Komponen Belo-Belo dalam Kacaping Makassar (Hasil penalaran induktif sebuah pengalaman empirik untuk menemukan unsur pembentuk Belo-Belo)

Authors

  • Muhammad Subhan Program Pascasarjana, Institut Seni Indonesia Surakarta

DOI:

https://doi.org/10.33153/dewaruci.v13i2.2506

Keywords:

kacapi Makassar, komponen, variasi, struktur, bentuk, Kacaping Makassar, component, variation, structure, form

Abstract

Belo-belo dalam pertunjukan kacaping Makassar dapat diartikan sebagai variasi yang mencakup bentuk dan struktur permainan. Proses inovasi maupun hasil pencapaian estetis yang diraih oleh pakacaping melalui karyanya, dapat disebut sebagai belo-belo. Hadirnya belo-belo akan memberi nilai tambahan dalam pertunjukan kacaping, yaitu mempengaruhi dinamika permainan dan membangun interaksi dengan penonton. Berdasarkan pengetahuan empirik pelaku pakacaping, peneliti menggunakan penalaran induktif untuk menemukan unsur-unsur pembentuk belo-belo. Pendekatan ini menggunakan landasan epistemologi fenomenologi seni, yaitu mengungkap pengetahuan dan kesadaran pelaku dalam proses karya penciptaan. Belo-belo berdiri dari tiga komponen terkait sebagai unsur-unsur utamanya, yaitu kobbi, kelong dan ritme batin. Melalui analisis musikal dan syair akan dapat memisahkan komponen-komponen belo-belo. Pertama, Kobbi adalah teknik memainkan Kacaping yang berarti di petik. Kobbi atau petikan kacaping selalu dinamis, variatif dengan irama menggantung (offbeat) menjadi teknik tinggi yang dimiliki masing-masing pakacaping profesional. Kedua, kelong adalah suatu syair yang dilantunkan dengan cara menyanyi atau dilagukan, secara umum dalam bahasa lokal masyarakat etnis Makassar disebut sebagai kelong (nyanyian). Ketiga, ritme batin adalah ritme yang dibangun berdasarkan naluri pelaku akan penguasaan instrumennya. Menghadirkan belo-belo berarti mencapai titik keindahan sebuah karya, pencapaian nilai dan rasa yang menjadikan ciri khas dan karakter bagi kebudayaan Makassar. Sukses tidaknya sebuah karya kacaping akan dilihat dari belo-belo yang dihadirkannya.ABSTRACTIn kacaping performance of Makassar, belo-belo emerges as a variation which is appertaining both forms as well structure of playing. The process of innovation and also the result of aesthetical attainment made by kacaping player through his creation might be mean as belo-belo. Presence of belo-belo can bring plus value in kacaping performance, that is how dynamics of performance will be influenced, and how it arouses the interaction with the audience. The researcher has separated the constructive components of belo-belo through inductive reasoning, based on the subject’s empiric knowledge and skill. This approach uses the epistemological basis of art phenomenology, namely reveals the knowledge and consciousness of subject about the process of art creation. Belo-belo contains three components as main basic elements, as called kobbi, kelong, and a certain kind of inner rhythm. Components of belo-belo had been separated by analysis of music and text. First, kobbi is the technic of playing on kacaping which means to pluck. Kobbi or plucking kacaping is always dynamic, using hanged tempo with variation of beat and upbeat, became a high-technic personal skill of different professional pakacaping players. Second, kelong, which means poem, performance by singing, generally kelong in the local language of Makassar ethnic group means a song. Three, inner rhythm is a rhythm based on the subject`s instinct concerned the mastery of his instrument. The presence of belo-belo means the attainment of certain aesthetical point of an artwork, the attainment of certain values and feelings which are the special characteristic of Makassar ethnic culture. Achievement and success of an kacaping artwork might be seen from the presence of belo-belo, which is represented within.

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References

Razak, Amir. Eksistensi Pakacaping, Budaya ekspresi Masyarakat Gowa Sulawesi Selatan. Yogyakarta: Lanarka Publisher, 2008.

Sutton, Anderson. Pakkurru Sumange, Musik, tari, dan politik kebudayaan Sulawesi Selatan. Makasar: Ininnawa, 2013.

Ahimsa Putra, Heddy Shri. Ethnoart Fenomenologi Seni Untuk Indiginasi Seni. Surakarta: Dewa Ruci, 2003.

Muhadjir, Neong. Metodelogi Penelitian Kualitatif. Yogyakarta: Rake Sarasin, 1996.

Netll, Bruno. Theory and Method in Ethnomusicologi. New York: The Freepressof Gienco, Collier-Macmillan Limied, London 1964.

Banoe, Pono. Kamus musik. Yogyakarta: penerbit Kanisius, 2003.

Narasumber:

Daeng Mile (62), pelaku seni tradisional kacaping. Makasar, Dusun Kalase’rena, Kecamatan Bontonompo, Kabupaten Gowa

Fatta Tuturilino (43), pengajar di ISBI Makasar dan instruktur di Purwacaraka Musik Studio, pelaku dan pengamat seni dan budaya Makasar. Jl Maccini Kidul, Makasar.

Hamrin Samad (45), dosen UNM, pelaku dan pengamat seni dan budaya Makasar. Makasar, Desa Tinggi Mae, Kecamatan Pallanga, Kabupaten Gowa

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Published

2018-07-11

Issue

Vol. 13 No. 2 (2018)

Section

Articles

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