ANALYSIS OF ANGKLUNG LANDUNG ART IN

KALAPADUA VILLAGE MARGALUYU VILLAGE,

MANONJAYA DISTRICT, TASIKMALAYA
REGENCY

Rachmawati Sugiatno Putri

Tasikmalaya Muhammadiyah University
Jl. Tamansari No.KM 2,5, Mulyasari, Kec. Tamansari, Kab. Tasikmalaya, Jawa
Barat 46196
ama.gege20@gmail.com

ABSTRACT
This research is entitled "Analysis of Landung Angklung Art in
KalapaduaVillage, Margaluyu Village, Manonjaya District, Angklung
Landung Regency. This art is an art that grows and develops in
Margaluyu Village, Manonjaya District, Tasikmalaya Regency.
Angklung landung is passed down from generation to generation.
Landung angklung art is often held for procession events.
Circumcision, welcoming, and even other important events. Therefore,
theresearcher limits the problems in the research from several problem
formulationswhich include: (1) how is the form of angklung landung art
in Kalapadua Village, Margaluyu Village, Manonjaya District,
Tasikmalaya Regency, (2) how are efforts to preserve the angklung
landung art in Kalapadua Village, Margaluyu Village, Manonjaya
District Tasikmalaya Regency. The objectives of this study were (1) to
describe the form of Angklung Landung art in Kalapadua Village,
Margaluyu Village, Manonjaya District, Tasikmalaya Regency. (2) To
describe the efforts to preserve the Angklung Landung art in Kalapadua
Village, Margaluyu Village, Manonjaya District, Tasikmalaya
Regency. The method usedin this research is descriptive analysis with
a qualitative approach. The technique used in data collection is
observation, interview, documentation and literature study. Based on
the results of this study, angklung landung is a musical instrumentthat
has existed since ancient times which has been passed down from
generationto generation as a form of inheritance until now. Angklung
landung also serves as entertainment for the people of Margaluyu
Village and is often performed at important events.
Keyword: Analysis, art, Angklung Landung
A. INTRODUCTION
The art of angklung landung in
Kalapadua Village, Margaluyu
Village, Manonjaya District,
Tasikmalaya Regency has been
known since 1999. Initially, this
angklung originated from the badud
angklung which was used for ritual
ceremonies to honor Dewi Sri, who is
believed by the Sundanese people to
be the goddess of fertility. Then
packaged and changed into angklung
landung for entertainment facilities
such as circumcision ceremonies and
others.
In this case, researchers are
interested in the angklung landung,
firstly because of its unique shape,
secondly from more angklung tubes,
thirdly because the tone is the same as
the usual angklung although the tubes
and sizes are different and the sound
sounds louder.
In Sundanese the word "landung"
means more than the usual size,
therefore researchers have an interest
in conducting research on angklung
landung found in Kalapadua Village,
Manonjaya District. Angklung
landung existed in 1930 in Margaluyu
Village, Manonjaya District,
Tasikmalaya Regency. There are two
types arts in that year, namely
Angklung Badud and Angklung
Landung. Both types of art only lasted
until 1940 and then slowly began to
disappear, due to the raging war
against the Dutch and Japanese
invaders. In 1950, badud angklung
began to appear again while landung
angklung did not. Because the loss of
angklung caused by the death of the
players and also the damage to the
angklung landung musical
instrument. so that until 1970 in
Margaluyu Village the only art that
was still present was the angklung
badud art whose name was agreed to
be changed that year to bean
angklung, because at that time badud
angklung was already widespread and
there were a lot of badud angklung art
groups in Tasikmalaya Regency.
In 2000 the angklung landung art
had its prestige fading away due to
several obstacles which became a
major obstacle to the disappearance of
the angklung landung art, especially
the artists who were already old and
could not preserve it, let alone to pass
it on to the younger generation with
limited age and not a few of these
artists. also many have died, so the
artists in Margaluyu village are
moved a sense of determination to
preserve and develop it and remade
the angklung landung musical
instrument because the old instrument
was damaged and lost. The aim is
simply to revive the lost art of
angklung landung, as well as to
reintroduce it to the younger
generation and society and invite
them to preserve it.
The arts that exist in the midst of
society from each region produce an
art with different special
characteristics and shows the ethnic
nature of the region itself. With this
specificity, each region has its own
identity. Art that was born in the
midst of community groups, naturally
has a style, background, and functions
that are in accordance with the
conception that applies to each
society. The art form that develops in
an area that has become a hereditary
tradition is called traditional art.
In 1930 Landung angklung
already existed, but disappeared in
1950. But it reappeared in 2000 and
the Landung angklung was remade,
because the badud angklung and
chickpea angklung in 2000 had begun
to fade their prestige was less
attractive to the public, then make
angklung landung and a lot of interest
and curiosity of the community more
deeply in the angklung landung.
Besides that, the existence of
angklung landung can invite the
younger generation to return to care
about traditional arts that have long
been lost.
The interest of researchers in the
art of angklung landung is not only
from its unique shape, angklung
landung also has an unusual size from
the size of normal bamboo, which is
approximately 3 meters long and has
a tube of 6 tubes. Each size of bamboo
found in angklung produces a
different tone. This is what
researchers need to know about the
uniqueness of the landung angklung.
The unique sound of angklung that
comes from bamboo blades can also
add insight to researchers about
landung angklung. Landung angklung
was chosen as research material that
researchers focused on analyzing
landung angklung from how to play
angklung and how to read beam
notation in playing angklung. Apart
from its unique voice, this angklung
landung performance can bring
several songs, including researchers
who are interested in the singing of
“kacang buncis” originating from the
West Java area.
Based on this, the authors are
interested in researching further about
art forms and conservation efforts in
angklung landung in Manonjaya
District, Tasikmalaya Regency. This
is because the angklung landung had
disappeared and was simply ignored,
and wanted to know more about why
the angklung landung was brought
back.
B. RESEARCH METHOD
A study has several uses
depending on the purpose of why a
research is carried out, as well as how
the researcher in the process of
collecting data and analyzing logical
data information. In this study,
researchers used a qualitative method
with a descriptive analysis approach.
This research can also be called
naturalistic research so that in the
form of research researchers do not
manipulate research settings,
conditions and objects according to
events, communities, and scientific
interactions.
Researchers are the main
instrument in research because
researchers not only research but are
also directly involved in research,
observe and analyze a phenomenon
that occurs and then conclude a
conclusion study. Moleong (2010: 6)
states that:
“Qualitative research is
research that intends to
understand the phenomenon
of what is taken by the
research subject, for
example behavior,
perception, motivation,
action, etc. Holistically, and
by way of description in the
form of words and language,
in a particular scientific
context by utilizing the
scientific method."
This study uses a qualitative
method with a descriptive analysis
approach. A qualitative method with
a descriptive approach was used to
describe the temporary situation at the
time the research was taking place
and then analyzed. Analysis is
interpreting various symptoms that
occur during research or compiling
facts to then draw conclusions. By
using a qualitative method with a
descriptive analysis approach,
researchers go directly to the field
with the intention of describing
various problems encountered in the
field using data obtained
currently happening, to then compile
research results and
conclusions.
C. RESULTS AND DISCUSSION
1. HISTORY OF
DEVELOPMENT
ANGKLUNG LANDUNG
In the development of this
landung angklung has developed and
passed down four times
generation to generation. At the
beginning of the formation
angklung landung around 1930 which
at that time coincided with the war
against the Dutch and Japanese
invaders. Angklung landung is a
change from angklung which local
people call angklung buncis.
The size of the angklung buncis
is the same as the size of the angklung
in general, because at that time there
was colonialism and there was no
means to notify the residents when an
invader came, the angklung buncis
was changed by Aki Murhani to a
landung angklung which is tall and
different in size from angklung in
general, this aims to provide
information when the invaders come
so that people are alert and angklung
and landung survives until independence.
After several years, Aki Murhani
draw was unable to maintain the angklung
landung due to age limitations, but
Aki Murhani wanted the angklung
THE landung to be preserved and
OF preserved. That's why Aki Murhani
decided to pass down the angklung
landung to the next generation so that
it would exist and be known forever.
from From the Aki Murhani, it was passed
down to the second generation,
of namely the Aki Icu, he passed it down
by telling everything related to
landung angklung, from the
beginning why this landung angklung
changed from ordinary angklung to
landung angklung and the angklung
was given directly by Aki Murhani to
Aki Icu.
Landung angklung was later
developed by Aki Icu, but because the
landung angklung was tall and big
while the Aki Icu Angklung wanted a
simple angklung to be used in certain
celebrations or ceremonies, the Aki
Icu returned to using the usual
angklung and the landung angklung his closest family and in the end,
was rarely played. As time goes by, angklung landung was passed down
the Aki Icu is no longer young and can to the fifth generation, namely Wa
no longer maintain the angklung, but Apep.
the Aki Icu also wants this landung Along with the Nusantara Shine
angklung to be passed down from Festival, which is required to create
generation to generation, so this new things, the landung angklung is
landung angklung is passed down to remade with a different size and
the third generation, namely Aki Dini. height from the usual angklung and
The Aki Icu also lowered it to finally the landung angklung is back.
Aki Dini as well as Aki Murhani who For its preservation, namely by
lowered it by telling everything entering schools in the form of
related to Angklung Landung, from extracurricular and in the areas
the beginning. At first, why did this around Kampung Kalapadua.
landung angklung change from Nowadays angklung is widely
ordinary angklung to landung available everywhere, but landung
angklung. Aki Dini rarely use angklung is only found in Kalapadua
landung angklung and then the Village, Margaluyu Village,
angklung starts to break. Then it was Manonjaya District, Tasikmalaya
revealed back to the fourth Regency.
generation, namely Wa Maja. 2. FORM AND STRUCTURAL
However, when it was revealed OF PRESENTATION OF
to Wa Maja, the landung angklung ANGKLUNG LANDUNG
was already in a state of destruction Angklung landung is one of the
because it was rarely used by previous traditional arts originating from
generations and during the Wa Maja Kalapadua Village, Margaluyu
generation the landung angklung Village, Manonjaya District,
became extinct. But before Wa Maja Tasikmalaya Regency. Angklung
died and before angklung landung Landung was founded in 1930, at first
became extinct, he had time to give the core of this Angklung Landung art
teachings about angklung landung to was as information about the presence
of enemies or the arrival of invaders is preserved by artists, especially
who attacked the village. With the Margaluyu Village, Manonjaya Sub-
existence of a high-sized angklung district, with blood relatives and the
landung that can be seen when the surrounding community, it also aims
angklung sways and a sound is heard, to develop and preserve this art such
then the invaders attack the as being used as extracurricular
surrounding residents, then this learning activities in schools, studios
landung angklung is used as a means and art circles around the city and
of entertainment after Indonesia's district of Tasikmalaya also often
independence until now. holding performances - performances
Angklung landung is a musical inside and outside the city such as
ensemble accompanied by four dogs, competitions at the national level,
one trumpet and nine angklung after welcoming guests of honor, parading
becoming a means of entertainment or the circumcised bride, and so on.
performance. In this game there are 3. ANGKLUNG LANDUNG
fourteen people. This angklung CONSERVATION
landung art has a significant influence EFFORT
on cultural development, especially in Angklung landung is one of the
Kalapadua Village, Margaluyu traditional arts originating from
Village, Manonjaya District, Kalapadua Village, Margaluyu
Tasikmalaya Regency. This influence Village, Manonjaya District,
is determined by the dynamic and Tasikmalaya Regency. Angklung
harmonious relationship between Landung was founded in 1930, at first
artists who strive to develop, maintain the core of this Angklung Landung art
and preserve pre-existing arts. was as information about the presence
Angklung landung is able to of enemies or the arrival of invaders
grow and develop because of the who attacked the village. With the
active and creative performers of the existence of a high-sized angklung
arts, always working and maintaining landung that can be seen when the
the traditional culture inherited from angklung sways and a sound is heard,
time immemorial. Angklung landung then the invaders attack the
surrounding residents, then this
landung angklung is used as a means
of entertainment after Indonesia's
independence until now.
Angklung landung is a musical
ensemble accompanied by four dogs,
one trumpet and nine angklung after
becoming a means of entertainment or
performance. In this game there are
fourteen people. This angklung
landung art has a significant influence
on cultural development, especially in
Kalapadua Village, Margaluyu
Village, Manonjaya District,
Tasikmalaya Regency. This influence
is determined by the dynamic and
harmonious relationship between
artists who strive to develop, maintain
and preserve pre-existing arts.
Angklung landung is able to
grow and develop because of the
active and creative performers of the
arts, always working and maintaining
the traditional culture inherited from
time immemorial. Angklung landung
is preserved by artists, especially
Margaluyu Village, Manonjaya Sub-
district, with blood relatives and the
surrounding community, it also aims
to develop and preserve this art such
as being used as extracurricular
learning activities in schools, studios
and art circles around the city and
district of Tasikmalaya also often
holding performances - performances
inside and outside the city such as
competitions at the national level,
welcoming guests of honor, parading
the circumcised bride, and so on.
D. CONCLUSION
Angklung Landung art is the
result of innovation, creativity and the
development of its creators from the
Angklung Buncis art, with the aim of
preserving and developing traditional
arts to make it more attractive and to
add to the repertoire of traditional arts
as well as being used as art originating
from Tasikmalaya Regency. This
development is applied to all elements
contained in the Angklung Landung
art.
Angklung landung is one of the
traditional arts originating from
Kalapadua Village, Margaluyu
Village, Manonjaya District,
Tasikmalaya Regency. Angklung
Landung was founded in 1930, at first
the core of this Angklung Landung art
was as information about the presence
of enemies or the arrival of invaders
who attacked the village. With the
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