Musicians drum up support for saving traditional music<\/p>\n
By Yudha Kartohadiprodjo<\/p>\n
JAKARTA (JP): Imagine a caravan of mules and a group of
\nexperts climbing the hills of Sulawesi. Carrying heavy equipment,
\nthe group is searching for the world's most universal, and
\nvaluable, language: music.<\/p>\n
Led by Philip Yampolsky, a U.S. ethnomusicologist, the group
\nwas on its way to record South Sulawesi traditional music. The
\ngroup has been traveling across Indonesia for a few years,
\nrecording the sounds of Gendang Karo drums from North Sumatra to
\nthe string music of Irian Jaya.<\/p>\n
Yet, the effort by these experts seems to be wasted since the
\nyounger generation is more interested in American groups like
\nPearl Jam or Oasis. Sad to say, many of us ignore our own
\ntraditional music.<\/p>\n
\"Actually it is not the end of the world for traditional
\nmusic. It is right, some traditional music has ceased to exist,
\nwhile others continue to survive,\" said Anthony Seeger, the
\ncurator of Center of Folklife Program and Cultural Studies in
\nWashington D.C.<\/p>\n
Both Seeger and Yampolsky were here last week to address a
\ndiscussion on Indonesian music's place in the world.<\/p>\n
Having lived in Brazil for 10 years to study the traditional
\nmusic of the Amazon's Suya tribe, Seeger knows that the effort to
\npreserve traditional music is an arduous struggle. Before he took
\nhis current position at the prestigious center, he led a struggle
\nto maintain the social and cultural existence of the tribe.<\/p>\n
Containing an extensive archive of American folk music as well
\nas ethnic music from all over the world, the center is a part of
\nthe world renowned Smithsonian Institute. Among the 2,000 CDs,
\n17,000 commercial discs and 500,000 feet of motion picture film
\nin its archive, the center has produced 31 titles which contain
\nIndonesian music.<\/p>\n
Fifteen of the titles are music recorded by Yampolsky in
\nIndonesia, called Music of Indonesia Series, released through
\nSmithsonian Folkways.<\/p>\n
The effort is meant to provide detailed information about
\nIndonesian traditional music, its history and present day
\ncultural context.<\/p>\n
Concentrating on music that is less known outside, and in some
\ncases within, Indonesia, the series offers a sampling of musical
\nvariety by presenting an exploratory aural experience.<\/p>\n
\"We would like to increase our understanding and learn about
\nthe people in the world. Recording allows us to have a hold on
\ntraditional music,\" said Seeger. He added that the effort is a
\nlong-term drive to preserve the music for future generations.<\/p>\n
Yampolsky, who also edited and annotated the musical series,
\nsaid that although traditional music would never occupy the place
\nit used to, there is still a chance for the music to survive.<\/p>\n
\"Even if the young generation is not interested with this type
\nof music, there is a high probability that they would want to
\nstudy the music later,\" Yampolsky said.<\/p>\n
Currently, many Indonesian musicians add ethnic color to their
\ncompositions and this is seen as beneficial to the development of
\ntraditional music.<\/p>\n
Some, like Djaduk Ferianto and Soedjiwo Tedjo, have explored
\nJavanese music and succeeded to present their music in a
\ncontemporary setting. Soedjiwo's album has even gained quite a
\nhigh sales record.<\/p>\n
Gilang Ramadhan, a drummer from the well-known Krakatau group,
\nalso has a small collection of ethnic music in his studio. Gilang
\nplans to eventually create a library of traditional music from
\nall over Indonesia, from which he could draw some inspiration.<\/p>\n
\"Such an attempt actually shows how music develops. One of the
\nmain issues to be considered, however, is whether traditional
\nmusic receives the proper credit when mainstream musicians start
\nto use it in their compositions,\" said Seeger.<\/p>\n
He added that in many countries, including Indonesia, most
\ntraditional music is considered to be a public domain, which
\nexplains why traditional music and musicians cannot develop
\ncommercially like popular music has.<\/p>\n
In some countries like Ghana, however, the government collects
\ncopyright fees from the public domain. The government then uses
\nthe money to fund the development of traditional music through
\nfestivals.<\/p>\n
The preservation of traditional music is futile, however, when
\nit is not followed by audience development.<\/p>\n
Currently, some local and international institutions have been
\ndirected to increase the public's appreciation of Indonesian
\ntraditional music. Communication for Arts Foundation (KOMSENI)
\nhas organized an art appreciation program for minors. The program
\nhas been successfully carried out over the past couple of years.<\/p>\n
The Ford Foundation, which funded the Music of Indonesian
\nSeries, also supports activities that increase public interest in
\narts and culture. The foundation funded workshops between radio
\nstations and traditional musicians as well as arranged for
\ntraditional artists to visit high schools in Jakarta.<\/p>\n
\"The place of traditional music in society will be in jeopardy
\nwhen the public starts to lose pride in the music,\" said
\nYampolsky.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/musicians-drum-up-support-for-saving-traditional-music-1447893297",
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