268 Music and Identity: Immortal Rites’ Art as the Narrative of Contemporary Kejawen Identity Petrik Mahisa Akhtabi, Lina Puryanti Universitas Airlangga, Indonesia Submitted: 2022-07-06. Revised: 2022-10-21. Accepted: 2022-11-28 Abstract This study explores the context of identity in the musical arts echoed by a Black Metal band from Kediri, Immortal Rites. Aesthetically, Immortal Rites articulate Javanese locality using Black Metal, a sub-genre of underground music that emerged in Indonesia in the late 90s. Accordingly, the band lined up as one of the Kejawen Black Metal whose consistency and depth of understand- ing are well appreciated within the scene. The unification of two different cultures provokes a complex contemporary value of a cultural reflection concerning identity. This study uses a qualitative research method with a descriptive approach. This study aims to discuss the narrative of identity that Immortal Rites wish to embody for its fans to understand. By focusing analysis on the main data of song lyrics with additional data in the form of interviews, we found that the echoed locality represents a notion of contemporary Javanese identity. Within the arts, there was a close relevance of the content with the identical Javaneseness in the era of the Kadiri kingdom. Thus, based on the engagement of the arts and the Kediri-based Javaneseness, it leads us to an understanding of the mediated cultural representation of contemporary Javanese identity, of a Daha-based Javanese identity. Keywords: Black Metal, identity, Javaneseness, locality, representation How to Cite: Akhtabi, P. M., & Puryanti, L. (2022). Music and Identity: Immortal Rites’ Art as the Narrative of Contemporary Kejawen Identity. Harmonia: Journal of Arts Research and Education, 22(2), 268-282 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 268-282 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.37513 MTV’s global expansion to Asian countries (Baulch, 2003; Wallach, 2008). One of the- se waves was the European Black Metal that first founded by a late 70s British band called Venom and developed radically and more diabolically in early 90s in Norway, precisely in Oslo, with some seminal ban- ds, such as: Mayhem, Darkthrone, Emperor, Immortal, etc. (Moynihan & Soderlind, 1998; Patterson, 2013; Spracklen, 2014). Since then, many Indonesians, especially the youth, are attracted to this ‘horrific’ musical-subcultural scene. Some infamo- us Indonesian bands are as follow: Peri- sh (Malang), Santet (Purwokerto), Makam INTRODUCTION There are various types of ‘influential music’ in this world, especially in Indone- sia, but specifically, this study specifically focuses on discussing one of the kinds of musical aesthetics, Kejawen Black Metal. As the name suggests, Kejawen Black Metal is a kind of music whose nature was born from a combination of two very different cultu- res (Akhtabi & Riyanto, 2022, pp. 2 & 3). Historically, Kejawen Black Metal is a musi- cal aesthetic that developed in the late 90s in Indonesia when the underground mu- sic wave entered the country through the Corresponding author: E-mail: lina-p@fib.unair.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 269 (Solo), Immortal Rites (Kediri), Djiwo (Solo), Dry (Surabaya), etc. Kejawen Black Metal is a hybrid mu- sical subculture that articulates typical Ja- vanese values and concepts by using the Black Metal aesthetic. In addition, Kejawen basically refers to everything in the Java- nese culture and custom (Ciptoprawiro, 1986; Geertz, 1976; Koentjaraningrat, 1994; Suseno, 1984). As we know, the main prin- ciple of Kejawen rests on nobility, refine- ment, ‘whiteness’, harmonious traits and attitudes (Endraswara, 2022; Geertz, 1976; Lombard, 2005). Even, Lombard argued that Kejawen guides Javanese to be always in a proper and well-dealt position to any problematic condition (Lombard, 2005, p. 96). Meanwhile, the essence of the Black Metal itself is a resistance, a ”child, concei- ved from the promiscuous intermingling of number evil seeds, with only the gene- ral of Heavy Metal as its fecund womb” (Hjelm et al., 2012; Moynihan & Soderlind, 1998, p. 23). In its aesthetics, Black Metal mostly heightens a greater sense of evil, hate, horror, darkness, violence, noise, misanthropy, and terror rather than Hea- vy Metal (Floeckher, 2009; Hoffin, 2018; Kahn-Harris, 2007; Masciandaro & Con- nole, 2015; Moynihan & Soderlind, 1998; Patterson, 2013; Podoshen et al., 2018; Vr- zal, 2017; Williams, 2012). Black Metal be- came the main and foremost medium for propagating ”left-hand” sentiments, such as the discourse of paganism, occultism, satanism, anti-religion, fascism, radical environmentalism, atheism, and even mo- notheism (Cordero, 2009; Fischer, 2022; Granholm, 2013; Hagen, 2011; Irtenkauf, 2014; Manea, 2020; Moynihan & Soderlind, 1998; Noys, 2010; Wilson, 2010). Even the embraced radical ideology leads to the es- tablishment and physical embodiment of transgressive activities, such as suicide, ho- micide, churches arson, self-torture, drug, and alcohol abuse, physical violence, etc. (Moynihan & Soderlind, 1998; Patterson, 2013; Richardson, 1991; Spracklen, 2014). Therefore, there is a contrast to the very nature of the two streams. Even so, the contrasting nature of the two streams is able to unify. This unification makes the Kejawen Black Metal becomes so unique since those ‘blackness’ and ‘whiteness’ incorporate, procreating a ‘grayish’ aest- hetical state that blends tranquility and chaotic nuances into a synchronizing har- mony (Wallach, 2005). Not only that, but it is also epic since it was created from the local struggle of emphasizing differences, aimed to elevate the hierarchy of local values in the more global cultural system (Martin-Iverson, 2012; Riyanto, 2017a; Wallach, 2005). Specifically, we pay attention to Im- mortal Rites, a Kejawen Black Metal band founded in 1997 Kediri, East Java, with the initial name of Demon Church (Gerilya Magazine, 2020). While actively playing in the band, two of the personnel, Doni (vo- cal and rhythm guitar) and Winoto (lead guitar) are actively involved in a conserva- tive movement of preserving antique ob- jects and sites, especially in Kediri (Geri- lya Magazine, 2020; Hariawan, 2020). Not only that, they often hold sharing sessions after the gigs devoted to talking about the Javaneseness that inspires their creation of works (Saputro, 2018). With approximate- ly 20 years of being active in the Indone- sian Black Metal movement, this seminal Kejawen Black Metal band stays true to the motivation of keeping Javanese antiquity from being lost and forgotten (Gerilya Ma- gazine, 2020). Further, what made them so recognizable in the Indonesian Black Metal scene is the use of ancient Javanese langu- age in some of their songs, such as in Ser- pihan Api and Legiun Api, which are being discussed further in this study (Madyan, 2020; Saputro, 2018). In the scientific realm, we are able to find several previous studies that specifi- cally analyze the Indonesian underground subculture. One of which was carried out by Jeremy Wallach in 2003, entitled “Good- bye My Blind Majesty: Music, Language, and Politics in the Indonesian Underground” which generally discusses language choice and images in the Indonesian underground subculture. As it has been identified, Wal- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 268-282270 lach argued that the local language—the Javanese one in this case—is not really suitable to use in Indonesian underground aesthetics for several reasons, such as: too provincial, representing something ‘back- ward’, too old and/or inappropriate for the young, and more suitable for traditional music not the for the modern one (Riyanto, 2017a, p. 125; Wallach, 2003). Furthermore, Wallach stated that the underground scene of Indonesia is mostly ‘self-consciously na- tional’; thus, local or regional convention does not really have a place in that subcul- tural community (Wallach, 2003, 2008). Such a practice also appears in the global scene, which shows a lack of emphasis on the significance of regional cultural interests (Hoad, 2021; Noys, 2010; Thompson, 2012). In the context of identi- ty, Black Metal musical practice mostly rai- ses nationalism awareness. For example, in the Scandinavian Black Metal scene, the exploitation and exploration of Viking’s culture and traces foster an awareness of being Nordic, not Norwegian, Finnish, or Swede (Granholm, 2011; Olson, 2008; Thompson, 2012). Undeniably, this makes the Indonesian scene different from the global one. We argue that the Indonesian scene emphasizes the significance of regio- nal culture, even on a smaller and more specific scale. Further, Narendra in Glokal Metal: Dari Black Metal menuju Jawa yang Baru in 2017. He particularly discussed Kejawen Black Metal practice and aesthetics in post- modern era. Inside the writing, he gave ge- neral attention to some Kejawen Black Me- tal bands to see their distinctive strategy of imagining ’Java’, especially in terms of its antiquity, in contemporary culture, inclu- ding Djiwo (Solo), Immortal Rites (Kediri), and Sacrifice (Sidoarjo) (Narendra, 2017). He found the three bands used different approaches in their mindset, Immortal Ri- tes with spiritual and daily life reflection, Djiwo is closer to literacy (literary art and scripture), while Sacrifice uses mysticism (Narendra, 2017). Those three approaches are also found in global practices, especial- ly by those who propagate paganism and occultism discourse (Fischer, 2022; Gran- holm, 2013). Simply, we intend to answer a kind of ‘fundamental’ question attached by the existence of Immortal Rites as Kejawen Black Metal band. Firstly, what is the reason be- hind Immortal Rites status of Kejawen Black Metal? Secondly, what does the group try to narrate with the ‘Javaneseness’ they re- sonate in today’s contemporary socio-cul- tural space? By looking at those questions, the significance of the study is to compre- hend Immortal Rites’ complex socio-cultu- ral and artistic performance in their sub- cultural movement and to explain how their music represents a degree of being as the Kejawen one. The initial hypothesis that we provide is that what Immortal Rites did by the Black Metal they play strongly con- nects to the construction of the Javanese identity they wish to manifest. For that, we particularly apply the concept of mu- sic and identity in contemporary culture to uncover. In the classical view, music is a me- dium that facilitates humans to communi- cate their verbally indescribable inner ex- pression, emotion, and feelings (Scruton, 1999). Meanwhile, postmodernism deve- lops a view that music is not just a medium but rather a form of ‘force’ that empowers humans to become fully ‘cultured’ creatu- res (DeNora, 2000). The contrasting argu- ments lead us to a thesis of how significant music is in the development of culture, es- pecially in the world of aesthetics. Based on the postmodernist perspec- tive, we may think that music empowers humans with the framework of action (DeNora, 2000). Such an argument is very logical considering some current musical practices. We can see that American-hip hop encourages the Afro-American rapper to live in luxury, materialism, and glitter of jewelry (Podoshen et al., 2014). There is Reggae that allows Jamaican-Rastafarians to immerse in simplicity, easy-living life, and marijuana (Bedasse, 2017). The Punk also encourages the youth to rebel against the monarchy, capitalism, and any form of social inequality (Ambrosch, 2018; Moore Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 271 & Roberts, 2009; Wallach, 2014). Likewise, Black Metal stimulates the scenesters to embody a chaotic-demonic figure to fight against religious authority they consider full of intrigue, lies and hypocrisy (Mas- ciandaro & Connole, 2015; Vrzal, 2017; Williams, 2012). Frith argued that music has a red thread of fate, considered to be the me- taphor for identity (1996). If music was said to have the force to shape, music might influence the construction of the identity that humans wish to exhibit. Hence, mu- sic constructs humans’ identity based on two premises; the first is that identity is moving. It is a process, not ‘things’, and entirely “a matter of becoming, not being” thus implying the works of experience within. The second one is that the experi- ence of music—making music, listening to it, and everything that engages musical aspects— is a “self-in-process” experience (Frith, 1996, p. 109; Hall, 2018). It is indeed that music and identity are two different ‘properties.’ Still, both put forward a si- milar pattern of representation that high- lights performance and narrative of how to understand social to self, as well as the self in social, soul to the body, and body to the soul, about how ethics reflect aesthe- tics and vice versa (Frith, 1996). Therefore, it leads to an argument that aesthetical mu- sic gradually becomes a reference in our contemporary discussion about identity, in addition to race, ethnicity, nationality, gender, religion, and sexes (Arivia, 2009; Frith, 1996). Thus, music’s nature has chan- ged from merely a medium of mind and emotional representation to one that can construct humans themselves (DeNora, 2000; Frith, 1996). Through the musical and aesthetical experience, man is empowered to be able to embody their perceptions into attitudes of how to deal with realities one encounters, as they carried out extreme practices and embraced radical ideologies of the Scandinavian Black Metal scenes- ters (Frith, 1996; Moynihan & Soderlind, 1998; Patterson, 2013; Spracklen, 2014). In other words, music is not only something that exists as a set of aesthetical substan- ces; it also becomes a kind of element that is inherently attached to the structural de- velopment of cultural performance (Frith, 1996). Furthermore, we hope this research can provide further insight into contem- porary musical performance and aesthe- tics, especially in Black Metal practices, for both local and global ranges. The combina- tion of locality in modern music may have been widely identified, but in this case, it is embodied in a convention that has long been extinct, making it unique and even strange in terms of modern musical aesthe- tics. Hence, this study will also reveal the underlying motives and threads behind the artistic process. Besides, we will also find out how music becomes a cultural me- dium that is able to transgress its principle nature and classical philosophical concept of music as aesthetics. In this study, mu- sic is explained as a medium and a “force” capable of empowering men to further un- derstand their existential identity in an inc- reasingly pluralistic cultural sphere. Thus, we expect this study to be a major contri- bution to cultural, art, and music studies, especially in a contemporary scope. METHOD This study uses the qualitative rese- arch method with a descriptive approach, aiming to describe an in-depth analysis of the cultural phenomenon of music and identity relevancy. Particularly, we focus on the locality that a Kediri-based Kejawen Black Metal band, Immortal Rites, articula- tes and its relationship to the personnel’s construction of identity within the socio- cultural space. The main data is Immortal Rites’ song lyrics to answer the first question. For that, we determined to take two Im- mortal Rites’ songs as the data, which are Serpihan Api and Legiun Api, which be- long to the album of Bathara Api in 2020. Furthermore, the original lyrics and the Indonesian translated one were already transcribed inside Youtube account called ‘Doni Wicaksonojati’, which turns out to Harmonia: Journal of Arts Research and Education 22 (2) (2022): 268-282272 be the band’s vocalist. After that, we begin to interpret by prioritizing the lyrical con- tent, both on what is explicit and implicit. By the interpretation, we wish to discover the sense of ‘Javaneseness’ within, so that it can be useful to answer why the group bears the status as the Kejawen one. For the more established answers, we think of another kind of data to st- rengthen further explanation about the Javanese identity the band wants to rep- resent through their arts. For that, we de- termine to use another data in a form of interview. This kind of data supports to st- rengthen our answers’, especially for both questions. Therefore, we use the interview results that another party successfully car- ried out. We determined that we will use some interview videos on Youtube, uploa- ded by The Anarcho Brothers, Rotus Reveal TV, and JTV Biro Kediri. Based on the in- terview, we found some ‘representative’ utterances and signs refer to the “wished” purpose behind the narrative of the art. RESULT AND DISCUSSION Before going into the discussion of Immortal Rites and their narrative of identi- ty in socio-cultural space, this part specifi- cally contains the disclosure of the articula- ted locality inside the media of Black Metal. For this reason, we specifically reveal the full lyrics of Serpihan Api and Legiun Api with the translated version in tables 1 and 2. Extracting the Javanese elements inside the lyrics, we basically use the similar lo- gic that Riyanto had done with the Jogja Hip Hop Foundation (Riyanto, 2017a), and simply, the extraction is done by interpre- ting both the explicit and implicit. Table 1. Serpihan Api original and translated lyric Original Translated Ring Samangkana; Hana Tatunggulning Catru; Layu2 Katon Wetani Haniru; Bang Lawan Putih Warnnana; Cakatonikang Tunggul Ika; Irika Tay- anpangdawut; Sanjata Sang Arddharaja Lumakwaknan say- aprawi; Niskarananujwi Kapulungan; Purwakani Sanjata Cri Maharaja Rusak; Kusapu Gelombang Kejayaan; Menerjang Bara Pawaka Ujung Negeri; Dharma Memanggil Nurani; Kejayaan DAHA Nagara; Dan Akulah Serpihan Api There was flags; Belong to the enemy; Wav- ing at the east of Haniru; Red and white (are) the colors; (after) seeing the flags; Then back off; Arddharaja’s army did a bad deed; Escaping to Kapulungan; That was the beginning of Sri Maharaja’s forces devasta- tion; I wipe the wave of glory; Crashing the Bara Pawaka at the end of country; Dharma summons the conscience; The triumph of DAHA Nagara; And I am the Serpihan Api Table 2. Legiun Api original and translated lyric Original Translated Ya têka kajamasakna kang rudira dya Sang Calwan Arang; Magimbal pwa kesanira den- ing marus; Usus nya makasawitira; Mwang kinakalungakenya; Lagawanya ingolah kinabasang kabeh; Makacaru eng butâ tah; Sahana nikanang sema ngkana; Makanguni Paduka Batari Bagawati; Adinika inaturanya; Saksana mijil ta sira pada Batari; Sakêng kahyanganira; Neher mojar ta sirêng Calwan Arang; Uduh atmajamami kita Calwan Arang; Apa kalinganta mangaturi tadah tumekêng hulun; Bakti mangarcamana? Atarima nghulun ri pangastutinta’ The blood (was) used to wash the hair of Calon Arang; Her hair was tangled by the blood; Intestine became a necklace; And (she) put in around; All roasted, quickly processed; Used for the victim of blind beings; (and) every- thing that lives in the tomb; especially for the majesty, Batari Bagawati; The main sacrifice was made; Immediately, she appears, the lord Batari; From (her) palace; Then, she said to Calon Arang; ‘my daughter, Calon Arang; What do you mean to offer me food?; Worship? I accept your sacrifice’. Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 273 The Existence of Javaneseeness The most visible and literal element of ‘Javaneseness’ of both songs is language since both use the ancient Javanese one. Historically, the ancient Javanese language replaced the role of Sanskrit in Javanese li- terary affairs at that time. The language’s existence was first realized through the Sukabumi inscription written in Kawi sc- ript, dated 804 AD, in Kediri, East Java (Zoetmulder, 1983). Two other older insc- riptions were found later, which are Plum- pungan inscription (750 AD) in Salatiga and the Sri Ranapati inscription (787 AD) in Te- manggung (Nikolic, 2008; Sambodo, 2018) an ancient stone inscription found in the Salatiga area. The manuscript dates back to the 8th century and is one of the main historical sources of the Salatiga municipa- lity. There is a tight connection involving the above mentioned inscription with the legitimacy of the Javanese court at that time, as well as with the monarch, who was seen as half- man, half-deity. The monarch drew on the labor of his subjects in main- taining reli- gious sites to ensure his place on earth, and in heaven. The Plumpungan manuscript was a ‘legal document’ used to reassure inhabitants of the area that the monarch is the legitimate ruler, and to pre- vent further revolt. The monarch’s subjects in the Salatiga area at the time were farmers disheartened with high taxes and the fear of volcanic eruptions, which later caused great migrations to East Java. Consequent- ly, the mon- arch, using the Plumpungan manuscript as a medium, decreed that the Hampra vil- lage (present-day Salatiga. So, it can be predicted that the old Javanese language was first used around the 6th or 7th centuries since the oldest inscription da- ted back to 750 AD. The Javanese language has at least three developmental periods before the medieval model in the 16th cen- tury, which is still frequently used today (de Casparis, 2022). The three periods are the ancient one that is still borrowing a lot of Sanskrit and is written in Pallava, the 8th- century language that started to portray something more ‘indigenous,’ and the 13th century in Majapahit era (de Casparis, 2022; Zoetmulder, 1983; Zuburchen, 1976). Explicitly, it is very clear that langu- age is the first element that represents Ja- vaneseness. The aesthetical process can be understood under the concept of mixing, combining elements that do not exist wit- hin the initial establishment of one musical type aesthetic (Riyanto, 2017b). The mixing is not to undermine what has been estab- lished, but it tends to maintain the musical ‘tradition’ that continues today (Riyanto, 2017b). Further, given that Immortal Rites used the extinct local dialect, Wallach’s ar- gument in 2003 becomes less valid. Clear- ly, what Immortal Rites did in their artistic manner contrasts Wallach’s argument if such regional language is unlikely to be a candidate for underground songs (Wallach, 2003). What Immortal Rites did feel like it was a “punch” since they epically used the “associated backward village” language in their arts, and they managed to do that (Wallach, 2003). Even they got great ap- preciation in the global metal scene, such as being invited to play and promote their album in 2017 in Malaysia and being re- leased by an independent European label, Satanarsa Record (Madyan, 2020; Saputro, 2018). The next process is to dig into somet- hing implied within the lyrics comprehen- sively. Therefore, the interpretation now focuses on exploring what content actually inspires the formation of lyrics. Generally, both of the songs are the narrative of re- telling historical pieces of ancient Javanese civilization, more precisely the history of Java that closely relates to the capital city of Daha whose existence becomes the fo- rerunner of Kediri’s present city. Serpihan Api is a piece of a historical story that is specifically written in an inscription. Me- anwhile, Legiun Api is much relevant to the ancient Javanese religious-historical story written in the form of babad, one of Javanese’s literary work types that con- tains religious myth and history (Prabowo et al., 2015). Our argument was proven as Winoto emphasized in the interview with Anarcho Brothers in 2021. “Kalau dulu, Api dari Timur itu mencerita- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 268-282274 kan spiritualnya orang-orang Kediri, kalau ini (Bathara Api) lebih condong terhadap sejarahnya” (The Anarco Brothers, 2021) “For the past, Api dari Timur told about the spirituality of Kediri people, but for this time, it is more inclined to the his- tory” Api dari Timur refers to their previo- us album, that was released in 2007. The two songs, Serpihan Api and Legiun Api, that are being discussed here belong to their second full-length album, Bathara Api in 2020. Directly, Winoto stated that each song inside Bathara Api leans towards the historical side of Java, especially those re- lated to the land and the society of Kediri. Serpihan Api lyric retells a histori- cal event of revenge, the re-establishment of the ancestor’s legitimacy, and betrayal that we can comprehend by reading what has been written in the Kudadu inscription dated to 1216 Saka or 1294 AD. The insc- ription contains the village of Kudadu man- date as sima or free-tax area as the order of Raden Wijaya, the first Majapahit king, for the help of Kudadu’s people to hide him from Jayakatwang’s troops (Hardjowardo, 1965, p. 37; Poesponegoro & Notosusanto, 2019; Yamin, 1962, p. 221). The main actor is Jayakatwang or Aji Katong or Jayaktyeng, the king of Gelang-Gelang that turns out to be the great-grandson of Kertajaya (the last king of Kadiri) who lost to Ken Arok (the founder of Singhasari empire) (Poes- ponegoro & Notosusanto, 2019). Apart from the Kudadu inscription, this story was also written inside Pararaton or the ‘Book of Kings’, Kidung Harsa-Wijaya, and Ki- dung Panji Wiyakrama (Hardjowardo, 1965; Pigeaud, 1967; Poesponegoro & Notosu- santo, 2019; Zuburchen, 1976). Based on the translated version above, the implied context is about Jayakatwang’s victory in coupling the Singhasari empire. Contextually, the defeat cannot be separated from Arddharaja’s betrayal to his own father-in-law, Kertanegara (the last king of Singhasari). Arddharaja saw Gelang- Gelang’s red-white flying flags at the east of Haniru, and so he immediately fled to Kapulungan, causing a great devastation to the Singhasari empire (Poesponego- ro & Notosusanto, 2019; Yamin, 1962). Arddharaja’s betrayal was not without a reason because in fact, he is the biological son of Jayakatwang, so we can say that this ‘betrayal’ is a manifestation of devotion to his own father. Furthermore, the fighting Singhasari’s troops were actually led by two person, the first one is Arddharaja him- self and Raden Wijaya, a prince who later became the first ‘Cri Maharaja’ of the Maja- pahit empire (Poesponegoro & Notosusan- to, 2019; Yamin, 1962). Apart from Arddharaja’s betrayal to Singhasari, Jayakatwang’s coup success was inevitable to the clever strategy he used. When Singhasari attacked and put all the strength in the west, Jayakatwang’s ‘red-white’ army seemed to have kept an enormous force on the east side. When Singhasari’s troops were exhausted and reduced in number because of Arddharaja’s escape and died of war, Raden Wijaya and his 600 troops continued to fight in noma- dic, by moving from place to place, from one village to the other, including Pamwa- tan Apajeg, Kulawan, Kembang Sri, and final- ly Kudadu with only 12 soldiers remaining (Poesponegoro & Notosusanto, 2019). By the end of the escape, Jayakatwang himself managed to be in charge of Singhasari, and at the same time, it became the point of the kingdom’s destruction. From the coup’s success, he re-established legitimacy, a right that belongs to his ancestral lineage, the Kadiri empire or, as it is called inside the lyrics, the ‘DAHA nagara.’ Furthermore, Legiun Api is basically a piece of an ancient Javanese legend nar- rative inside babad Calon Arang or Calwan Arang. Generally, the narrative implied a historical tale of power, revenge, parental love, the height of supernatural knowled- ge, ancient paganism, and exorcism. The details told the intricacy of king Airlangga or Resi Gentayu or Resi Erlangga Jatiningrat’s, the founder of Kahuripan kingdom, life, po- wer and priesthood (Ardhana et al., 2015; Olthof, 2019). King Airlangga was a Java- nese king whose noble parent is Udayana (king of Bedahulu in Bali) and Mahendra- Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 275 datta (the princess of Medang or Mataram Kuno) (Ardhana et al., 2015; Poesponegoro & Notosusanto, 2019). In this regard, this babad became the primary source to the history of ‘Daha’ Kadiri empire, including the kingdoms of Kahuripan, Janggala, and Panjalu “the Kadiri,” in addition to Negara- kertagama. The legend of Calon Arang is ge- nerally narrated by the figures of king Airlangga, Mpu Baradah and his son Mpu Bahula (bhikkhu), and Ki Rangda or the Ca- lon Arang herself and her daughter Ratna- manggali (Mu’jizah, 1995; Poesponegoro & Notosusanto, 2019; Prabowo et al., 2015). The story mostly describes mystical tra- dition, history, and religious-relationship of the Hindu-Buddha era (Ardhana et al., 2015). The story itself closely relates to the people of East Java and Bali. Even so, the difference lies within distinct ‘dimensions’ that they each believe. Balinese reflection on the legend is more of an “imaginary sense” as it relates to the horror of mytho- logical creatures of Leak or Rangda, while the Javanese people, especially the people of Kediri, tend to see that the story is not just fiction and was believed through the discovery of Petilasan Calon Arang ancient site (Ardhana et al., 2015). Thus, this le- gend lied in an in-between state of myth and historical reality, making it to be an appropriate reference in understanding ancient civilization and antiquity. The story itself was found in various sources with different years, but the most famous, impressive, and widely used refe- rence is Prof. Dr. Poerbatjaraka in Dutch in 1926, entitled De Calon Arang. In addition, within the context of Legiun Api itself, the lyric text has similarities to what has been copied by I Made Suastika in his disserta- tion in 1995. The lyrics, both the original and translated, of Legiun Api are exactly the same as I Made Suastika’s version. as he wrote in stanzas 10b: 13-15 up to 11a: 1-10 (Suastika in Ardhana et al., 2015, p. 27). Here, we actually can find the match between Immortal Rites and the global Black Metal’s practice whose aesthetical exploration revolves around a dark and mystical ambient. It is such as pagan offe- rings ritual, glorification of ancient wrat- hful gods or goddesses, black magic, as well as numinous and physical realms in- termingling (Moynihan & Soderlind, 1998; Patterson, 2013). Within its lyrics, Immortal Rites’ combines Black Metal and Javanese aesthetics as they particularly use passages that convey the degree of the ‘dark side of ancient Java and pagan rituals. This inclu- des the worship of certain goddesses with human-based sacrifices with blood used to wash the hair, necklaces made of intesti- nes, and whole bodies being roasted. The ritual that Ki Rangda carried out with a fairly sadistic description was me- ant to offer ‘food’ for the inhabitants of the graves, the subordinate of the main ‘cursed’ goddess she worshipped, Paduka Batari Bagawati or commonly known as the goddess Durga (Santiko, 1997). Through the offering, the goddess Durga herself fi- nally descended from the setra loka or her dark palace, depicting an event of theopha- ny, a situation that represents how real (seen, touched, interacted) deity manifes- tation in the human physical realm (Arm- strong, 1994). Events of this kind are found in many ancient texts, such as Kresna (repre- sentation of Vishnu), who gives teachings to Arjuna in the Mahabharata; YHWH, who performed the Ten Commandments miracle on Mount Sinai; the prophet Mu- hammad S.A.W who travels and ‘talks’ to Allah SWT in the afterlife as in the event of the Isra’ Mi’raj (Armstrong, 1994). The Batari Bagawati herself is actual- ly a demystified version of goddess Dur- ga, who is well-known as the consort and the embodiment of Shakti of Lord Shiva (Amazonne, 2010; Kramrisch, 1981). In Shakti, she represents Shiva’s primordial active force aspect of procreating reali- ties (Woodroffe, 2007). In worldly human affairs, she turned out to symbolize pro- tection and motherhood, as she is often referred to as Prithvi or the mother-earth (Amazonne, 2010). The form of Shakti it- self is divided into 2, Saumya (calm) and Krodha (terrible), and in the case of Calon Harmonia: Journal of Arts Research and Education 22 (2) (2022): 268-282276 Arang, she worshipped Batari Bagavati in her Krodha form as Durga (the excommu- nicated), not the Saumya one as the Parvati (the mountain spring) who gave birth to Ganesha (Amazonne, 2010; Santiko, 1997). Therefore, it is not so surprising that insi- de Calon Arang, Durga is associated to the source of curses and witchcraft that cause plague outbreaks, drought, and unnatural deaths. Based on the explanation above, it appears that Immortal Rites did explore an- cient Javanese legend and history chanted by using Black Metal’s aesthetic. What is unique about them is that it is not only the context that inspires the lyrics but also the use of the nonmainstream medium—the language, as well as the Black Metal it- self—that mediates the Javaneseness the group intends to chant. Thus, we conclude that Immortal Rites’ specifically articulate Javanese localities, including (1) the an- cient Javanese language, (2) the history of the land of Java’s based on the Daha figu- res or chronicles, and (3) the religious-his- torical legend that appeared in the setting of the capital city of Daha during the reign of the Javanese king Airlangga. Hence, we can see that the arts have the same pat- tern, which is a consistent context to the discourse of Daha. Immortal Rites imagined their discourse of identity based on their insight to the history of the capital city of Daha, the city where they ‘live’ in now as Kediri. Hence, we assume that they try to manifest the identity of Daha-based Java- nese through the music they play. The Arts as the Narrative of Contempo- rary Kejawen Identity In this present contemporary world, identity is wholly a matter of ‘becoming’ not ‘being’. Rather than be something inherently ‘self-imposed’ in nature, hu- mans realize that their state of identity is constructed along with the experiences they passed so that it is not naturally em- bedded but artificially existed. Identity will never be performed as something per- manent and stable, so it does not signify a solid and concrete core over time (Hall, 1996, 2018). Immortal Rites’ musical aesthe- tics seems to emphasize that such a con- cept of identity is plausible. Preaching an understanding about the state of being a Javanese, they hinted—by their arts—that it is not only because a man was born bio- logically from Javanese parents, but man also needs to be sensitive to any other qua- lities that mark it up, especially what close with the everyday process. Furthermore, beholding both of the songs, we need to realize that the lyri- cal correlation to the history of Kediri is not a coincidence. The first fact, it is clear that both songs were created to implicitly communicate the current region of Kedi- ri was chosen by the Javanese king to be the center of civilization in the past. Se- condly, both songs have the ‘property’ of fire or api that refer to the Kediri’s old name, Dahanapura, which means the ‘City of Fire’ (Mardiwarsito et al., 1992, pp. 6 & 78). Thus, Immortal Rites’ choice to articu- late Kediri history is kind of epic because they are likely to emphasize an alternative way of understanding the notion of being Javanese. To understand and be worthy of being called Javanese, man does not have to put or fixate themselves on the ‘middle’. Through the art, Immortal Rites specifically emphasized ‘Daha’ as a sign that connotes the notion of identity of Kediri-based Ja- vanese they wish to manifest. The consis- tency in realizing Kediri as an integral part of the whole of Java indicates that their art is nothing more than to create a narrative of contemporary Javanese identity. Their speech during the interview with Rotus Re- veal TV in 2020 emphasized the sense. “Orang kalau nanti membeli Bathara Api itu, dia tahu, terjadi dialog-dialog dengan kita, dia akan tahu sejarah Kediri…Ayolah Kediri ini dipelajari, Kediri ini adalah kota kuno yang banyak meninggalkan ajaran- ajaran leluhur yang sangat arif dan seba- gainya” (Rotus Reveal TV, 2020) “People, when they buy Bathara Api, they know there will be dialogue with us, they will know the history of Kedi- ri…come on, let’s us study about Kediri; Kediri is an ancient city that has left be- hind many wise ancestral teachings and Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 277 so on.” They expected that Bathara Api could mediate their wish to create dialogue about the topic and the embodiment of Kediri-based Javanese identity. They ex- pected their listeners to gradually under- stand that the city is a kind of ‘relic’ left by the ancient Daha-Javanese ancestors. They hoped that the current people now, especi- ally the youth in the scene, realize that the city’s modernity and development is an inevitable heritage, a treasure left by the Daha ancestors’ wisdom and glory. They wished to provoke people to realize that those who live now are inevitable to the ancient Javanese civilization of victorious Daha. Even they stated that the Javanese cultural wisdom and nobility were not ne- cessarily centered in the ‘middle’ because such ethics can be found throughout the city of Kediri. Further, in an interview with one of JTV (Jawa Timur Televisi) bureaus in Kediri, Doni (vocalist) confirmed that Ke- diri was ‘him’; he conveyed that Kediri was who he really is. He consciously ad- mitted that the true form of his ‘self’ is the Kediri itself. “Jadi orang kalau belajar, istilahe sebelum belajar kesana-sana, kudune belajar ke kota- nya sendiri, ke Kediri lah, awake dewe” (JTV Biro Kediri, 2021) “So, when people study, before they study about anything, they should stu- dy about their own city, the Kediri, the self.” Contemplating the statements, we may realize that Kediri means something beyond just a city in East Java. Kediri be- comes a sign that signifies the existence of man and the awareness of the embodiment of the self. Thus, Kediri is way beyond it- self since it is a fact that its existence be- comes a starting point for man to under- stand and imagine the existential nature of themselves. In addition, it is common that we find Javanese have an ‘inner’ special comprehension for land as they appreciate its existence in various meanings, inclu- ding land as it is, residence, prosperity, welfare, honor, ancestral attachment, heri- tage, and even identity (Pujiriyani, 2020). Not only that, but it is also common that we find Javanese often reflect their’ state of identity through the perspective of histori- cal tread between themselves and the for- mer pioneers of the land (Adji, 2017). Both beliefs are merely context, leading to the truth that the music they play has encou- raged and represented their philosophical grasp of recognizing self-identity in a con- temporary way. Through their arts, they instilled that people need to realize if every region in Java is historic and inherently belongs to the noble Javanese culture and wisdom as a whole. They implied that rather than fo- cusing the mind on appreciating the exis- tence of kraton as the axis of Javanese cultu- re, as the center of the most’ refined’ form of the Javanese culture (Florida, 1987), they reminded people to remember that Java- nese is not fully alive and developing just in there. It is a fact that Kediri is a region that is not really taking place in the center of Java; it is a fact that it once belonged to a specific Javanese king that may be a non- native to Kediri, but living the Javanese way of life and identity with a deeper ten- dency to a particular ‘Kediri’ conveys furt- her complexity of man’s reflection toward his land where they live in, maybe, for the rest of their life. Therefore, to say that Im- mortal Rites’ represented a Kediri-based Ja- vanese identity that comes from the daily lives-based sensibility is a proper logic. Narendra (2017) was also aware that Immortal Rites did explore ‘Javaneseness’ close to their daily lives for their basic inspiration of the music they love. For that, we then comprehend that Narendra’s ar- gument is well reasoned since Immortal Ri- tes, in the context of Api Dari Timur album, explores the daily reflections of beliefs and spirituality of ancient Kediri. From here, it should be noted that it is indeed relevant if we assume that what Immortal Rites had done ‘by’ and ‘with’ the Black Metal aest- hetic aims to manifest something that they constantly live by. Something that cons- tantly exists as an active micro-cosmical awareness in realizing their daily encoun- ter with the macro-cosmical realities. The manifestation of the people of Daha-Kedi- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 268-282278 ri; a Kediri-based Javanese identity. The only distinction between this study and Narendra’s is the difference of data source, since the two songs have not been released in 2017 yet. However, we both agree that Immortal Rites’ did explore ‘Javaneseness’ in the context of their daily lives as the people of nowadays Kediri; as the people that inherited the blood, the legacy, and the wisdom of the old Daha. All in all, we both agree that their arts contain a narrati- ve of how they imagine ‘Java’ with a Kedi- ri-centered insight. If so, what prompts them to compre- hend as such? Of course, it is because the Black Metal they played. It is very likely that they would not have become what they are today if they were not immersed in the Black Metal culture renowned for its tradi- tion of antiquity and yesteryear exaltation (Masciandaro & Connole, 2015). Thus, It is true that through and by music, humans— both them and who listen—are fully aware of themselves. The Black Metal leads them to be conscious of their existential nature of themselves. The Black Metal provokes them to explore further knowledge and comprehension of their land’s historical background. Again, the Black Metal en- courages them to communicate what they believe in as what is inherently embedded into their lives so far. Through the musical experiences, they went through, they were constructed to manifest their notion of a state of being in the socio-cultural activi- ties they passed. The inner force of Black Metal has pushed Immortal Rites’ to reflect and chant their ‘wished’ and ‘believed’ Ja- vanese identity based on the contemplati- on of the historical dimension of land and its former people; based on regional anti- quity. Therefore, we assume that Immor- tal Rites’ art is the structured narrative of identity. We conclude that Immortal Rites try to narrate their reflective idea of the contemporary Javanese identity, a Kediri- based Javanese identity whose part of the Javanese discourse as a whole. The degree of contemporary Kediri-based Javanese caught from the contents that inspire the creation of arts, including the story of Ja- yakatwang and Calon Arang, the setting of the city of Daha, and the characteristic of fire in both songs’ titles that refers to the Dahanapura or old Kediri’s name. Not only that, it was caught, too, through the langu- age they use and the pattern of self-philo- sophical reflection to the understanding of Kediri land and pioneer. CONCLUSION Based on the explanation above, we conclude that Immortal Rites really arti- culate Javanese local features and values through their art. It is why they bear the title the Kejawen Black Metal. The first Ja- vaneseness inside their art is the obvious usage of the ancient Javanese language for the lyrical convention. Then, the second is the lyrical content of Serpihan Api which turned out to be a piece of Javanese history about the success of Jayakatwang’s coup to the Singhasari empire and the re-establish- ment of the Kadiri kingdom. Last but not least, we found that Legiun Api related to the ancient mystical legend of Calon Arang whose contextual setting refers to the era of the Javanese king of Daha, Airlangga. Gi- ven that, we ascertain that Immortal Rites specifically imagines Java through an in- sight that is massively formed toward exp- loring ancient Javanese history and legend in the era of Kadiri kingdom. For this reason, we believe that Im- mortal Rites’ arts signify a specific contem- porary identity they want to manifest in today sociocultural space. Here, we con- clude that Immortal Rites’ arts are structu- red narratives, representing a particular contemporary Javanese identity of Kediri- based. Immortal Rites show us that identi- ty is unstable in nature. They showed us that identity is fluid and does not imply a stable core within itself. The represented Javanese identity turned out to have a de- gree of instability, in the sense that its exis- tence does not mean to refer as the one the global world mostly knows. They showed that becoming a Javanese is not to focus on contemplating the existence of kraton, Petrik Mahisa Akhtabi et al., Music and Identity: Immortal Rites’ Art as the Narrative of 279 but rather to deepen sensitivity to every ‘Javanese properties’ close to daily lives. And, so yes, Immortal Rites did contemp- late and represent a state of being Javanese based on the ‘Javaneseness’ that is close to the history of Kediri, the place they live in. The degree of being Kediri-based can be caught from the contexts that inspire the contents of their arts, including the story of Jayakatwang, the legend of Calon Arang and the elements of ‘fire’ in both songs. 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