village as tourist destina- tion, 2019 (Photo is taken by the author) In general, tourists seek unique and original experiences, including traditio- nal ones. This is what motivates the local community to preserve the unique and original for a display to tourists, even if it means manipulating events presented as traditional. According to Burns in Sariada (2016, p. 18), commodification is causing changes in the way elements of indigeno- us culture are used for tourism purposes, which are primarily born out of the need to fulfill new functions. Gamelan Selonding, as a religious cultural heritage, is manipu- lated into a tourist attraction commodity through duplication. Globalization Wave Globalization as a process manifests itself as an event that affects the world on a cross-cultural (trans-cultural) level. Accor- ding to Lubis (2004, p. 25), a cross-cultural movement occurs when various cultural encounters occur, resulting in the process of inter-cultural interaction with the possi- bility that one party has a greater influence than the other. While cultural encounters Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160150 are symptomatic of one party’s exposure to another, their influences do not constantly occur in a two-way or balanced reciprocal process, but also as a process of cultural opposition, that is, cultural exposure that has a dominant effect on other cultures. Cultural globalization has impacted numerous local manifestations of the glo- bal community. Art, as a component of culture, is not immune to globalization. According to Piliang (2010, p. 111), the development of globalization and mass culture in the third millennium altered the existence of various indigenous art forms, including traditional performing arts. Globalization’s currents present a range of both optimistic and pessimistic future scenarios. Globalization-induced optimism is believed to be capable of broa- dening the horizons of art in a global as- sociation, creating more opportunities for the creation of diverse forms, ideas, and artistic ideas that are richer and more va- luable to life itself. Meanwhile, pessimism believes that globalization does not auto- matically result in equality in all areas of development, including the arts. The commodification of Gamelan Selonding to the dynamics of Balinese mu- sical development is an optimistic and pes- simistic existence as a result of cultural glo- balization. As a karawitan (musical) art that has captured the Balinese people’s attenti- on, the optimism that pervades the Game- lan Selonding is the spirit of creation, crea- tivity, innovation, and improvisation with new values and breath that elicits applause from connoisseurs. On the other hand, as Selonding develops into a public art form, pessimism appears to color the journey in which cultural globalization has resulted in the commodification of Gamelan Selon- ding, resulting in cultural discontinuity. According to Piliang in Suartaya (2016, p. 236) there is an extensive process of mental, inner, and cognitive discontinu- ity experienced by various forms of culture as a result of the influence of globalization, namely: (1) philosophical, epistemological discontinuity; (2) socio-economic disconti- nuity; and (3) conceptual aesthetic discon- tinuity. The commodification of Gamelan Selonding in the dynamics of Balinese mu- sical development shows the philosophi- cal, epistemological discontinuity, and the conceptual aesthetic discontinuity. In the Balinese performing arts, the philosophical, epistemological discontinu- ity positions the Gamelan Selonding as a separate entity from the psycho-religious integrality of the rituals. In the case of Ba- linese performing arts, philosophical, and epistemological discontinuity positions the Gamelan Selonding as a separate entity from the psycho-religious integrality of the rituals. On the one hand, its disengage- ment from the entirety of religious rituals creates space for expression, but on the other hand, it becomes trapped in the secu- larity of cultural industrialization, even as a means of imaging power politics. Mean- while, conceptual aesthetic discontinuity situates the Gamelan Selonding in a mode of creative expression that emphasizes surfa- ce elements that seek a momentary appeal. Globalization’s two major waves aided in the commodification of the Gamelan Selon- ding to the dynamics of Balinese karawitan development. Gamelan Selonding Production in Tenga- nan Village Commodification is facilitated in se- veral ways. Tenganan Village’s production of Gamelan Selonding attempts to transform cultural heritage through ‘imitating’ the original form of Selonding duwe. Due to the creativity of gamelan craftsmen, better kno- wn as pande gamelan, duplication producti- on is packaged in such a way that it looks attractive and provides satisfaction to the audience or users. I Nyoman Partha Gunawan (see Fi- gure 4), one of the Tenganan Traditional Village’s heirs and juru gambel of the Selon- ding, began to think modernly, distorting his mindset and behavior, believing that the Gamelan Selonding was adaptable; ca- pable of accepting, absorbing, and adap- ting. The result significantly impacted Ga- melan Selonding’s rapid development and spread. Sudiarsa (2013, p. 5) states that I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 151 since 1980, Partha Gunawan has replicated the original Gamelan Selonding given to the Tenganan Village residents. Figure 4. I Nyoman Partha Gunawan (Late), Selonding craftsman and teacher, 2009 (Photo is taken by the author) The Gamelan Selonding was commis- sioned by a Japanese woman named Fobi- ko Tamura. It was not taken after the game- lan was completed, but it was fully paid for and given to him. Partha Gunawan foun- ded a sanggar (studio) called Guna Winan- gun to develop the Gamelan Selonding with the capital of a set of Gamelan Selonding gifts from the Japanese. According to I Made Bandem’s sta- tement, the Gamelan Selonding is produced in Tenganan Village. It was explained that in early 1982, I Nyoman Partha Gunawan created the Gamelan Selonding on Max Serell’s request. The gamelan is still pre- served and neatly stored at the California Museum in Los Angeles. Partha Gunawan was the first to create ‘the best’ Selonding in the style of Tenganan Selonding; the blades were artistically crafted and always glea- ming with steel (Interview at ISI Denpasar, July 28th, 2018). After Partha Gunawan deceased in 2015, his role as a teacher and craftsman in Selonding was assumed by his son I Putu Suardana, also known as Putu Koblos, the heir of Selonding (see Figure 5). Figure 5. Putu Koblos Activity center, as a Gamelan Selonding craftsmen In Tenganan Vil- lage, 2019 (Photo is taken by the author) Putu Koblos’ workshop is located at the Pondok Gamelan Selonding, Petemu Ke- lod, specifically in front of the house yard called awangan, a public road that serves as a work area along the house yard’s north- south boundary. The ’semi-permanent’ Gamelan Selonding hut serves as the Game- lan Selonding’s production site. It measures 4 x 3 meters in size. Apart from its use as a production site for Selonding, it is frequent- ly used by other members of the commu- nity for social or religious activities. Putu Koblos, a Selonding craftsman who began practicing in 2000, did not work alone; he enlisted the assistance of people from outside Tenganan Village. I Kadek Kem- bar from Seked Village, Karangasem and I Wayan Dipa from Tanah Aron, Karan- gasem are the tukang plawah. The blade craftsman collaborated with I Ketut Jati, a pande gamelan player from Ngis Village, Manggis, Karangasem, and Putu Arsa, a carver from Tenganan Village. The Selon- ding plawah carving is designed in the form of gods and pepatraan motifs and is carved using classical carving techniques. Plawah Selonding is crafted from high-quality wood that is both strong and durable, as well as easy to work with. Ac- cording to Putu Koblos, the best types of wood are tehep and suar, taking into ac- count the manufacturing quality and the buyer’s capabilities. Tehep wood is typical- ly reserved for high-end orders, whereas suar wood is reserved for mid-level bu- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160152 yers. The craftsmen of Tenganan’s Gamelan Selonding offer a range of prices, starting at IDR 40,000,000 for Selonding with plawah lelengisan and rising to IDR 50,000,000 for the carved plawah. In general, the Gamelan Selonding that is ordered and sought after by the community has three distinct moti- ves: the Gamelan Selonding with the plawah lelengisan (pepelosan), the plawah decorated with poleng cloth, and the plawah maukir. Selonding Plawah Lelengisan The plawah of Gamelan Selonding is generally shaped like a crate and comes in three sizes: large, medium, and small. The large size measures 65 cm in length, 35 cm in width, and 35 cm in height; the me- dium size measures 55 cm in length, 25 cm in width, and 25 cm in height. The small version measures 75 cm in length, 20 cm in width, and 20 cm in height. Figure 6. Selonding with plawah lelengisan, 2019 (Photo is taken by the author) Lelengisan, according to Gelebet (1982, p. 420) is a decoration that displays the beauty of the composition of ornamen- tal fields from materials that have a beau- tiful value of fiber, color, texture, and le- lengisan decoration without using carvings or coloring (see Figure 6). Lelengisan makes use of the natural colors, uses natural ma- terials that show the various decorative colors of the material, and is highlighted in the composition of the decorative fields. Selonding with Plawah in Poleng Cloth Decoration Indeed, the plawah decorated with poleng cloth is identical to the plawah lelen- gisan in shape and size; the visible portion of the plawah is decorated with poleng cloth. Supartha (2001, p. 9) defines poleng cloth as a ‘Balinese color’ with a black-and-white checkerboard pattern. Poleng cloth appears to have become an integral part of Hindu life in Bali. Poleng cloth is not only used for sacred religious purposes; it is also wide- ly used for profane or secular purposes. Poleng cloth is used to decorate trees and statues, giving them a supernatural appea- rance, as shown in Figure 7. Figure 7. Poleng cloth esused as tree and sta- tues decoration, 2019 (Photos are taken by the author) According to Rupawan (2008, p. 24) poleng cloth has been used for a long time, and poleng rwabhineda cloth is believed to be the first type used by Hindus. Follo- wing that, the poleng sudhamala and poleng tridatu fabrics appeared (see Figure 8). Po- leng rwabhineda cloth is made of white and black checkerboard patterns and symboli- zes distinction in Hindu society. Philoso- phically, rwabhineda refers to two opposed characteristics or circumstances, such as good-bad, diligent-lazy, rich-poor, North- South, long-short, high-low, and so on. Po- leng sudhamala fabric is available in three colors: white, black, and gray. As a tran- sitional color between white and black, Gray is a reflection of rwabhineda mediated through intermediaries as harmony in contrasts. I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 153 Figure 8. Poleng rwabhineda, poleng sudhamala, and poleng tridatu, 2020 (Photos are taken by the author) The same philosophy is reflected in the poleng tridatu cloth, a three-color poleng cloth composed of white, red, and black. The tridatu’s color represents Triguna’s teachings, specifically satwam, rajah, and tamah. When combined with TriMurti, the red color represents Lord Brahma as crea- tor, the black color represents Lord Vishnu as preserver, and the white color repre- sents Lord Shiva as fuser. Figure 9. Gamelan Selonding with Poleng and tri datu colormotives and decorations, 2019 (Photos are taken by the author) The poleng cloth decoration on the Selonding’s plawah (see Figure 9) is a form of production carried out by game- lan craftsmen, with the following reasons: (1) it can create various innovations, (2) it gives a sacred or magical impression, (3) festive appearance at a low price, and (4) adjusting and taking the buyer’s capability into account. The artistic tips in production carried out by the pandeg amelan are bright ideas and quality innovations in anticipa- ting development dynamics. Selonding with Plawah Maukir The production of Gamelan Selonding in Tenganan is primarily based on car- vings inspired by the manifestations of the gods; the remainder is based on papatraan designs tailored to the customer’s specifi- cations. As Putu Koblos inherited and as a message from his father, who will ne- ver be forgotten, the paenem and patuduh instruments serve as Selonding’s “teacher.” It has become a belief that the gods’ de- sign motifs are chosen and placed on each instrument according to their duties and functions, such as Lord Ganesha on the paenem instrument, Goddess Saraswati on the patuduh instrument, Lord Brahma on the nyongnyong ageng instrument, Goddess Laksmi on the nyongnyong alit instrument, Acintya on the gong ageng instrument, and Lord Brahma on the gong. This means that seven distinct types of god designs must be prepared and then poured out as relief sculptures for the eight distinct types of Se- londing instruments. Figure 10. Plawah Selonding with pepatraan carving design, 2018 (Photo is taken by the author) Along with the carved motif rep- resenting the gods, the Selonding plawah is carved in the shape of a pepatraan (see Figure 10). According to Gelebet (1982, p. 333) pepatraan is a style of ornate beauty compositions based on specific types of floral beauty. Pepatraan ornament is a re- curring pattern that can also take the form of a growing pattern. Generally, patra sari is the pepatraan type chosen for the Selonding plawah decoration. Its shape is reminiscent of flora with a recurring circular trunk and a protrusion of the flower essence that ser- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160154 ves as its identity, as indicated by the name patra sari (see Figure 11). Figure 11. Plawah Selonding with patra sari de- sign, 2019 (Photos are taken by the author) Gamelan Selonding Distribution in Ten- ganan Village According to Fairlough (1995), distri- bution is the process of socializing and spreading Gamelan Selonding using the ap- propriate technique and through specific events to reach and be accepted by consu- mers. Distribution is the process of distri- buting manufactured goods. Distribution is ineffective without promotion and mar- keting to ensure that products reach con- sumers. According to Daum in Moelyono (2010, p. 135), distribution and marketing constitute network capital. This means that networks or partners must be established to distribute commodity products. Craftsmen and artists distribute and promote Gamelan Selonding by carefully selecting the appropriate institutions or consumers, ensuring that the distribution is precise in terms of demand and reaches the most vulnerable consumers. Meanw- hile, appropriate skills, knowledge, and comprehension of the products are critical throughout the distribution process. The professional attitude and behavior de- monstrated and the ability to package in- formation about Gamelan Selonding’s uni- queness are all efforts toward distribution to attract customers. Satisfaction with the services provided is not limited to the pro- vider; positive experiences may be shared with other consumers. Bali Arts Festivals as a Momentum for Gamelan Selonding Distributions The Bali Arts Festival (Pesta Kesenian Bali), abbreviated as PKB, was initiated by the Governor of Bali Ida Bagus Mantra to foster a sense of cultural awareness of the Balinese people in the face of globalization. PKB has generated an appreciation of the Balinese people for the values of Balinese arts and culture and introduced Balinese arts and culture to the broader community (Mantra, 1996, p. 12). The diversity and the richness of art displayed by the artists con- firm that art is indeed integral to the life of the Balinese people; hence Bali is known as the art paradise. As Bali’s largest art event began in 1979 and ran annually for one month from June to July, PKB can generate a cultural vibration supporting the Balinese people’s art and culture. At the very least, the Ba- linese people’s cultural strategy hopes to hold PKB to maintain, foster, preserve, and develop cultural arts. In 1982, the Karangasem Regency Government appointed and trusted Ten- ganan Village to represent its area by brin- ging Selonding to the 3rd Bali Arts Festival. To Karangasem Regency, it is an act of em- powerment that revitalizes local potential and serves as a concrete measure to fortify identity and instill pride in the people of Tenganan Village. This, however, created a quandary for the people of Tenganan. On the one hand, it is beneficial to demonstra- te Tenganan Village’s indigenous wisdom, but on the other hand, the original Game- lan Selonding (Selonding duwe) cannot be brought outside of Tenganan Village. Due to the community’s view that this was a golden opportunity to showcase Tenga- nan Village’s potential and uniqueness to the Balinese people, a ‘duplicate’ of the Gamelan Selonding was created by inviting pande gamelan I Wayan Pager from Blahba- tuh Village, Gianyar, Bali. Until now, the Selonding was kept in a bale desa near the Tenganan Village parking lot (see Figure 12). , I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 155 Figure 12. Tenganan’s Gamelan Selonding on PKB in 1982 the work of I Wayan Pager, 2018 (Photo is taken by the author) PKB as a cultural strategy offers solu- tions and contributes to developing the na- tion’s cultural identity in the face of globali- zation’s various negative effects (Suartaya, 2016, p. 3). Tenganan Village’s Selonding performance at Balinese art events serves as a form of cultural repositioning by high- lighting the potential of traditional arts in the development of contemporary perfor- ming arts expressions. Selonding strengt- hens traditional Balinese performing arts and has demonstrated an ability to adapt to the dynamics of Balinese society and the globalization of life. The uniqueness of the Gamelan Selonding, which is deeply ingrained in the Tenganan community, is recognized as a local spectacle with global cultural relevance. The inclusion of Selonding in PKB 1982 was the right moment to distribute the Gamelan Selonding, giving significant meaning to the development of Selonding in Tenganan Village. Thanks to the hard work of Partha Gunawan and the “Sang- gar Guna Winangun” he built, Selonding became known through his signature Ten- ganan style repertoire. This is evident in the growth of the Gamelan Selonding outsi- de of Tenganan Village. The presence of a recording ‘labeled’ Selonding Gamelan in Tenganan Village back in the 1986s indica- tes that this gamelan has garnered support and interest from Bali’s art-loving commu- nity. Balinese Artists and Selonding Craftsmen Apart from Partha Gunawan’s efforts at the Bali Arts Festival, Balinese artists and gamelan craftsmen have been actively involved in distributing Gamelan Selonding since 1982. Magnissuseno (1992, p. 12) de- fines artists as possessing sensitivity and intuitive acuity. These are “super sensiti- ve” individuals who have been trained to notice objects and events occurring around them that most people miss. Due to the artist’s uniqueness compared to others, the artist is considered a “genius.” The significance of artists in terms of the value of life is more nuanced. Artists have indeed devoted their lives to huma- nity throughout history. Lubis (1992, p. 83) asserts that human existence will devolve into economic animals or power without values. Suppose culture is defined as a ma- nifestation of thought. In that case, the ar- tist plays a critical role in humanizing it by introducing elements of beauty, balance, perspective, rhythm, harmony, proporti- on, and sublimation of human experience into the culture. As the main actors in the distribution of the Gamelan Selonding, Balinese artists are creative people who always want to make something newer and useful to meet their needs according to the dynamics of development. According to Sugiartha (2008, p. 59), Balinese artists are classified as human beings with competitiveness and achievement motivation. Various de- velopment efforts were made to the Ga- melan Selonding by changing, processing, adding, and others, so that the existence of the Gamelan Selonding became vibrant. The Gamelan Selonding’s existence in Bali began to “spread” due to the active role of Balinese artists and gamelan craftsmen. Gamelan craftsmen from Tenganan Villa- ge contribute significantly to the distributi- on of the Gamelan Selonding, and from outside Tenganan Village, such as Pande I Wayan Pager, owner of UD. Sidha Karya, Br. Babakan, Blahbatuh Village, Gianyar, Bali. Together with Balinese artists, game- lan craftsmen act as distributors, introdu- cing, disseminating, nurturing, and deve- loping the Gamelan Selonding to spread and become known to the Balinese and interna- Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160156 tional communities. Gamelan Selonding Consumption in Ten- ganan Village According to the concept, consumpti- on refers to goods that meet human needs. The essence of all consumption objects is not in their function, economic value, phy- sical appearance, or aesthetic appearance but their commodity status. The commo- dification of products or facts occurs when they are created to be exchanged for pro- fit, imparting a distinctive character (Lee, 2006, p. ix). Commodities contain the es- sence of consumption objects; consump- tion is inextricably linked to the existence of the consumers who consume them. Ac- cording to Suprapti (2010, p. 61) consumer perceptions and behavior toward commo- dity products are determined by three fac- tors: consumer motivation, which divides the market into three segments: quality, service, and economic aspects. The Gamelan Selonding is consumed in Tenganan Village by an individual, traditional organization, or community group. Apart from its ritual function, the Gamelan Selonding is also used as a medium for art. Selonding is not only placed in a sac- red place but also in a secular space for en- tertainment, as a tourist attraction, and as a creative medium for artistic purposes. Tenganan Village Community The people of Tenganan Village are the main consumers of the Gamelan Se- londing. The traditional relationships and linkages between Selonding and society brought up social behaviors, leading to the formation of cultural values that can be used as guidelines for the community members. Gamelan Selonding can morally and spiritually fulfill its citizens’ needs. The repertoire presented in a series of re- ligious rituals can provide inner and outer peace and create togetherness between the community members. The religious ceremony for Tenga- nan Village is an inseparable link from the tatwa and filsafat, which are the goals of Hinduism. Susila is a rule that should be implemented to achieve goals. These three elements are universal in the teachings of Hinduism. They must be understood and adhered to in an integrated and inseparab- le manner. Tenganan Village and its people still preserve and stick to customs based on agreed-upon customary laws (awig-awig). In terms of culture, with all its elements strengthened by customary life with tra- ditional institutions, they contribute in the form of concepts and their implementation to maintain and preserve the environment. Such conditions can be seen in the imple- mentation of religious ceremonies and ways of living in a community, a social unit of individuals who have a relation- ship of mutual need. For the Tenganan Village residents, community activities involving various religious ceremonies are carried out obedi- ently from generation to generation, with the Gamelan Selonding always present. The tradition of using the Gamelan Selonding in all religious ceremonies in Tenganan Villa- ge has existed for a long time and is deeply ingrained in the people’s souls. The combi- nation of music and a series of ceremonies assists the people in maintaining a healthy balance of life. Gamelan Selonding, through its repertoire, preserves the noble values of life by supporting community activities. In a broader context, the Gamelan Selonding’s presence is critical for the residents of Ten- ganan Village. Without the Selonding, ritu- al activities are incomplete; even the exci- tement of the ritual atmosphere becomes more stable when the Gamelan Selonding is always present. Balinese, Archipelago, and International Societies Tenganan Village’s cultural pro- ducts, such as the Gamelan Selonding and religious activities, are unique to the Ba- linese people, who typically receive so- mething else. Their presence in Tenganan Village is directly gratifying due to the diverse community activities that revol- ve around its unique ritual activities. The variety of patterns and uniqueness of the I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 157 gringsing cloth as a result of community crafts and the uniqueness of the mageret pandan tradition with Gamelan Selonding accompaniment, which has retained its originality and authenticity. Not only can Balinese appreciate the uniqueness of Selonding in Tenganan Vil- lage; the people of the Archipelago (Indo- nesia) devote a significant portion of their leisure time to witnessing the wealth of traditions in Tenganan Village. Visitors include junior high school, high school, vocational school, madrasah, Islamic boar- ding school, college students, government and private sector employees from Suraba- ya, Malang, Yogyakarta, Solo Jakarta, Ban- dung, Aceh, and Lampung. The visits are primarily part of a Study Tour to Bali, and Tenganan Village is one of the destinations on their itinerary during the long summer vacation following promotion and gra- duation in June and July. Meanwhile, the general public opts for alternate holidays to avoid conflicting with student holidays. Some choose lengthy vacations, such as office workers (public and private), bank workers (public and private), and others. Apart from Balinese and Indonesi- an people, international people can also consume Gamelan Selonding. The interna- tional community consumes Selonding by watching the presentation of Selonding di- rectly during a visit to Tenganan Village. Besides that, some tourists use Selonding as an object of research and have Selon- ding as a collection, specifically studying Gamelan Selonding and Selonding as an artistic medium. Foreigners or the inter- national community who uses the Gamelan Selonding, such as (1) Fobiko Tamura (Ja- pan, 1980), as a collection, (2) Max Serell (California, 1982) as a museum collection, (3) Wayne Vitale (America, 1990), studied Gamelan Selonding, (4) Michael Tenzer (Ca- lifornia, 2011), conducted Selonding rese- arch, (5) Edward Herbst (America, 2016), studied Gamelan Selonding, and (6) Vaug- han Hatch (New Zealand, 2010), founded the Gamelan Selonding group called Mekar- Buana. The Gamelan Selonding’s uniqueness as a form of cultural heritage in Tenga- nan Village is not exclusive to the Tenga- nan community. The society of Bali, the archipelago (Indonesia), and the inter- national community can all benefit from Selonding’s accompaniment because their arrival brings something unique and dif- ferent. His presence in Tenganan Village provides him with a greater sense of ful- fillment than purchasing various other commodity products, which provide him with valuable knowledge and experien- ce to take back to his region or country. It benefits tourists, as it allows them to learn about the uniqueness of Tenganan Village, such as the ‘scissor principle,’ which sta- tes that once a hole is punctured, two more holes can be penetrated. Come to Tenga- nan Village and experience one-of-a-kind traditions such as mageretpandan while also enjoying Selonding. Gamelan Selonding as a Tourism Perfor- ming Art Since Bali became a part of the glo- bal tourism network, Balinese artists have begun to develop art forms that are specifi- cally “peddled” or even “sold” to tourists. Art is created by repurposing forms or ele- ments from pre-existing traditional arts, including elements of Balinese ritual art. As a result of this effort, significant ele- ments of the arts in question have to be altered or even removed because they are deemed out of step with tourist tastes and needs. Not only are there components that must be removed from the art’s content and form, but also from its appearance and presentation system (Dibia, 1997, p. 31). Tenganan Village’s popularity as a tourist destination has a subtle effect on the ar- tists. By utilizing the Gamelan Selonding, artists have the foresight to seize existing opportunities. This circumstance benefits the development of Selonding with a va- riety of functions. Initially, Selonding was restricted to sacred ritual functions, but it evolved into an aesthetic presentation after being influenced by tourism. A notewort- hy artistic dynamic is the development of the Tenganan Village’s Gamelan Selonding Harmonia: Journal of Arts Research and Education 22 (1) (2022): 144-160158 as a tourism performance art since 1992 (see Figure 13). Selonding is a significant part of the dinner event at the Amankila Hotel in Manggis, Karangasem, Bali, un- der Sanggar Guna Winangun. Figure 13. Selonding presentation as a tourism art performance by Sanggar Guna Winangun at Hotel Amankila, Karangasem, Bali, 2018. (Photo is taken by the author) Presentation in the context of tourism does not experience changes in form and principal musicality, but Selonding has in- creased its function and presentation sys- tem. The repertoire is presented in the pro- cessing and development of pre-existing forms. Some of which were even explicitly created for tourism purposes. Soedarsono (1998, p. 121) describes the characteristics of the art of tourism as follows: (1) imita- tion of the original, (2) its short or concise version, (3) its sacred, magical, and sym- bolic values that have been eliminated, (4) full of variety, (5) presented attractively, and (6) low prices for tourists. Selonding as a form of performing arts already has the characteristics of tourism art as descri- bed above. As a tourism performance art, Se- londing does not prioritize the importan- ce of magical values but rather the value of the beauty of sound and excitement in welcoming guests or as an instrumental in accompanying the dinner. The repertoire that is usually played are Sekar Gadung, Rejang Ileh, Rejang Lente, Rejang Gucek, dan gending Kelompok Guna. Kelompok Guna is a special piece made for tourist offerings, which collaborated the Gong Kebyar re- pertoire (Gambang Suling) with the Rindik technique and the gamelan Angklung. CONCLUSIONS Commodification is how commo- dities’ production, distribution, and con- sumption are organized and conceptu- alized. The commodification of Gamelan Selonding in Tenganan Village emphasizes the production aspect, specifically efforts to transform cultural heritage through ‘imitating’ the original form of Selonding duwe. Duplication production is packaged in an attractive manner that satisfies the audience due to the pande gamelan’s crea- tivity. Commodification, which has been attributed to globalization’s influence, contributes to the erosion and degradati- on of traditional values. On the contrary, Selonding can survive, stimulate, and de- velop through duplication. According to this definition, duplication is used as a te- aching tool and is updated in the form of a new creation. Commodification enables people to become acquainted with, enjoy, and educate themselves about Selonding. Nothing diminishes the original values of Selonding; in fact, the sacredness of Selon- ding in Tenganan Village is preserved. Tenganan Village’s residents are able to strike a balance between religious and productive issues, including for Gamelan Selonding. Gamelan Selonding is still revered and preserved by the people of Tenganan Village, and nothing diminishes the origi- nal Selonding values; indeed, the very exis- tence of Selonding is preserved in its cur- rent form. On the other hand, the residents of Tenganan Village can use Selonding as an opportunity to expand their business and improve their welfare. In the context of Selonding, the com- munity upholds the sacredness and aut- henticity of the Gamelan Selonding while also becoming a productive society, spe- cifically by producing Gamelan Selonding through duplication. Commodification has altered the dynamics of the Selonding gamelan’s aesthetic principles, which were previously based on satyam, siwam, and sundaram; adjustments have been made to accommodate the concept of modern aest- hetics. Selonding, as a cultural object, is not I Wayan Suharta, Commodification of Gamelan Selonding in Tenganan Pegringsingan Vil- 159 only a purified and revered ancestral lega- cy but also an aesthetic object. Using the Gamelan Selonding as a medium, each ge- neration continues to innovate creatively and selectively to provide new ideas based on indigenous wisdom known as desa, kala, and patra to bring art closer to the context of people’s lives. REFERENCES Abdullah, I. (2006). Konstruksi dan Re- produksi Kebudayaan. Pustaka Pelajar. Ardika, I. W. (2007). Pusaka Budaya dan Pariwisata. Pustaka Larasan. Barker, C. (2014). Kamus Kajian Budaya. PT Kanisius. Csapo, J. (2012). The Role and Importance of Cultural Tourism in Modern Tourism Industry. University of Pecs. 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