40 Ulahahan Babatu Orchestra: Concept and Functional Role of Inclusive Music Community Citra Aryandari, Karel Martinus Siahaya, Fariz Al Hazmi Institut Seni Indonesia Yogyakarta, Indonesia Submitted: 2023-01-28. Revised: 2023-04-06. Accepted: 2023-05-17 Abstract The presence of Toki Batu music in Ulahahan Village as a cultural product cannot be separated from the musical narrative of the Maluku people, which has been part of social and cultural life since ancient times. This study aims to explain the concept of inclusiveness within the group and its functional role in society as an inclusive music community. The research method uses a de- scriptive qualitative with an ethnographic approach. Data collection techniques were carried out through observation, semi-structured interviews, and documentation. The study results explain that the concept of inclusiveness in the Ulahahan Babatu Orchestra community lies in member- ship open to people from various backgrounds, both children and adults. The Community also does not provide special requirements to be able to join the group because Toki Batu’s music belongs to the Community, and anyone should be able to contribute. The leadership style used is based on local culture by adopting respect for elders. As a result, the leader is someone who is older and more experienced in community management rather than someone who has mastered music. Functionally the role of the Toki Batu music community revives community creativity and influences collectively in various fields such as recreational, educational, communication and religious facilities. Keywords: Ulahahan Babatu Orchestra, Music, Inclusive Community How to Cite: Aryandari, C., Siahaya, K. M. & Hazmi, F. A. (2023). Ulahahan Babatu Orchestra: Concept and Functional Role of Inclusive Music Community. Harmonia: Journal of Arts Research and Education, 23(1), 40-52 Harmonia: Journal of Arts Research and Education 23 (1) (2023), 40-52 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v23i1.42411 choir event called “Pesparawi” in Central Maluku Regency attracted a lot of attenti- on when participants with thirty children performed stone music. The children sing with playing stone to entertain the audi- ence, who see the chorus with repeated choruses and choices. This music game became known as “Toki Batu.” Toki Batu comes from the word “toki” and “batu” (stones), which means hitting the stones. Stones playing is combined with several other instruments, such as simple musical instruments made of wood and bamboo, while singing songs. INTRODUCTION Music has become a part of human life as an expression of feelings through art. The process of self-awareness understands that the need for expression in music rai- ses creativity to be shared with others. Humans are easily able to identify them- selves and make music their own, which is known, liked, used seriously, infused, and shares every meaning of life through music (Gilbert, 2010). In this case, music is the result of self-creativity that is used for self-needs and social needs. In 2018, a Corresponding author: E-mail: farizalhazmi16@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Citra Aryandari et al., Ulahahan Babatu Orchestra: Concept and Functional Role of Inclu- 41 “Toki Batu” music originates from Ulahahan Village, located in Central Ma- luku Regency, in the interior of South Se- ram. Maluku, the city full of songs, dan- ces, and beautiful music which is always echoed, both at home, in the alleys, and at the official stages that are held, makes the atmosphere lively and changes vario- us situations ranging from sad situations. These situations are tense and worried in a beautiful, romantic, and meaningful at- mosphere. Music and singing that flow beautifully not only exist in the cities, but the strains of singing and music penetrate time and space and the quiet countryside, including in the village of Ulahahan. Then, to improve the management of Toki Batu’s music, a community called “Ulahahan Ba- batu Orchestra” abbreviated UBO was for- med on October 7, 2021. The Community was formed by Anez Latupeirissa, a music artist from Ambon City who took this ini- tiative on the awareness that it is very im- portant to manage this music group to be more professional and can even strengthen the identity that the owner can use. Iden- tity can be used so that people feel they belong to certain groups that are built and maintained collectively (Chen, 2014). What’s interesting about the UBO community is the inclusive concept that is used to bring together individuals of dif- ferent ages, ethnicities, and backgrounds, including non-musicians. The Community can be said to be a solution that becomes a new problem because it is formed by peop- le who have the same feelings but leave other people with different feelings (Wil- lingham, 2021). Inclusion itself is a useful approach to developing and building an open environment. In inclusion, people of different ethnicities, backgrounds, status- es, skills, and conditions come together as one group. Forming an art group has an important role in building people’s lives in various aspects. Art is a creative process and a cultural product with a social fun- ction. So, managing the arts to become a group creates various functional roles the community uses. Music community management is used to describe the inclusive concept of UBO’s music community. According to Yerichuk & Krar (2019), this theoretical ap- proach is used to identify goals; leadership; inclusive musical structures and processes; inclusive social structures and processes. Thus, an inclusive community can accept various forms of diversity and difference and accommodate them into various struc- tures and infrastructures within the com- munity. Small (1998) stated that one way to describe social communities related to music is through the people involved. In identifying the role of the Ulahahan Baba- tu Orchestra music group, the approach is carried out using functional roles. The role is a combination of self-concept and social recognition determined by others (Weh- ner, 2014). The role concept involves the ego’s perception of his social position and the expectations of others (Wehner, 2014). Biddle (as cited in Lemay, 1999) defines a functional role as a form that is understood as shared normative expectations that de- termine and explain behavior. According to Şesen (2015), the functionalist approach sees roles as an expectation that society places on individuals in economic (chan- ging opinions), legal (adjusting behavior), and social (paying attention to benefits) aspects. According to Feldman (1967), art shows a social function if: 1) The art seeks or influences the collective behavior of many people. 2) The art was created to be seen or used in public situations, and 3) The art expresses or explains aspects of social or collective existence as opposed to various personal and individual experien- ces. Research in the realm of understan- ding the concept of inclusive music groups is still very foreign, especially in terms of social relations and their roles. Previous research conducted by Welch et al. (2014) explained that involvement in musical activities could have an impact on social inclusion, such as a sense of self and so- cial integration, which can be developed through the educational process. Research from Nethsinghe (2009) explains that for- mal schools may not be able to meet all the Harmonia: Journal of Arts Research and Education 23 (1) (2023): 40-5242 different cultural needs of multicultural groups, so each community needs to pro- vide opportunities for future generations to achieve their goals. Then the results of research by Veblen (2007) explain that music communities are always formed and determined by certain social settings in relation to issues of participant charac- teristics, interactions between objectives, knowledge, and teaching-learning strate- gies, as well as interactions between social context, informal cultural education, and formal. Several studies have explained that the relationship between music and com- munity is always related to the process of education and education. Even though this concept is the main thing in preserving music, the presence of an inclusive process in a music community carries various roles through the concepts that they bring. So that the discussion of music communities that focus on inclusive concepts is an in- teresting part to study; apart from that, as a traditional music community that is still relatively new to the presence of the Ula- hahan Babatu Orchestra, it is an interesting topic to discuss. From this background, this study aims to describe the concept of inclusion in the Babatu Orchestra Ula- hahan group and its role in the Ulahahan community, with the hope that the results will further explain that the concept of in- clusion in music groups does not only act as education but also plays a role in vario- us other aspects. METHOD Toki Batu’s musical journey provides ideas in research concepts that can be exa- mined through the qualitative realm with a descriptive presentation. This research is carried out by identifying problems re- lated to the issues or symptoms to be stu- died, which are then analyzed in depth by Creswell (2008). As research seeks to look at art culturally in society, ethnography is used as an approach by entering the re- search field to bring up a set of represen- tations. Ethnographic research seeks to encourage researchers to enter into com- munity interactions that will be studied through the behavior and perceptions that occur (Reeves et al., 2008). In the realm of culture, ethnography focuses on a qualita- tive exploration of people’s lives (Barker, 2003). Observation, interviews and litera- ture study carried out data collection. In this study, the stages of ethno- graphic research used the opinion of Spradley (2016), first, define research in- formants; The resource person in the study was Anez Latupeirissa, a music composer who formed the Ulahahan Babatu Orchest- ra music community. Then, other sources will be adjusted to data needs in the field. Second, Conducting Interviews; After ob- taining the informants, the research ente- red into the initial stages of the interview. The initial questions were asked clearly to avoid misunderstandings. In conducting questions as an introduction to culture, the initial questions need to be done, such as the history of the occurrence of cultu- re, processes, and general things. This is done to trigger new questions later. Third, recording results (ethnographic); When conducting interviews, researchers made notes that had been obtained from inter- views with informants. In this case, direct research analyzes the answers and can ask odd and interesting questions. Fourth, ask descriptive questions; Descriptive ques- tions were asked to strengthen these fin- dings. Descriptive questions are asked to ask the specific meaning of an event that occurs in that culture. Fifth, conduct an analysis of the results of the interviews; After conducting interviews and getting unstructured writings, the next step is to do an analysis. According to Milles & Hu- berman (1992), data analysis consists of three activities that occur simultaneously, Sixth, perform domain analysis; The pro- cess of domain analysis is carried out to make terms conveyed by informants. The term has a close relationship with the le- gitimacy of data and results in precise se- mantics. Seventh, asking structured questi- ons as a complement; Structured questions are used to complete small questions or Citra Aryandari et al., Ulahahan Babatu Orchestra: Concept and Functional Role of Inclu- 43 descriptive questions. This question is as- ked to justify and add proper results, not more questions. Eighth, make a taxono- mic analysis; Taxonomic analysis is an at- tempt to focus on the questions that have been asked. There will be many findings as sub-objects from the interview results that are not yet focused on, so this analysis is carried out to focus on several sub-ob- jects that will be used as research material. Ninth, ask contrasting questions; Cont- rasting questions are asked when getting a statement that is not clear; for example there are two or more different statements, but the meaning is the same or vice versa. This question aims to strengthen findings that are still ambiguous. The tenth is iden- tification by component analysis; Compo- nent analysis is carried out when entering and after leaving the field. The component analysis aims to avoid missing or missing data. If the data obtained is still lacking, the interview must be done again. Ele- venth, determine the theme; Determining cultural themes in ethnographic research is the culmination of ethnographic analy- sis. Research must bring up themes that can attract the attention of the reader and become a novelty of studies that other re- searchers have not done to achieve success in ethnographic research. Twelfth, writing ethnography; The theme that has been de- termined with the results obtained is then written ethnographically, where ethno- graphy flows like telling a story. The story- line is written according to the journey to find phenomena that occur in the cultural realm. RESULT AND DISCUSSION Purpose and Structure of Inclusion in Ba- batu Orchestra Devotion Toki Batu music, which was deve- loped by Anez, has actually been known by the Ulahahan people for a long time, only as a game played by children after returning from their gardens. The Idea of Birth of Stone Music is one of the tra- ditional musical instruments made from the creativity of its people. Art can be rea- lized through skill in demonstrating so- mething or multidimensional expertise in creating something inventively (Marianto, 2017). This music was originally part of the community’s self-entertainment when crossing the river. The children played on the bank of the river, hitting the rocks around them. As a young composer, Anez Latu- peirissa tries to develop Toki Batu’s mu- sic through his creativity. One form of development is by forming a community. Since appearing for the first time as per- former at the Pesparawi event in 2018, the Toki Batu group has increasingly existed and been active in various pieces of trai- ning conducted and scheduled by Anez. Initially, this group was given the name “Babatu Music” group, then changed its name to “Beta Ulahahan Ethnic Music,” but over time and with various considera- tions through suggestions and input from several music artists, it was finally agreed to change the name. from “Beta Ulahahan Ethnic Music” to “Ulahahan Babatu Or- chestra” or UBO for short on October 7, 2021. Figure 1. Ulahahan Babatu Orchestra (Source: Personal Document, 2021) Before forming the community, Anez trained several people in Ulahahan village who were still in school until they were adults to play Toki Batu music. Af- ter training them, then groups are formed from members who have been trained by bringing common goals in the concept of community. The emergence of a commu- nity is based on existing goals as a commu- nity concept, as stated by Siagian (2016), who explained that community is a form Harmonia: Journal of Arts Research and Education 23 (1) (2023): 40-5244 of group that works together to achieve certain goals. Every member of the com- munity has demands to follow all existing processes and rules in achieving goals (Puspawatie, 2019). The purpose of the Ulahahan Babatu Orchestra is to become a traditional music group to prove that traditional music belonging to Ulahahan Village is able to compete with other well- known music globally. The group wants to introduce Ulahahan village as a village in the interior of Seram Island through Toki Batu music so that it is more widely kno- wn by the local community even outside the Maluku region. This goal provides an understanding that the Ulahahan Babatu Orchestra group seeks to strengthen a re- gional identity through Toki Batu music. Another goal of the Ulahahan Baba- tu Orchestra community is to accommo- date the creativity of young people in the Ulahahan Church Congregational Sunday School and develop their musical abilities. The group teaches the younger generation to preserve traditional music, which is still relatively new. The younger generation is the most important part of the concept of preserving and teaching them to play an active role in maintaining local wisdom values (Suparno et al., 2018). The enthusi- asm that is still high and the abilities that must be improved for young people are the foundation for them to continue car- rying out activities that must be preserved. As a group with artistic elements, the Ula- hahan Babatu Orchestra community plays a role in the concept of education for the community. Members who are members of it have the desire to learn and can play Toki Batu music. As most of its members are not from people who are experts in the field of music, in the community they are taught and nurtured to be able to play Ba- batu music. They can develop their creati- vity and express themselves in Toki Batu music by becoming members. The concept of education and training carried out in the Ulahahan Babatu Orchestra community is a form of non-formal education. Irwan (2017) said that training is included in non- formal education, which provides practi- cal, usable skills related to needs, business opportunities, and economic or industrial potential for the community. Non-formal education is an alternative to empowering and providing training for people outside of school. Therefore, in this case, the Ula- hahan Babatu Orchestra community plays a role in improving society’s quality in the non-formal education concept. Figure 2. Toki Batu Musical Instrument prac- tice activities (Source: Personal Document, 2021) Out of the several goals of the com- munity, the most important part is that the group was created to become an expec- tation of the group that together achieve goals. The group hopes to show Ulahahan Village’s potential as a village with Toki Batu music and to introduce it to the wider community. This hope is embodied in the music group, which continues to be held as a symbol of preservation. Kay (2000) said that preserving artistic activities col- lectively is looking at oneself about self- image and the image of a region. The development of some mem- bers, which initially consisted of 29 peop- le when it was formed, has now increased to 75 people from various backgrounds in 2021 (Table 1). The increase in the number of members shows that more and more people are interested in the existence of the Ulahahan Babatu Orchestra commu- nity. According to Kapoyos, Suharto & Syakir (2022), the people’s enthusiasm for supporting the preservation of traditional music is to use it as entertainment. Howe- ver, besides placing it as entertainment, enthusiasm can also be shown by contri- buting and being involved in playing the Citra Aryandari et al., Ulahahan Babatu Orchestra: Concept and Functional Role of Inclu- 45 music group. The Ulahahan Babatu Orchestra group began to be in demand by the Ula- hahan community from children to adults and developed into a musical ensemble group consisting of; a group of inflatab- le bamboo (kuma tiplam), a group of Toki Batu (Pele Vatwam) and a group of choirs (talioro kumi). With an inclusive concept in groups, members come from various ages and gender with the following categories (Table 1). The group has members consisting of students. Music lecturer, music student, government doctor on duty at the Telu- tih District Health Center, UKIM Ambon theology degree graduate, two Church ser- vants, one Congregational Council mem- ber, and a Church building guard (tuaga- ma). In playing musical instruments, each member has their role in using instruments such as bamboo flute, water feather flute, bamboo toki, bamboo toki, stone toki, and choir. Meanwhile, the youth and the el- derly play musical instruments Toki Batu, bamboo flute, bamboo winding, bamboo string blowing, sariki, rumba fruit, guitar, ukulele, cajon, string bass, and others. Furthermore, this Pele Vatwam stone music is often played in Sunday worship activities at churches on Seram Island, and has also appeared on TVRI Center Jakarta activities in the Tree House Club program, TVRI Ambon in the program Maluku To- day, Music Concerts made by Maluku Provincial Cultural Park. To be involved as a member of the Ulahahan Babatu Or- chestra, there are no requirements or se- lection like the system used by other mu- sical groups. In principle, the community only brings together children who want to develop their God-given potential and ta- lents. Anez (2021) says: “Even though we have to train them diligently and painstakingly, from not being able to read notation until they can finally play songs, that’s where our pride is.” Table 1. Number of Members of the Ulahahan Babatu Orchestral Music Community in 2021 Age 5 - 6 years Age 7 - 12 years Age 13 -15 years Age 16 - 18 years Age 19- 30 years Age over 30 years Amount M F M F M F M F M F M F 2 7 31 8 7 3 3 5 2 7 2 38 15 6 7 7 75 Table 2. Distribution of the Ulahahan BaBabatu Orchestra music group The Bamboo Blow band “Kuma Tiplam” consists of musical instruments: a. Bamboo Flute sounds 1, 2, 3, 4 b. Water feather flute (bass flute) c. Bamboo Tofu d. Tabea (Alifuru Row Bamboo Blow) e. Kuma Tiplam (inflated bamboo) The music group “Pele Vatwam” Toki Batu con- sists of musical instruments: a. Guitar b. Ukulele c. Kajon d. Sariki e. Rum fruit f. Bamboo sticks g. Pele Vatwam (Toki Batu) Choir Group “Talioro Kumi” Harmonia: Journal of Arts Research and Education 23 (1) (2023): 40-5246 Embracing diversity, inclusion, and equality is one step in shaping community culture by aligning goals, group styles, and change (Sahir et al., 2022). Group members in the community participate in learning and move in the way learning communi- ties are formed and how individuals are divided into work (Henley, 2009). The in- clusive concept of the community is free- dom which does not limit anyone from being able to join the group because the more people who want to be involved, the more people who are proud of traditional music in Maluku, especially in the village of Ulahahan. Inclusiveness in the Com- munity as a pattern for musical groups, is used as a way to position all members equally regardless of background, age and gender (Arasli et al, 2020). Social in- clusion is a process that empowers certain individuals or groups to participate in social life (Simarmata, 2017). The concept of inclusiveness in the Ulahahan Babatu Orchestra can be identified with various members from various ages and different backgrounds; even some members are not from a class of musicians who are good at playing music. Another influence that oc- curs in the inclusion process is the emer- gence of opportunities to utilize the music community in various activities. Group members who come from the church can use music as accompaniment for religious activities or members who come as lec- turers will have the opportunity to invite the community to present Toki Batu music performances at events at their university. This thinking has become an opportunity in inclusive ownership to promote mutual support (Roffey, 2013). Leadership As Control Leadership is an important part of the nature of a leader. This gives the role of how a leader manages and controls a community to achieve goals. Leadership is one of the success factors in the communi- ty, the better the pattern of leadership, the better the quality of the community they lead (Marwan et al., 2020). So, the policy of a leader has a big influence on the com- munity. The inclusive concept of this or- chestra illustrates that leadership is open to accepting members from various backg- rounds. In this case, the community can be considered an “act of hospitality” (Higgins & Lee, 2010). In which community leaders welcome someone with open arms without seeing or measuring their musical abilities and experience. The Ulahahan Babatu Orchestra mu- sic group has a “cultural” pattern. That is, leadership is based on who is older, he must be respected. As a community that was born in an environment with a cul- tural structure, the island of Seram has a culture that guides its life. Society upholds respect for elders who are more experien- ced in life. The culture that exists in the environment is then brought into the com- munity by arranging personnel based on age. The culture in the Ulahahan environ- ment adopted by this community provi- des space for the formation of individual behavior as members, especially for youn- ger members. According to Utaminingsih (2014), the environment significantly in- fluences the formation of one’s personali- ty. So that in the community, children will be taught to respect elders, as is the culture in Ulahahan. Respect for parents is part of the cul- ture in Ulahahan, which must be main- tained and preserved. Traditional parents play an important role in the Ulahahan community. For every problem that oc- curs, Indigenous Parents are involved in finding solutions to problems that occur. Therefore, this orchestra group teaches this so that future generations will still ad- here to this culture as a daily life value in Ulahahan Village. For the ages of PAUD children up to grade 3 elementary school, they will be responsible for playing musi- cal instruments that are played easily, such as hitting stones and bamboo only as a rhythm. Elementary school children from grades 4 to high school are responsible for playing the bamboo flute in the form of a flute group. Furthermore, the young men are given the role of playing the bass flute or water feather flute. This group is cate- Citra Aryandari et al., Ulahahan Babatu Orchestra: Concept and Functional Role of Inclu- 47 gorized as a kuma tiplam (blowing bamboo) music group, but in their children’s flute group, they are also a choir group (talioro kumi). The Toki Batu Group (Pele Vatwam) is a musical group consisting of adult mu- sicians entrusted with playing more than one musical instrument for each player. A leader or elder must have the abi- lity to motivate its members. They believe that fostering a community by maintaining the quality of music is not just training children to read musical notation (number notes), sing, and play musical instruments but also motivating them to keep their ent- husiasm in playing music. The method used by the group is to use musical expe- riences from musical groups that already exist in art. Musical groups are shown to children through video media to encou- rage them to make music and work well together because the music community can help develop trust when they learn to listen to others and learn to work together (Higgins & Lee, 2010). Apart from that, other motivations are also given to members who are still studying by encouraging them not to for- get their education. In motivating educati- on, namely by providing opportunities for children to read textbooks before starting to practice playing music. Even in training processes, practice activities are temporari- ly stopped when children are in the school exam period. Education is an activity that children should not abandon as group members. Because basically, playing music is a complementary science in the world of education which acts as a creative process. This is in line with the opinion of Jaffurs (2004), who said that the music communi- ty is an informal music learning space, the- refore, informal pedagogy can go beyond the direct physical environment. The Role of Music Groups: Art and So- ciety The life of the Ambonese people, who have been in contact with music sin- ce their ancestors, certainly sparked other areas around them to join in making music. This influence cannot be overcome, let alo- ne music as an expression and an expres- sion that gives a sense of comfort to those who play music or those who listen to it. Supported by regional unity that forms a brotherhood among the people of Malu- ku, which strengthens music and lights up in various regions, even in small villages like Ulahahan. Anez’s life, through music in Ambon City, inspired him to develop music in the land of Ulahahan. It was well received by the community and created a concept culturally. Anez’s strong deter- mination to build this band represents the uniqueness of the Ulahahan region. The name of the Toki Batu musical instrument originates from a local story. In the past, in Ulahahan, Telutih, Seram Island, when people came home from work from the fo- rest and crossed the river, they would rest on the edge of the river. While resting, they will sound the small stones on the river’s banks, and the stones are sounded as a rhythmic sound to determine the tempo of the song when they whistle or sing. Eve- rything was done to entertain themselves from feeling tired and exhausted after a long day of work. This habit makes them accustomed to the sound of music and feel comfortable. Shwartz & Fouts (2003) say that the tendency to listen to one type of music turns out to have an effect on a person’s identity or characteristics in eve- ryday life. Culturally, local Maluku musi- cal instruments are created both by utili- zing the sounds of objects in nature, such as stone, wood, bamboo, and snail shells, as well as by receiving musical instruments from outside Maluku, which is a tradition in Maluku (Tamaela, Izaac, 2015). In human life, art has become a part of channeling its expression and function in everyday life. Toki Batu music was for- med as a need for self-expression through creativity influenced by local wisdom. The community has understood that na- ture provides everything that can be utili- zed, so Toki Batu’s music comes through the natural potential of Ulahahan Village. After art is formed, the art activity is ma- naged by forming groups with goals and concepts. Toki Batu music managed in the Harmonia: Journal of Arts Research and Education 23 (1) (2023): 40-5248 community has functionally shown its role in society, from an art that then influenced several individuals to form a group that became the Ulahahan Babatu Orchestra Community. The group is formed by the behavior of each member who wants space for the creative process. Group members realize that there is potential that must be shown as a common property. Therefore, Toki Batu music plays a role as a space that functions to influence people’s behavior. The influence of behavior occurs through the learning process through the inclusive concept. As Welch et al. (2014), the higher the normalized singing abili- ty, the more positive the self-concept and sense of inclusive social involvement, re- gardless of age, gender, or ethnicity. Thus, learning music in this orchestra group is an important part of improving the abili- ty of its members to play Toki Batu mu- sic. Apart from studying music, the music community teaches togetherness and soli- darity in playing music because Toki Batu music cannot be played individually. Mu- sic must play simultaneously to create har- mony in the rhythm, so the members will feel compelled to cooperate. A group that involves various groups of people provides space for them to interact with each other. Members from multiple circles can get to know each other and establish kinship. The relationship is shown in one purpose and one concept so as to form a strong group of togetherness. The community serves as a means to share ideas, solve common problems, and ack- nowledge and support one another. Role in the Community is a combination of self- concept and social recognition determined by others (Wehner, 2014). Someone who enters a group with a sense of belonging wants recognition that they also belong to that part so that those around them want to be recognized as agents who contri- bute to it. The Babatu Orchestra Ulahahan Community brings this concept into group work. As Nugent and Flynn (2020) say, that tradition contributes to the meaning- fulness of social relations with other peop- le. Another opinion by Netsinghe (2013) states that in practice maintaining musical traditions can be done through an authen- tic transmission, such as teaching and lear- ning by involving experts from a culture to maintain its authenticity. As an art born in Ulahahan Village through local wisdom, of course, Toki Batu music is a regional art not owned by other regions. This has the potential to introduce Ulahahan Village as a creative and unique village through Babatu music created with the creativity of its people. As the aim is to introduce Babatu music and bring out regional identity, Babatu music has been expressed as a concept of community identity through music and shown to the wider community. In this case, the social function has been validated in its role as art in society. In line with Anderson’s opi- nion (2016), the emergence of a communi- ty helps present identity with its ideology. The work of Babatu Orchestra as a creati- ve space that teaches people how to play music certainly makes them feel comfor- table and safe. Through playing music, the members create creations with various materials used in playing Babatu music. The concept of music provides a happy atmosphere for those who play and those who listen, so Toki Batu’s music functions as a recreation for players and those who listen to it. It is because music provides a sense of security and comfort in unfavo- rable situations (Denora, 2004). Art is a medium of expression. Art is shown to convey concepts and feelings in a person. Music can be a medium for con- veying feelings. This is inseparable from the existence of communication. As the people of Maluku cannot be separated from music and singing, both communicate with each other to convey feelings of happiness, hap- piness, anger or sadness. Toki Batu music is one of the parts of community expres- sion as a medium of communication to the wider community through the identi- ty that is formed. Through Babatu music, the Ulahahan people try to show the wider community that they have potential in the field of music. Later, this music group also became an accompaniment in worship Citra Aryandari et al., Ulahahan Babatu Orchestra: Concept and Functional Role of Inclu- 49 activities at the Ulahahan Village Church which played Christian spiritual music. The Babatu Orchestra Ulahahan Commu- nity is also a non-formal educational faci- lity. As a community that teaches Babatu music to its members, of course, Babatu’s music is a medium to improve the creati- vity and skills of members, especially the children in Ulahahan Village. From these findings, the orchestra’s role in society has functions in the fields of recreation, com- munication, education, and religion. This role was formed due to management wit- hin the orchestra Ulahahan Community which influenced the emergence of this perception. The success of a community in achieving its goals depends on good ma- nagement, so it is determined by how the community manages all available resour- ces to create effective activities in achie- ving goals (Sabariah, 2017). The concept of inclusiveness in the community provides a role in building Ulahahan Village through empowerment, thus preventing social exclusion from oc- curring. Conditions of social exclusion often appear as triggers for conflict and violence, poverty, indifference to groups, and so on (Warsilah, 2015). Social exclu- sivity separates the distance between va- rious communities, causing a loss of abi- lity to mingle with each other (Gutama & Widiahseno, 2020). Therefore, inclusive development is important to prevent the separation of the social strata of society. Because the history of Ulahahan is formed from several ethnicities which of course gives many perceptions and colors in the concept of culture. This means that the Babatu Ulahahan Orchestra community plays a role in uniting good relations so that the community can unite even though they come from different ethnic backg- rounds. Management influences societal ro- les, such as applying cultural values ad- hered to by groups as the basis for rules to respect older people. Inclusion within groups prevents exclusion from occurring in society, the existence of a motivation to learn for children, and group goals to empower the community. Since the emer- gence of Toki Batu music, the people in Ulahahan Village have understood this as a phenomenon of local wisdom which is managed to become an art with positi- ve potential. Thus, it forms a community as a space for interaction. Then the com- munity plays a role in the interaction of members who demand each individual in Toki Batu’s musical arts activities. Mem- bers are required to be proactive, reflexive, and creative in the concept of an inclusive group as belonging together and affirming identity. Because building music is one way of strategy to assert self and group identity (Denora, 2004), then of all the be- nefits that exist from forming a communi- ty, it is in line with the opinion of Laing & Mair (2015) that forming local community groups, they are the communities that be- nefit the most from an inclusive process. CONCLUSIONS Music community The Ulahahan Ba- batu orchestra adheres to an inclusive con- cept that accepts members from various backgrounds. The concept was attended as an understanding that Toki Batu’s music is a common property and that all people should have a sense of pride in that mu- sic. The concept of inclusion has an impact on the assimilation of people from various backgrounds, both ages, gender, and eth- nicity so as to avoid exclusivity. The Ula- hahan Babatu Orchestra music group is a musical ensemble group consisting of; the bamboo inflatable group (kuma tiplam), the Toki Batu group (pele vatwam) and the cho- ir group (talioro kumi). In the group’s lea- dership, Ulahahan Babatu Orchestra ad- heres to local culture by adopting respect for elders so that a leader is not one who masters music but who is older and more experienced in managing the community. Functionally the role of the Ulahahan Babatu Orchestra music community revi- ves community creativity in the world of non-formal education. 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