MAINTENANCE OF THE MAMANDA KUTAI MUSIC ECOSYSTEM SUSTAINABILITY
OF ORIGINAL MUSIC IN THE MAMANDA PANJI BERSERI GROUP
Fikri Yassaar Arrazaq1*.
Yofi Irvan Vivian2.
Zamrud Whidas Pratama3 1,2,3 3Program Studi Etnomusikologi.
Universitas Mulawarman nC Correspondence E-mail: 1fikriya90@gmail.
*Corresponding Author Abstract The existence of traditional music in Mamanda Kutai theater art remains well-preserved by the Mamanda Panji Berseri group, as demonstrated by the consistent core patterns of piul and babon, as well as the relatively unchanged use of accompanying instruments.
This preservation is particularly noteworthy given the significant developments observed in most other groups.
This qualitative study aims to examine how the traditional Mamanda music ecosystem is systematically maintained by the Mamanda Panji Berseri group.
The research employs a combination of desk and field methods, grounded in an ethnomusicological perspective.
The findings indicate that various interrelated components within the ecosystem contribute to its sustainability, including learning systems, musicians and communities, contextual and structural frameworks, regulatory support and infrastructure, and the music industry.
Furthermore, the study underscores that the role of the traditional Mamanda Kutai musical accompaniment ecosystem within the Mamanda Panji Berseri group still requires further optimization to enhance its long-term sustainability and broader impact.
Keywords: Music Ecosystem.
Mamanda Kutai.
Traditional Theater
INTRODUCTION
The Memanda Panji Berseri group represents a Mamanda Kutai community located in Banjar.
East Kalimantan, and continues to uphold the authenticity of the musical accompaniment associated with the mamanda theater tradition.
This is evident in both the arrangement and the instruments used.
The musical presentation in the Mamanda Kutai performance adheres to the traditional format, utilizing three primary instruments: the babon .
, piul .
, and gong (Vivian, dkk 2022:.
The presentation of these instruments is deemed essential as they serve as a visual element in the Mamanda Kutai performance, particularly within the composition of the ladon accompaniment music and geduk music, which is typically utilized as introductory music across various The significance of involving accompanying music in Mamanda Kutai is noteworthy, as traditionally, music in this theater performance serves not merely as decorative embellishment but as an essential component of the overall presentation of this traditional art form.
Regrettably, an analysis of the current status of Mamanda Kutai within contemporary society reveals a notable decrease in its prominence.
In this context, "less popular" refers to the art form being less recognized, appreciated, and cherished by the broader audience (Dewi Tantri 2024:.
This observation holds particularly when juxtaposed with other forms of art that are presently evolving and gaining greater diversity in Kutai.
The diminishing vigor of the Panji Berseri Memanda Group's performances serves as a notable reflection of the decreasing interest and engagement of the broader community in the pursuit of this traditional art form.
This situation undoubtedly encompasses the waning enthusiasm of the broader local community for engaging with and showcasing Mamanda Kutai's traditional music in its authentic form.
The waning of the Memanda Panji Berseri group serves as a significant reflection of the condition of Mamanda art within Kutai society, and this assertion is not overstated.
According to Ahmad Rusli, a significant number of individuals in East Kalimantan perceive the Memanda Panji Berseri group as a mamanda group that consistently embodies the Volume 18 No.
1 Juli 2025 Fikri Yassaar Arrazaq.
Yofi Irvan Vivian.
Zamrud Whidas Pratama: Maintenance of The Mamanda Kutai Music Ecosystem Sustainability of Original Music in The Mamanda Panji Berseri Group traditional Mamanda Kutai style.
The waning popularity of Mamanda Panji Berseri highlights a concerning trend, indicating that Mamanda Kutai is presently experiencing a similar lack of public interest, particularly in East Kalimantan.
This situation undoubtedly poses challenges for the preservation of traditional arts in East Kalimantan, particularly concerning Mamanda Kutai (Vivian.
Arifin, and Wahyuni 2.
The unwavering presence of Mamanda Kutai, following a traditional performance format from a cultural standpoint, is undoubtedly more than just a piece of art.
The presence of this element serves as a representation of the cultural identity of the Kutai people in East Kalimantan (Mukhransyah & Hamdani From this viewpoint, its existence, popularity, and public perception serve as crucial factors for its ongoing preservation and maintenance, guaranteeing the sustainability of this traditional art form.
The sustainability of an art form is influenced by a variety of factors.
Schippers, as noted in the work by Schippers and Grant, contends that the longevity of music within the field is significantly influenced by engagements with individuals, communities, financial support, and educational initiatives .
This study aims to offer a comprehensive analysis of the different elements within the ecosystem of Mamanda Kutai's musical accompaniment as utilized by the Memanda Panji Berseri Group.
The concept of ecosystem inherently connects to initiatives aimed at maintaining the sustainability of a particular entity.
This aligns with the definition provided by Pettan and Titon, which equates sustainability with preservation, security, rescue, and maintenance (Pettan & Titon, 2015: .
The researcher should recognize that this study is not the sole investigation into the art of Mamanda and the Memanda Panji Berseri group.
A prior study by Yofi Irvan Vivian titled "Mamanda Kutai:
Characteristics of Ladon in the Lyrics and Music of Mamanda Panji Berseri" (Vivian.
Gunawan, and Arrazaq 2.
was identified.
Nonetheless, regarding formal and material objects, this study diverges, concentrating more on the attributes of ladon compositions within Mamanda music.
However, the writer refers to this work while examining the related music of Mamanda Kutai, especially the distinctions between the first and second songs.
The perspective on music ecosystems is, in fact, not completely novel.
A paper titled "Traditional Music Preservation Strategies with a Music Ecosystem Approach" (Eli Erawati 2.
and a proceeding titled "Challenges to the Sustainability of Tingkilan Music in Kutai Kartanegara" (Putra Bayu Arsiadhi 2.
have been identified.
Despite variations in material, these two works provide a comprehensive overview of their analogous approaches to addressing issues within the music ecosystem.
To enhance the study of Mamanda Kutai music, the author intentionally reviewed "Worlds of Music" (Post 2.
which explores the analysis of nonWestern music, alongside "The Oxford Handbook of Applied Ethnomusicology" (Pettan and Titon 2.
, which provides an in-depth explanation of the musical ecosystem approach as articulated by Huib Schippers.
The reviewed works collectively indicate that this study is fundamentally linked to the idea of continuity and the enhancement of previous research.
Through the comparison of these overlapping and established studies, the author can enhance the comprehension of the topic at hand and create avenues for identifying suitable solutions to the issue while maintaining METHOD This study explores the issues outlined within the framework of the music ecosystem as articulated by Huib Schippers.
According to Schippers, the establishment of a music ecosystem is inherently linked to the presence of a music learning framework, the involvement of musicians and communities, the surrounding context and its development, as well as the relevant regulations and infrastructure, alongside the media and the music industry (Schippers & Grant, 2016: 12-.
A comparable occurrence took place in the development of the Mamanda Kutai music ecosystem as practiced by the Mamanda Panji Berseri This study is classified as qualitative in nature (Abdussamad 2.
Cony emphasized that qualitative research is fundamentally dependent on field data, necessitating the researcher's presence at the study site to engage with and comprehend the circumstances and context of the subject being researched (Malya Faiza Ayudira.
Ela Yulaeliah 2024:.
This study focuses on the ethnic music of the Mamanda Kutai traditional theater, using qualitative methods rooted in the field of Ethnomusicology, as outlined by Bruno Nettl.
Nettl .
suggests that ethnomusicology is capable of gathering data through both fieldwork and deskwork methods.
Researchers engage in fieldwork, encompassing the collection of data directly from the environment through interviews and visual and audio This is done in addition to deskwork.
this instance, these two research steps will be used Volume 18 No.
1 Juli 2025 concurrently to complement one another in order to gather the essential research data.
The starting point involved deskwork, which was conducted to establish a foundational framework prior to the fieldwork stage.
Following the fieldwork phase, deskwork was conducted to process and analyze the data that had been collected.
This study provides data through various formats, including detailed descriptions, photographs, and videos accessible through a quick response code (QR cod.
DISCUSSION
Mamanda Kutai represents a form of traditional theater that has evolved within the Kutai community (Suroso 2.
Mamanda is categorized as a theatrical entity that presents narratives featuring palacecentric elements.
The initial period of Mamanda Kutai performances is recognized to have taken place during the rule of Sultan Kutai I at the Kutai Kartanegara ing Martapura palace.
This traditional theater was showcased during palace events, serving as special entertainment for the sultan and his royal relatives (D.
Adham 1.
In later developments, this tradition originating from the palace extended beyond the confines of the Kutai palace, evolving into a form of folk entertainment art.
Mamanda Kutai departed from the palace during the era of the Kutai Kartanegara Sultanate, marking a political transition to the Kutai Regency (Amin 1.
Mamanda Kutai is recognized for incorporating various elements in its presentation.
The Mamanda Kutai Panji Berseri group continues to uphold these elements in contemporary practice.
The traditional elements from Mamandai Kutai are evident in the Mamanda Panji Berseri group, as outlined below:
The Storyline The Mamanda Kutai Panji Berseri group engages in performances that draw upon narratives from "Hikayat Seribu Satu Malam," "Hikayat Tanah Kutai," as well as original fictional tales.
All of these stories are set in the past during the kingdom era .
The Mamanda Kutai narrative undoubtedly commences with a ladon or beladon.
Beladon serves as a distinctive element that initiates the narrative by first presenting the characters within the story.
summary, beladon is an integral component of the Mamanda Kutai performance, as every narrative presented traverses through the beladon segment.
Beladon represents a unique characteristic of the Mamanda Kutai performance, setting it apart from other forms of theatrical expression.
In the absence of the baladon, it becomes challenging to assert that the art form is Mamanda in its traditional sense, reducing it merely to a theatrical expression that signifies the Setting The temporal context of the primary narrative in Mamanda Kutai performances typically occurs in a historical setting, specifically during the era of Consequently, settings frequently occur in locations such as the Balai Longsari, the palace gardens, and historic villages.
Nevertheless, a significant variety exists in the environments, encompassing forests, rivers, and additional sites.
The settings depicted in Mamanda Kutai performances may differ based on the narrative, yet they consistently remain rooted in the context of the palace The context in Mamanda Kutai performances is frequently articulated through the dialogue of the characters, which vividly depicts the surroundings.
Nonetheless, as time progresses, the environment can be accentuated through the incorporation of sebeng, or stage props that illustrate the setting.
Characterization The portrayal of characters in Mamanda Kutai performances typically features royal figures, including kings, ministers, and heroes.
These characters encompass not only men but also women.
Alongside the primary characters, the narrative also features supporting figures who contribute to the unfolding events, including Resa, the traditional chief, various villagers, and even ethereal spirits.
The introduction of these characters, whether central or peripheral, is determined by the narrative requirements of the performance.
Dialog The palace-centric narrative in Mamanda Kutai influences the grammar and etiquette of the dialogue.
In accordance with linguistic norms, the King, his relatives, and high-ranking officials utilize Malay infused with a Dutch dialect and/or structure.
Concurrently, non-judicial entities utilize Kutai or regional dialects.
Additional traditions concerning linguistic structure arise, particularly when those other than the King, relatives, and high-ranking officials are typically mandated to employ Malay when conversing with family or high-ranking performances, the dialogue is executed without a preexisting script, necessitating that actors first internalize the subject matter to improvise dialogue that aligns with the narrative.
Volume 18 No.
1 Juli 2025 Fikri Yassaar Arrazaq.
Yofi Irvan Vivian.
Zamrud Whidas Pratama: Maintenance of The Mamanda Kutai Music Ecosystem Sustainability of Original Music in The Mamanda Panji Berseri Group Table 1.
Functions of Mamanda Kutai Music Composition Costume The costumes utilized in Mamanda Kutai performances play a crucial role in illustrating and emphasizing the traits of the characters.
The costumes donned by the actors are not bound by specific regulations.
however, they should align suitably with the characters being represented.
illustration of this can be found in the attire donned by the monarch in the Memanda Panji Berseri Group.
The king's attire in this classical theater ensemble features a reimagined headdress like a setorong, a collarless shirt paired with an accessory jacket, and a batik dodot complemented by trousers.
This costume reflects the esteemed garments of the Kutai Kartanegara ing Martadipura Sultanate (Noor.
Djebar.
Sukarni.
, & Darda 1.
Nonetheless, a standardized format for the king's attire remains Composition Name Function Geduk Music Used as music .
ntry or exi.
for all the actors in the seba, except for the the entry of the princess and empress .
sually by demon.
in the seba.
HeroAos Music Used as music for the entry and exit of the hero in the seba Quick Response Code 2.
Example of a hero musical Terek Music Generally used as music for and demongs entering the Quick Response Code 3.
Examples of terek Music Ladon Music Song One Used to song one as the opening act for the Mamanda Kutai show.
Accompanying Music Music plays a crucial role in numerous traditional theater performances, as highlighted in the work of Kholid D.
M (Kholid D.
M 2.
, particularly in Mamanda Kutai.
The performance by the Memanda Panji Berseri group clearly illustrates this point.
The Mamanda Kutai performances is typically categorized into two distinct types: the primary accompaniment and the supplementary music.
The primary accompaniment consists of original compositions that are distinctly showcased during Mamanda Kutai performances.
The musical pieces are showcased through the use of piul .
, babon .
, and gong instruments.
In general terms, the opening pieces, introductory segments, and illustrative compositions.
The opening music features ladon songs one and two, the introductory segment comprises geduk.
Pahlawan, and terek music, whereas the illustrative music incorporates ladon songs two and benasib.
Indeed, not every one of these musical compositions will consistently be included in Mamanda The selection of musical pieces is contingent upon the narrative being conveyed.
In the opinion of Mr.
Saiful Anwar, this is due to the fact that each player, particularly the piul and babon players, has a unique playing style.
The author observed variations in performance among musicians, especially with the babon, which does not adhere to a strict set of rules but rather follows a core pattern as a reference.
This core pattern is consistently used by the Mamanda Panji Berseri Group to determine the originality of its accompanying music.
Volume 18 No.
1 Juli 2025 Explanation Quick Response Code 1.
Example of geduk music .
ntroductory Quick Response Code 4.
Example of musical the song Ladon Ladon Music Song Two Benasib Music or Fate Music Used to song two as the opening act for the Mamanda Kutai show.
This music is also used when ladon songs are presented to seduce or .
ings or other figure.
Used when g the chanting of fate.
Benasib will be sung by who have .
bandoned by a loved on.
or are Mamanda Kutai Panji Berseri Music Ecosystem Quick Response Code 5.
Example of musical composition for ladon song two The music ecosystem is essential for the ongoing viability of Kutai Mamanda music.
Schippers identifies an ecosystem comprising five distinct domains: .
learning systems, .
musicians and communities, .
context and construction, .
regulation and infrastructure, and .
media and the music industry.
The five domains can indeed intersect, creating a network that characterizes the Kutai Mamanda music ecosystem within the Panji Berseri Mamanda Group.
Through an analysis of these five domains, we can identify the roles and challenges impacting the sustainability of Kutai Mamanda music as performed by the Panji Berseri Mamanda Group.
Learning Systems Quick Response Code 6.
Example of a fateful composition or fate song The supplementary music varies from the primary The supplementary music featured in Mamanda Kutai performances serves as additional music utilized when required.
Supplementary music is employed in alignment with the requirements of the character depicted in the seba scene being showcased.
An illustration of the incorporation of supplementary music can be found in the seba entertainment of the In this context, if the king seeks entertainment with jepen, tingkilan music is also showcased alongside musical instruments like the Kutai Gambus.
The acquisition of musical skills plays a vital role in the preservation of cultural heritage.
This learning signifies a process of preservation through the concept of transmission.
The same transmission concept is evident in various regions, including Salman's initiatives to impart Gondang Oguong ethnic music in Kampar (Reizki Habibullah.
Sigit Purwanto This initiative corresponds with Huib Schippers's acknowledgment that the transmission of music plays a crucial role in fostering a sustainable future for musical culture .
The transmission of Mamanda Kutai's musical culture by the Memanda Panji Berseri Group occurs informally through the efforts of music practitioners who serve as cultural carriers.
This learning is limited to family, colleagues, or neighbors because the group does not openly accept students.
The methods used learning approaches consist of verbal communication and demonstration techniques.
In the present day, this process is frequently supported by recording devices like cell phones to enhance independent Alongside direct methods.
Nur indicates that the music learning system within the Memanda Panji Berseri Group is also facilitated through the documentation of previously conducted Mamanda For them, this method is considered a solution to support learning in this group.
The cultural representatives of the Mamanda Panji Berseri group can be identified as follows.
Table 2.
Culture Bearers in Mamanda Panji Berseri Figure 1.
Mamanda PanjiAos Piul Penggesok (Foto: Fikri Yassaar Arrazaq, 2.
Volume 18 No.
1 Juli 2025 Cultural Bearers Achmad Rusli Saiful Anwar Fajriansyah Teaching Focus .
inging and Beladon .
Beladon .
and babon Piul Fikri Yassaar Arrazaq.
Yofi Irvan Vivian.
Zamrud Whidas Pratama: Maintenance of The Mamanda Kutai Music Ecosystem Sustainability of Original Music in The Mamanda Panji Berseri Group Musicians and Communities The ongoing authenticity of Mamanda Kutai's accompanying music is intrinsically linked to the sustainability of Mamanda Kutai as a whole.
In this context, the Memanda Panji Berseri group and its musicians are pivotal.
They uphold the authenticity of Mamanda Kutai's music by integrating traditional Kutai arts, effectively alleviating the monotony of the The Memanda Panji Berseri ensemble actively seeks to engage in collaborations with fellow The relationships that musicians have with various groups play a significant role in fostering collaboration and ensuring the sustainability of mamanda music.
Members of the Memanda Panji Berseri group actively participate in mamanda activities across different locations, including Bensamar Village, highlighting the significant contribution of these musicians and performers to the preservation of this musical tradition.
Context and Construction The Mamanda Kutai performances of today exhibit notable differences compared to those of previous Historically.
Mamanda Kutai was exclusively showcased at the palace as a form of entertainment for the royal family .
resmenan aj.
It was recorded that in 1938, this art form began to be presented to the general public.
This certainly influenced the ongoing development and adjustment of its original music.
The alterations prompted Mamanda Kutai to endure and evolve while maintaining its musical traits.
The Memanda Panji Berseri group, serving as the organizer of this art form, is dedicated to preserving the presentation as a crucial element that showcases the unique features of Mamanda Kutai performances.
This is achieved through the preservation of the notion of dual ladon offerings within its presentations.
Artworks akin to Mamanda Kutai are certainly present in multiple areas of Kalimantan.
The various forms of these arts exhibit their own unique styles, as seen in Mamanda Banjar.
Mamanda Tubau.
Mamanda Berau.
Mamanda Bulungan, and Mendu in West Kalimantan.
Husni Mubarak asserts that the resemblance of Mamanda does not inherently imply identical claims, as each Mamanda possesses distinct The distinctive features that set Mamanda Kutai apart from similar traditions in other regions are frequently overlooked, which poses challenges for its recognition as an intangible cultural heritage and impacts the identity of Mamanda Kutai Quick Response Code 7.
Compilation of Mamanda and Mendu in Kalimantan Regulation and Infrastructure The endurance of Mamanda Kutai's accompanying music within the Memanda Panji Berseri Group is infrastructural factors.
These include subsidies, archiving, performance venues, and instrument The Memanda Panji Berseri Group has been awarded a grant for musical instruments from the Total EP Foundation.
The Tourism Office of Kutai Kartanegara Regency significantly contributes to this effort by offering a venue for performances.
Zikri Umulda states that the Kutai Kartanegara Regency Tourism Office aims to not only offer a performance venue but also to enhance the visibility of Mamanda Kutai through the Mamanda Panji Berseri Group, integrating it into the Creative Economy with thoughtfully designed facilities and initiatives.
Music archiving in the context of traditional arts conservation is also crucial.
This archiving initiative, for instance, manifests as an academic piece featuring transcriptions of Mamanda Kutai music.
This initiative to archive contributes to the preservation of authenticity and illustrates the evolution of the art form throughout history (Prasetya H.
The audiovisual content showcased on the Memanda Panji Berseri YouTube channel and Instagram account exemplifies this method of archiving, as detailed Volume 18 No.
1 Juli 2025 Quick Response Code 8.
Youtube and Instagram Links Memanda Panji Berseri Group Music Industries The actual distribution and dissemination of the music associated with Mamanda Kutai seems to remain constrained.
In fact, audiovisuals of this music are rare and not yet at the industry level.
Nonetheless, there exists some digital documentation of this art form in the form of brief videos available on platforms like Facebook and YouTube.
Additionally, numerous publications regarding Mamanda Kutai are available on platforms like KutaiKartanegara.
com and Kaltim Today.
The videos and articles are essential due to the scarcity of information that effectively showcases Mamanda Kutai.
The subsequent section presents a compilation of information regarding both videos and articles related to Mamanda Kutai.
Interaction between musicians is going C The involvement of plays an important role in organizing Mamanda Kutai, in addition to the Panji Berseri Mamanda Group.
Involving musicians in the Mamanda Panji Berseri Group's C Efforts Department Education Culture of Kutai Kartanegara Regency to record the WBTB Efforts to preserve the image of Kutai Mamanda by the Panji Berseri Memanda Group through history C Studies music and Kutai Mamanda in general by academics C Provision performance space by Tourism Office of Kutai Kartanegara Regency C Donation of musical instruments by PT.
Total EP Musicians and Communities Quick Response Code 9.
Link to the collection of News and Video Performance of the Memanda Panji Berseri Group The sustainability of Mamanda Kutai's original accompanying music is inseparable from the role of its music ecosystem.
It is widely recognized that a music ecosystem consists of five primary domains that interconnect to create a cohesive system.
The significance of the Memanda Panji Berseri Group's music ecosystem in preserving the sustainability of Mamanda Kutai's original accompanying music is outlined as follows.
Context Construction Table 3.
Aspects based on the role of the Mamanda Panji Berseri Group's music ecosystem Domain Aspect Music Learning C System There numbers are limited.
Teaching is still carried out on a .
elatives neighbors of the cultural bearer.
Regulation and Infrastructure Volume 18 No.
1 Juli 2025 Fikri Yassaar Arrazaq.
Yofi Irvan Vivian.
Zamrud Whidas Pratama: Maintenance of The Mamanda Kutai Music
Ecosystem Sustainability of Original Music in The Mamanda Panji Berseri Group
CONCLUSION
The original Mamanda Kutai accompaniment is evident through the presence of core patterns in the piul and babon.
Additionally, the original accompaniment is evident in the consistent use of musical instruments, specifically the piul, babon, and The conventional iteration of Mamanda Kutai music remains prominently evident in the performance styles of the Panji Berseri Memanda Group at the time of this study.
The present situation reveals that traditional music performers, particularly those embodying the Mamanda Kutai tradition, continue to exist, as demonstrated by the artists from the Mamanda Panji Berseri Group.
However, their numbers are dwindling, placing this cultural heritage at risk of fading away.
The passing down of traditional music culture continues, albeit restricted to a small circle of the artists' close relatives and relying on conventional Efforts to preserve Mamanda Kutai through innovative collaborations with other art forms have commenced, aiming to rejuvenate its popularity within the community.
however, the outcomes have yet to reach their full potential.
The local government and private stakeholders have demonstrated a strong commitment to the preservation of Mamanda Kutai by engaging in WBTB recording efforts and supplying art equipment and performance space to the Mamanda Panji Berseri Group.
The efforts to digitally document and record Mamanda Kutai have been initiated, necessitating the involvement of scholars dedicated to preserving ethnic music in its traditional However, these initiatives appear to be somewhat constrained, and the distribution of information remains insufficiently broad.
The elements of Mamanda Kutai's existence, as showcased in the performances of the Mamanda Panji Berseri group, create an ecosystem that plays a crucial role in preserving the traditional music accompaniment of Mamanda Kutai.
Based on the findings from the field, it can be concluded that the traditional music of Mamanda Kutai, as demonstrated in the performance practices of the Panji Berseri group, continues to exist today.
However, it remains in a state that is at risk of extinction.
Therefore, greater efforts are required to revitalize the Mamanda Kutai ecosystem in a traditional manner for its people, ensuring it regains its status as a significant aspect of the community's cultural identity, as it once was.
The current relevance of the Mamanda Kutai musical accompaniment ecosystem within the Memanda Panji Berseri Group indeed holds potential for further enhancement in subsequent phases.
This enhancement encompasses not only the external dimensions of the Memanda Panji Berseri Group, including partnerships with agencies, media, other artistic communities, and the broader public, but also the internal elements of its artistry, such as cultural representatives and musicians.
REFERENCES