60 Preserving Gambang Semarang Music Through The Process of Enculturation in The Society Eko Raharjo, Soesanto, Tjetjep Rohendi Rohidi, Udi Utomo Universitas Negeri Semarang, Indonesia Submitted: 2020-12-12. Revised: 2021-02-17. Accepted: 2021-05-09 Abstract This study was devoted to investigating the preservation of gambang Semarang music through the enculturation process comprehensively. Two basic strategies were employed in examining research problems: using theoretical approaches in traditional music, preservation, and encul- turation and a qualitative approach. Further, the target and site comprised gambang Semarang music preservation through the enculturation process among Semarang people. The data were collected from observation, interviews, documentation, and library research. Data validity ap- plied source, time, theory, and researcher triangulation. The collected data and information were then analyzed inductively by relying on an interactive analysis model with the following steps: data reduction, display, and verification. It was suggested that the enculturation process of gam- bang Semarang music within three generations in the nang nok gambang Semarang group served as the activity of cultural awareness of society, artists, and performers. It was to carry out the enculturation process towards young generations, even children, as the future generations. The approaches to the teaching and learning process were modeling, conditioning, and internaliza- tion. Such an enculturation process was proven to function effectively as the cultural mechanism and enculturation model in preserving gambang Semarang music as the cultural identity of Sema- rangan. Keywords: enculturation; gambang Semarang music How to Cite: Raharjo, E., Soesanto, Rohidi, T. R., & Utomo, U. (2021). Preserving Gambang Semarang Music Through The Process of Enculturation in The Society. Harmonia: Journal of Arts Research And Education, 21(1), 60-67 Harmonia: Journal of Arts Research and Education 21 (1) (2021), 60-67 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i1.27722 and even extinction (Harlenda, 2016; Hen- driawan & Astuti, 2017; Triyanto, 2015). According to (Goertzen & Bohlman, 1991), the impact of music modernization is the loss of traditional music or folk music. This resonates with Stokes (Stokes, 2018), poin- ting out that music modernization is more likely to be westernization with a variety of genres that are massively spread over mass and social media, making traditional music pressed. Gambang (a xylophone-like instru- ment) Semarang music as one of the Sema- INTRODUCTION Entering the Fourth Industrial era ma- kes various traditional arts often reported to experience alienation. Some arts being expressed for decades and even hundreds of years ago have increasingly ceased to exist, along with the decreasing number of artists and art enthusiasts. The current de- velopment resulting from modernization or industrialization makes countless tradi- tional art go through “negative” changes towards deterioration, marginalization, Corresponding author: E-mail: raharjoeko1965@mail.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Eko Raharjo et al., Preserving Gambang Semarang Music Through The Process of Encultur- 61 rang arts is among the traditional arts and parts of culture that goes through unstable development. The process to become one of the Semarangan cultural identities is still carried out by the society, art perfor- mers, academics, gambang Semarang mu- sic enthusiasts, government, arts groups, and formal and non-formal educational institutions (Chasanah, 2009; Raharjo & Arsih, 2019). Several studies have always been conducted to complete literacy reper- toire regarding gambang Semarang music. Danang Respati Puguh (Danang Respa- ti Puguh, 2012), through the research in 1999, attempted to fully reconstruct the art of gambang Semarang after going through a temporary slowing of development in previous eras. Other studies from different disciplines in connection with the art of gambang Semarang have also been done, including photography, law, broadcasting program, forms of performance, creativity, existence, and culture (Annikmah, 2019; Chasanah, 2009; Linardi et al., 2013; Ma- yasari, 2016; Riyandri, 2016; Sadtiti, 2016; Septiyan, 2016; Wicaksono et al., 2014). Nevertheless, the aforementioned studies solely discuss gambang Semarang art in general. Meanwhile, studies that specifi- cally examine gambang Semarang music are forms and functions of presentation (Mayasari, 2016), cultural hybridization process (Widjajanti & Bramantyo, 2012), and gambang Semarang music as the Se- marangan cultural identity (Raharjo & Ar- sih, 2019). Gambang Semarang music, if viewed from cultural concepts, is a small part of the holistic meaning of culture. Culture (or budaya in Indonesian) is derived from Sanskrit, i.e., buddhayah, as the plural form of the word buddhi that means intellect or mind. Budaya also comes from the word “culture” in English (April, 2018; Brown, 1998; Clarke, 2008; Cragoe, 2004; Koentja- raningrat, 2002; Reicher & Hopkins, 2011). Culture relates to human minds passed from generation to generation. The ele- ments of culture consist of language, reli- gion, belief, technology, family, economic system, government politics, art, tools and utensils, knowledge system, skills, liveli- hood, and others. As part of Semarangan culture, gambang Semarang music is still in self-actualization through many cultural activities. Gambang Semarang community is a society-based activity that pays great attention to the existence of gambang Sema- rang and its music. Besides, a non-formal educational institution, Merby Semarang Club, also supports the gambang Semarang music by forming a group called Nang nok Gambang Semarang. Today, the presence of such an art group undergoes ups and downs in its development (Chasanah 2009; Septiyan 2016), given that members who join and leave the group are directly proportional to the existing students in participating in the skill courses at Merby Semarang Club. Nang-nok group also plays a significant role in supporting the art of gambang Se- marang as one of the Semarangan cultural identities. This cultural phenomenon is of interest to the researchers to further dis- cuss, despite the challenges of unmoving modern and digital art groups. This matter raises a fundamental question of how art performers in gambang Semarang music groups and nang nok group perform the cultural mechanism to maintain and pre- serve gambang Semarang art in general and gambang Semarang music in particular. Drawing upon the above question, background of the study, and review on studies about gambang Semarang music, no studies have discussed the encultura- tion process in preserving such music as the Semarangan cultural identity. It is ex- pected that the present research can pro- duce an enculturation model in preserving gambang Semarang music as the Semaran- gan cultural identity through formal and non-formal education, or directly to the people by artists and family members. METHOD This study relied on a cultural ap- proach that was operationally actualized by elaborating a qualitative method (Cres- well, 2014; Merriam & Grenier, 2019). It Harmonia: Journal of Arts Research and Education 21 (1) (2021): 60-6762 was conducted in the city of Semarang, Central Java Province. The main target was the enculturation process of gambang Semarang music from the non-formal edu- cation perspective. Subjects as data sour- ces involved students, artists, bureaucrats, prominent figures playing gambang Se- marang instrument that consisted of the players of bonang, gambang, saron demung, gong, kendang, kong ah-yan musical instru- ments, and singers joined in nan-nok group of gambang Semarang music, as well as key informants (instructor, the leader of gam- bang Semarang group, and the manager of Merby Club). The required data or information were retrieved from an involved observa- tion, in-depth interview, individual’s life history (Cohen et al., 2005; Jones et al., 2006; Patton, 2014; Sgier & Sunday, 2012; Willis, 2012), visual recording, and documents that included archives of art potential, cul- ture, and welfare of Semarang, photos and videos of practices and performances by nang-nok group, along with the findings of gambang Semarang. In addition, the data validity test used source triangulation (Sugiyono, 2013). The collected data were then analyzed inductively by applying an interactive analysis model by Huberman (Creswell, 2014; MIles & Huberman, 1994) through the following stages: data reducti- on, display, and verification. RESULT AND DISCUSSION Education serves as the enculturati- on medium carried out systemically wit- hin a family, school, and community. As the enculturation medium, every formal and non-formal educational institution is expected to inherit and instill the systems of knowledge, belief, ideas, and commu- nity cultural values where the education takes place. Merby Semarang Club, a non-formal educational institution in Semarang, has organized some skill courses: English, Mandarin, tutoring, chess, drama, pain- ting, dance, drawing, modeling, music, public speaking abacus, singing, and wus- hu (Chinese Kungfu). Merby Club has skil- led and professional instructors in their field from 2004 to these days. This is pro- ven until this research was conducted that 500 students with different skills have join- ed the club. Apart from managing various skills courses, the Merby Club is also the sole non-formal educational institution in Semarang that still cares about the original Semarang art, i.e., gambang Semarang. It is actualized by forming an art group of gam- bang Semarang called nang-nok group. The members are students participating in the skill courses and having dance and music as their hobbies. A discussion regarding gambang Se- marang music as among the Semarangan cultural identities is undoubtedly insepa- rable from nang-nok group because it is one of the art groups of gambang Semarang that remains existed. Nang-nok gambang Sema- rang is a youth community with the same goal, i.e., preserving the art of gambang Se- marang, including the music. This group is present as the regeneration of gambang Se- marang art. Nang nok is an open art group, meaning that it allows all people, especi- ally young adults, to join and have the common goal, i.e., nurturing (nguri-nguri in Javanese) the culture, specifically the traditional art of gambang Semarang. Kris- na (2019, January 19) opines that the nang nok group does not only consist of music artists, singers, and dancers, but also the general public, particularly young adults, who take into account and want to expand the art of gambang Semarang. The idea of forming this group was initially from the owner of Merby Club art college, Grace W. Susanto. In 2004, Grace met Jayadi, an artist of gambang Semarang art. At that time, Ja- yadi and other artists were performing at someplace. Grace was interested in mu- sic, and ended up talking about gambang Semarang with Jayadi. Being intrigued by such an art, Grace and gambang Semarang artists finally reformed gambang Semarang art by purchasing some gambang Semarang instruments from Jayadi and those origi- nally from Rembang. Eko Raharjo et al., Preserving Gambang Semarang Music Through The Process of Encultur- 63 The practice space of Nang nok gem- bang Semarang is located at Jl. Mataram No.653, Wonodri, Semarang Selatan District, Semarang; the whole practice is done at the Merby Club. Nang nok gam- bang Semarang is an open group, making the members varied. This group is formed as a medium for young adults passionate about art and willing to preserve gambang Semarang art. From year to year, Nang nok gambang Semarang regenerates its mem- bers to make all people, young adults, in particular, take part to preserve it. Figure 1. Nang nok Gambang Semarang at the workshop in Oudetrap Building, Kota Lama Semarang (Photo: Eko Raharjo 2019) Enculturation Process Enculturation is a gradual process, and culture is a social inheritance. Cultu- re is passed from generation to generation through a learning process, both formally, non-formally, and informally. Formal lear- ning is mainly carried out in educational programs of educational institutions, such as schools, academies, universities, and job and skill training centers. Here, all forms of spiritual and material culture, i.e., notions, ideas, norms, patterned activities, and any objects, are provided in lessons and cur- ricula arranged and given systematically (Triyanto 2015). Non-formal education, on the other hand, is for people who need educational services functioning as a substitute, addi- tion, or complementary of formal educati- on in order to support lifelong education. Among the administrators of non-formal education, Merby Club establishes gam- bang Semarang group called Nang nok. The process of member regeneration of nang nok group has constantly been ex- periencing twists and turns. The first cross- generation in 2007 was coordinated by Anugerah. It was called cross-generation because the members contrasted starkly in terms of age; some were older adults and some were young adults. This first genera- tion of nang nok was trained by Dimyanto Jayadi and Marjuri, senior artists of gam- bang Semarang. As the ones who understood the his- tory of gambang Semarang music at that time, Mr. Jayadi and Mr. Manjuri trained the employees and Merby Semarang Club each gambang Semarang musical instru- ment. They all liked music, despite diffe- rent educational backgrounds. Limited in- sights of Mr. Jayadi on pedagogical science enabled the learning system to be done by directly giving examples of song notati- on being played verse by verse in each gambang Semarang musical instrument. The players then modeled and played the notation being taught. Further discussi- on about this process comprises several experts’ ideas stating that enculturation can be performed with three methods, as follows: (1) conditioning, (2) modeling, and (3) internalization/learning to cope (Konnert & Tieu, 2015; Mapana, 2011; Triyanto, 2015; Zhang & Moradi, 2013)la plupart des mesures d’acculturation sont uni-dimensionnelles, avec peu de données psychométriques pour les immigrants plus âgés. Cette étude a évalué une mesure bi- dimensionnelle, l’indice d’acculturation Vancouver (IAV; Ryder, Alden, et Paulhus, 2000. The learning model explained earlier can be theoretically considered modeling learning. The next step Mr. Jayadi did was repeating the notation until the learners memorized and were ready to have other notations. Such a concept, if associated with the enculturation theory, falls un- der the conditioning method. According to the Great Dictionary of the Indonesian Language (here and after, KBBI), kelazi- man (conditioning) comes from the word lazim, which means being accustomed to, becoming custom, the process of making Harmonia: Journal of Arts Research and Education 21 (1) (2021): 60-6764 something become accustomed, custom, and accustoming. After the players had mastered all the song notations, Mr. Jayadi exemplified how the musical instruments sounded harmonious by showing expres- sions or fully living and breathing the mu- sic. If this stage is adjusted to the theory, it is considered internalization; according to KBBI, internalization means inner experi- ence. Through the process of enculturati- on (Augros & Stanciu, 1991; Bing & Mc- Neal, 1997; Hannon & Trainor, 2007; Kong & Pearson, 2005; Konnert & Tieu, 2015; Zhang & Moradi, 2013), (Schönpflug, 2008) notes that culture is learned by children who grow in the society and find how their parents and surrounding people interpret their lives. Living among the community enables the children to learn how to dis- tinguish various matters, classifying and doing actions, evaluating the goodness and badness of something and the ap- propriateness of an action. (Scupin, 2012) highlights that the absence of enculturati- on will cause humans to not think, behave, and develop oneself to function in society. Different backgrounds of the mem- bers lead to numerous knowledge diffe- rences in terms of arts, especially music. Based on such differences, one goal is dis- cussed so that few creative ideas are raised (Guilford, 1957; Pope, 2005; Runco, 2007; Sternberg, 1998), and eventually resulting in enjoyable work. Nang nok members themselves are male and female young adults who are passionate about learning the arts and preserving traditional arts of Semarang. The first generation of Nang nok lasted until 2013, along with the decline in Mr. Jayadi’s health as the main instructor. However, the long process of encultura- tion brought forth the successors of great artists of gambang Semarang. Besides prac- ticing in Merby Semarang, the members of Nang nok group also practiced at an art group “Sobokart” Semarang, under the coordination of Mr. Totok Pamungkas. For approximately three years, Nang Nok group went through ups and downs in its development. The “sobokarti” art group was also completely devoid of art activi- ties, causing the members to only practice at the Merby Club on Saturdays and Sun- days. In 2016, Nang nok group formed the second generation coordinated by Johanis Adityawan. The members in- cluded university students, Catur as the kendang instrument player and majoring in mechanics, Johanis Adityawan as the gambang instrument player and studying at the department of communication, Wu- lan as the demung player and majoring in psychology, Maya as the saron player and studying at the department of marine, Resa as the bonang player and majoring in fine arts, Universitas Negeri Semarang. The process of learning or enculturation of gambang Semarang music in the second ge- neration was the same as of the previous generation with the following order: mo- deling, conditioning, and internalization/ learning to cope) (Downey, 2008; Kong & Pearson, 2005; Triyanto, 2015) The enculturation process in non- formal education at Merby Semarang Club did not stop here. In 2018, the third gene- ration of Nang nok group was formed by involving course members interested in music. The club also spread out its range to schools to introduce gambang Semarang art, specifically the music, to the students as the future generations. By this, they could love their own traditional arts and strengthened gambang Semarang music as one of the Semarangan cultural iden- tities. Nang nok gambang Semarang group exceptionally maintains solidarity. Until today, the group members participate and uphold a sense of community by regularly practicing on Saturdays and Sundays. On that ground, the enculturation process of gambang Semarang music within the Nang nok group can be depicted as an encultu- ration model in preserving gambang Sema- rang music (see Figure 2). Eko Raharjo et al., Preserving Gambang Semarang Music Through The Process of Encultur- 65 Figure 2. Enculturation Model in Preserving Gambang Semarang Music Nang nok as a cultural group under non- formal education is excellent that is also sup- ported by the well-managed art group. This is proven by a large amount of performance by Nang nok group since its establishment un- til now, e.g., performance at Trade Office of Central Java, Warung Semawis (2007), Anni- versary and Launching of “Berapung-apung” Book by Dr. Abu Suud at Great Mosque Con- vention Hall of Central Java, Medical Sympo- sium and Seminar on Neurosurgery at the hotel (2008), presidential inauguration of Jokowi at MCC (2014), Art Market at Raden Saleh Cul- tural Park, Mikom UNDIP Gathering, Exhibi- tion Opening of The Life and Work by Thomas Karsten (2016), Performing with the Gambang Semarang Gambang Group on one stage “Srawung Semarangan”, GKI Youth Gathering (2017), and enlivening the launching of “Per- anakan Tionghoa Indonesia, Sebuah Perjalanan Budaya” book, Collaborative performance of Gambang Semarang art, Mini concert of Gam- bang Semarang (2018), CONCLUSION The present study concludes that the enculturation process of gambang Sema- rang music within three generations in the nang nok gambang Semarang group serves as the activity of cultural awareness of so- ciety, artists, and performers. 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