The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko Sony Riza Windyagiri1.
Heri Herdini2.
Lili Suparli3 1SMK Negeri 10 Bandung, 2,3 Institut Seni Budaya Indonesia (ISBI) Bandung sony982@guru.
id, 2heherdini@yahoo.
com, 3jaksun_bdg@yahoo.
ABSTRACT
This research analyzes the aesthetics of Kawih Wanda Anyaran by Mang Koko via the lens of Paradox Aesthetics as articulated by Jakob Sumardjo.
Paradox Aesthetics posits that the allure of Nusantara art emerges from the tension between two ostensibly contradictory aspects that finally converge into harmony.
This research utilizes a qualitative method with an ethnomusicological approach to analyze the lyrical, musical, and social contextual elements of Kawih Wanda Anyaran.
The results identify four principal types of paradox: traditionAe modernity, simplicityAecomplexity, individualityAecollectivity, and rationalityAeemotionality.
These paradoxes form a unique artistic basis, as Mang Koko adeptly showcases musical innovation while being deeply rooted in Sundanese cultural traditions.
Kawih Wanda Anyaran exemplifies the intricate interplay among the artist, the community, and the encompassing cultural milieu.
These findings affirm that Mang Koko's compositions function as expressions of musical creativity and as embodiments of paradoxical aesthetics, which hold substantial importance for arts education, cultural preservation, and the progression of Sundanese karawitan studies in contemporary and future contexts.
This study provides a conceptual contribution to comprehending how paradox aesthetics can function as a framework for interpreting traditional musical compositions and presents avenues for additional research on aesthetic alterations within Nusantara Arts.
Keywords: Kawih Wanda Anyaran.
Mang Koko.
Paradoxical Aesthetics.
Jakob Sumardjo.
Sundanese Karawitan INTRODUCTION AuBintang MasAy award in the Kongkoors Cianjuran Mang Koko emerged as a central figure (Benyamin, 1992:.
The combination of strong family support and in the history of Sundanese karawitan, formal education, including exposure to particularly through the development of the Western concept of Kawih Wanda Anyaran.
Born into a noble family from Sumedang with ancestral distinguished his artistic works.
ties to the Sultanate of Banten (Rosida.
Mang KokoAos creative trajectory cannot interview, 9 June 2.
, he was introduced to the tradition of Cianjuran vocal music from an socio-cultural background and family environment.
His early age through his father.
Ibrahim early musical experiences provided a strong Sumarta, a panembang who had received the Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 foundation for engaging with tradition and innovative style.
Within this style.
Sundanese subsequently transforming it into new artistic traditional idioms such as sekar-gending, the This perspective aligns with HerdiniAos treatment of laras and surupan, and traditional view, which emphasizes that innovation in Sundanese vocal practices are reworked into Sundanese karawitan consistently emerges new compositions by expanding musical from the interaction between traditional techniques and pedagogical functions.
experience and the context of modern life educational contexts.
Kawih Wanda Anyaran (Herdini, 2014:.
In Mang KokoAos artistic has proven effective as a medium for teaching practice, the convergence of these two poles traditional vocal music at the secondary materialized in the emergence of Kawih school level, as it enhances pitch accuracy.
Wanda Anyaran as a new style that remains articulation, and studentsAo self-confidence rooted in Sundanese traditions while being while also facilitating the internalization of oriented toward innovation.
Consequently, ornaments that are often perceived as Mang KokoAos works can be understood as challenging (Marpudoh & Irawati, 2025.
aesthetic representations that integrate the Drazatna.
Milyartini, & Latifah, 2.
continuity of tradition with a spirit of renewal Beyond their pedagogical function, (Ruswandi, 2007:.
recent studies have also emphasized the From his youth.
Mang Koko was cultural and social dimensions of Mang actively engaged in artistic activities while KokoAos works.
His lyrics and musical simultaneously working in various fields, structures connect the social imagination of ranging from Bale Pamoelangan Pasoendan Sundanese and the Djawatan Penerangan to institutions of strategies, opening interpretive spaces for arts education.
These experiences enriched thematic concerns such as urbanization and his artistic perspective and informed his moral education while remaining rooted in creative practice.
His songwriting journey traditional values (Saiful & Supriatna, 2.
began with the group Kanca Indihiang in The early phase of Kanca Indihiang can even Indihiang, which performed humorous songs be understood as a creative embryo that infused with social criticism, and continued through groups such as Mundinglaya.
Taman Murangkalih, and Ganda Mekar.
Across these dramaturgy (Ruswandi, 2.
These patterns phases, it is evident that Mang Koko were subsequently refined in later phases, as progressively developed the concept of Kawih discussed in previous studies on AuGarap Sekar Wanda Anyaran as a new style that integrates Caturan: Embrio Drama Swara dan Gending Sundanese traditional idioms with musical Karesmyn Karya Mang KokoAy (Windyagiri.
A number of recent studies indicate Mang KokoAos works reflect his ability to that Mang KokoAos creative trajectoryAifrom Kanca Indihiang.
Mundinglaya, and Taman traditional roots.
The concept of Kawih Wanda Murangkalih to Ganda MekarAiled to the Anyaran is not limited to a repertoire of songs emergence of Kawih Wanda Anyaran as an accompanied by salyndro or pylog gamelan but The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko rather constitutes a paradigm of creation that KokoAos creative process unfolds within a embodies a creative and progressive spirit dialectic between tradition and innovation.
Sundanese tradition serves as the primary Sundanese cultural identity (Suparli, 2015:.
foundation, yet it is continually rearticulated Underlying this perspective.
Mang KokoAos through new musical idioms, giving rise to views on art are closely intertwined with Kawih Wanda Anyaran as a distinctive style.
social and educational contexts, as reflected This perspective is consistent with in his childrenAos songs found in AuResep SaepudinAos argument that the development Mamaos,Ay AuTaman Bincarung,Ay and AuTaman of modern karawitan, as exemplified by Cangkurileung,Ay as well as in works centered Jaipongan, emerges from efforts to integrate on social critique such as AuKanca Indihiang,Ay traditional elements with new musical forms.
AuGanda Mekar,Ay and others.
resulting in the formation of a distinct genre Mang KokoAos (Saepudin, 2012:131Ae.
A similar dynamic can be observed in Sundanese literature, preservation of traditional values and the drive for creative renewal.
From Jakob demonstrates new aesthetic tendencies as SumardjoAos perspective, this condition can be reflections of the socio-cultural conditions of society (Hendrayana, 2022:119Ae.
In the paradox aesthetics, in which beauty emerges musical domain.
Iskandar shows that the use from the unification of two elements that of laras kacapi kawih in Sundanese pop songs provides evidence of innovation that remains (Sumardjo.
Hendrayana.
ChildrenAos songs such as AuBonyka Nani,Ay AuPatani,Ay and AuNgayuh HujanAy emphasize a (Iskandar, 2023:5522Ae5.
Accordingly, simple and pedagogical dimension, while Kawih Wanda Anyaran can be situated not kawih with themes of social critiqueAisuch as merely as a musical work but also as a AuUrang cultural reflection and a new paradigm in the KampungAy AuKulu-Kulu KombinasiAyAireveal a more complex depth development of Sundanese karawitan.
of social reflection.
The integration of these Mang Koko occupies a significant two poles gives rise to a distinctive musical position in the history of Sundanese karawitan style, through which Mang Koko succeeds in because he successfully formulated the sustaining the continuity of tradition while concept of Kawih Wanda Anyaran as a form of simultaneously opening pathways toward renewal grounded in tradition.
His life trajectory, musical experiences, and artistic Sundanese (Herdini, 2014.
Ruswandi, 2.
The study of Mang KokoAos works cannot be limited to musical or biographical heritage into new and contextually relevant aspects alone.
rather, it must address the In this regard.
Saepudin .
2:131Ae .
emphasizes that the emergence of new Through an aesthetic approach, it genres in Sundanese karawitan is always becomes possible to understand how Mang inseparable from the dialectic between Pantun Jurnal lmiah Seni Budaya Vol.
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Analytical techniques likewise underpins Mang KokoAos creative include the symbolic identification of lyrical texts, examination of musical structures The objective of this study is to identify through transcription and audio recordings, forms of paradox aesthetics in Kawih Wanda and the interpretation of meaning based on Anyaran by Mang Koko.
The research focuses the socio-cultural contexts underlying their on revealing how these works articulate Data triangulation is carried out by beauty through the convergence of two comparing findings from literature review, seemingly opposing poles.
Through this audio-visual documentation, and interviews, objective, the study seeks to position Kawih Wanda Anyaran not only as a musical (Moleong, 2018:.
This research can be implemented in manifestation of aesthetic principles within Nusantara arts.
karawitan by using Kawih Wanda Anyaran as Sundanese cultural communities.
Mang KokoAos works, which integrate tradition and innovation.
The analysis focuses on the lyrical may serve as references for developing texts, musical structures, and socio-cultural instructional materials that are relevant to contexts of Kawih Wanda Anyaran.
Data were younger generations without losing their collected through literature review, audioanalysis, cultural roots.
In addition, the findings of this study may encourage the documentation and informants who have close engagement with digitization of karawitan works, thereby Mang KokoAos works, including Sundanese karawitan artists and scholars.
The primary SumardjoAos 2000:.
only as a cultural heritage but also to thrive as The a living part of contemporary artistic practice.
because it is appropriate for examining music
RESULTS AND DISCUSSION
in relation to culture, as emphasized by Nettl.
The manifestation of paradox in Kawih who asserts that music cannot be fully allowing Sundanese karawitan to endure not ethnomusicological approach is employed maintaining the continuity of tradition, emerges from the unification of two opposing (Sumardjo, also opens new creative possibilities while Paradox Aesthetics, which emphasizes that beauty The paradox aesthetics approach theoretical framework applied in this study is Jakob in various educational institutions and This study employs a qualitative a model for arts education and appreciation METHOD Wanda Anyaran is evident in the way Mang Koko unites two opposing poles within a supporting social context (Nettl, 2015:.
single aesthetic framework.
On the one hand.
The analysis in this study is conducted he preserves core Sundanese traditional using a descriptive-analytical method to on the other, he introduces musical reveal the forms of paradox aesthetics in The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko social themes, and more progressive melodic deal with current social issues.
Modern The convergence between the musical creativity in these works emerges simplicity of childrenAos kawih and the through the transformation of traditional complexity of social criticism, between elements into innovations that are both religious and profane nuances, as well as communicative and educational, as noted by between traditional and modern elements.
Gardapandawa .
3:101Ae.
Sampurna generates a new form of harmony that .
5:58Ae.
, represents paradox aesthetics as articulated Hasan .
5:28Ae.
Through this approach.
Mang KokoAos works successfully integrate classical values with the social dynamics of Jakob Sumardjo.
This AdiwijayaAos .
6:77Ae.
Purba .
5:320Ae.
, the present era.
Sundanese karawitan arises from the creative Kawih tension between tradition and innovation.
Wanda Anyaran religious and profane nuances, simplicity and This paradox constitutes a defining complexity, as well as traditional and modern characteristic of Kawih Wanda Anyaran and elements, thereby creating a paradox of simultaneously affirms its position as a body aesthetics that enriches listenersAo experiences of work that transcends the boundaries of while also conveying social and educational mere musical entertainment, extending into This viewpoint is consistent with the the realms of cultural and educational conclusions of Setiadi .
4:139Ae.
and Alif Suryana .
9:45Ae.
5:86Ae.
, who assert that traditional the importance of the educational dimension elements and modernity can collaborate to in traditional arts, while Maryati .
0:101Ae create a profound musical experience.
Mang .
demonstrates that symbolic aesthetics in KokoAos works are not merely forms of musical they function as cultural representations of social values.
Within this strategies that affirm local identity while framework.
Hidayat .
1:67Ae.
situates innovation within tradition as a cultural contemporary innovation, as discussed by Krismayanti .
4:74Ae.
and Ardiansyah Accordingly.
Mang KokoAos ideas and works .
4:97Ae.
affirm Kawih Wanda Anyaran as an aesthetic Beyond presenting aesthetic paradoxes, paradigm rooted in tradition yet open to the Kawih Wanda Anyaran is also distinguished by dynamics of socio-cultural change.
Mang KokoAos ability to construct musical TraditionAeModernity Through kawih, he skillfully The paradox in Kawih Wanda Anyaran conveys moral, social, and religious messages is that tradition and modernity come together that remain accessible to listeners of diverse in a way that is both harmonious and age groups.
Sumarsam says that a traditional Sundanese karawitan idioms piece of music can stay relevant in modern are kept alive while also being expanded times if it strikes a balance between keeping through musical and lyrical explorations that old values and adding new ideas (Sumarsam.
Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 In this regard.
Mang KokoAos works as well as platforms for social reflection function not merely as expansions of (Gardapandawa, repertoire, but also as mediums of musical KokoAos creativity in blending traditional education that foster cultural appreciation elements with modern components aligns while cultivating critical awareness of the with contemporary musical practices that Kawih employ experimental approaches to generate Wanda Anyaran affirms that traditional music new forms of artistic expression (Sampurna, is not static but living and adaptiveAicapable 2025:58Ae.
The presence of such innovation of responding to the challenges of its time affirms that Kawih Wanda Anyaran serves not without losing its cultural identity (Becker, only as entertainment but also as a cultural strategy that reinforces local identity while Accordingly.
The traditionAemodernity paradox in 2023:101Ae.
Mang adapting to the developments of its time Kawih Wanda Anyaran is reflected in the way (Krismayanti, 2024:74Ae.
Mang Koko blends Sundanese musical The song AuLingkung Lembur,Ay composed idioms with influences from Western music in the form of Rampak Sekar .
hree vocal introduced through his formal education.
The level.
, employs the degung tuning system .
use of laras, surupan, waditra .
usical = tug.
and exemplifies the distinctive integration of tradition and modernity preserves traditional elements.
At the same characteristic of Kawih Wanda Anyaran.
Its time, he introduces harmonic patterns, lyrics are simple yet reflective, portraying the melodic progressions, and other musical village as a beautiful space for urban dwellers to release fatigue while also implicitly modernity within Sundanese karawitan.
This recalling the villageAos historical role as a place phenomenon aligns with SaepudinAos view of refuge for city residents during the .
Bandung Sundanese Lautan Api This phenomenon aligns with JaenudinAos findings continually find ways to adapt to changing .
4:500Ae.
Consequently.
Kawih Wanda Anyaran importance of maintaining traditional tuning does not remain at the level of contradiction but instead gives rise to a fresh and contemporary karawitan compositions.
contextual musical style that functions as a This three-part Rampak Sekar form, while remaining rooted in the degung tuning (Hendrayana, system and traditional ornamentation, also 2018:.
demonstrates the influence of Western music The process of integrating tradition and through more complex and progressive vocal modernity in Kawih Wanda Anyaran opens space for educational and social dimensions.
paradoxical dimension between tradition and The use of Sundanese idioms combined with This is reflected in a structural musical innovation allows these works to design that reveals Mang KokoAos ability to function as media for learning cultural values preserve Sundanese musical identity while The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko introducing innovative elements that are .
5:41Ae.
Iskandar .
3:5522Ae5.
and Fauzi .
5:41Ae.
FauziAos representing social values and communal Lyrics Tuh di lamping Tuh di pasir Tempat sirna Lingkung lembur Aya mangsa kampung jadi kota di sisi Pamungpungan jalma nu ti dayeuh Kampungkampung gegek lir Sisi gunung ngadadak sagala This paradox emerges from the contrast Translation On the mountain Upon the rising A place where restlessness fades The peaceful surroundings of the village There was a time when the village became a cityAos A refuge for those who came from the city Village appeared like cities At the foot of the suddenly existed between the lyricsAo light and approachable tone and their serious historical and social meanings, enabling the song to transcend mere entertainment and function as a medium for cultural reflection and moral AuLingkung LemburAy confirms Mang Koko's ability to create musical stories that are open to everyone and that combine tradition, modernity, and historical and social awareness (Iskandar, 2023:5522Ae5.
Structural innovation in Kawih Wanda Anyaran is exemplified by Mang KokoAos audacity in transforming traditional patterns of Sundanese karawitan into more adaptable Whereas traditional kawih tends to employ relatively static stanza structures and melodic patterns, his works frequently incorporate rhythmic variations, modulation of laras or surupan, and more expressive ornamentation techniques.
This phenomenon aligns with JaenudinAos findings .
4:500Ae The lyrics of AuLingkung LemburAy also reveal a traditionAemodernity paradox.
On the development of tuning systems and rhythmic approachable, emphasizing the comfort and practices in contemporary karawitan creates beauty of rural life as a space for urban space for improvisation among juru kawih dwellers to find relief from fatigueAivalues that are accessible and closely aligned with musical dynamics.
everyday experience.
Beneath this apparent The themes addressed in these works simplicity, however, the lyrics evoke a deeper likewise demonstrate innovation, extending historical and social consciousness: the beyond subjects of love or nature to engage village as a place of refuge for urban with social, political, educational, and other communities during the Bandung Lautan Api The presence of these new themes event, reminding listeners of the dynamics of affirms that Kawih Wanda Anyaran functions not only as an artistic expression but also as a This Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 medium for reflecting upon the realities of contemporary Sundanese society (Fauzi, enhancing the dynamics of contemporary 2025:41Ae59.
Sundanese karawitan.
Iskandar, 2023:5522Ae5.
Accordingly.
Mang KokoAos works emphasize The lyrics narrate the longing of a the openness of tradition to innovation while migrant child living in the city for their childhood in the village, while recalling a Sundanese musical identity.
mother and father who have passed away.
The expansion of innovation in Kawih The paradox emerges from the contrast Wanda Anyaran also encompasses approaches messageAinostalgia for the homeland and Koko parentsAiand the musical complexity created Mang combination of traditional instruments and Western elements to create richer and more surupan, and expressive rhythmic variations.
dynamic musical textures (Purba, 2025:320Ae Through this approach.
AuGupay LemburAy This approach broadens the possibilities demonstrates Mang KokoAos ability to balance of musical expression and serves as a bridge Sundanese between traditional and modern audiences, innovation, positioning Kawih Wanda Anyaran allowing the works to remain relevant within not only as an artistic expression but also as a medium for emotional, social, and cultural (Setiadi, 2024:139Ae.
The rhythmic innovations and the introduction of new thematic content 2023:27Ae.
further affirm that Kawih Wanda Anyaran and social reflection, while simultaneously demonstrating that Sundanese karawitan traditions are capable of adapting to changing times without losing their fundamental identity (Krismayanti, 2024:74Ae.
The song AuGupay Lembur,Ay composed in the salyndro tuning system with several (Fauzi.
Lyrics Gupay-gupay Kiwari nymbongan Basa ryk ninggalkeun Ryk miang tolabul Kacipta Ema jeung Apa Gupay jajap Di Bandung muga sing jucung Gancang mulang ka functions as a medium for cultural education tuning-system madenda .
= tug.
, madenda .
= panel.
, and degung .
= tug.
, provides a clear example of structural musical innovation in Kawih Wanda Anyaran.
The shifts in tuning systems and surupan, together with the flexible stanzaic structure, enable the juru kawih to explore Gupay-gupay Kiwari nymbongan rhythmic variations and sekar ornamentation.
This phenomenon aligns with DaryanaAos findings .
4:482Ae.
, which emphasize the 2025:41Ae59.
Karmila.
Translation Thoughts drift and Now resurfacing once more.
As the time comes to leave the village.
Setting out in search of Engraved are Mother and Father.
Wandering thoughts full of May success be found in Bandung.
And may I soon return home.
Thoughts drift and The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko Basa beus ninggalkeun stanplat Haty mah puguh Kacipta cisoca Ema Nu rambisak kingkin Pileuleuyan dayeuh Garut Kapaksa urang Ngumbara lila di Bandung Beungeut lembur Di susukan marak Balap ngojay ulin Luhur pasir Hanaang ngala Lalakon manjang di Bandung Lembur ngan ukur Duriat ngan dina Kangen ngan dina Betah di tempat Pageuh jeung adeg the range of works created by Mang Koko.
Now resurfacing As the bus departs the terminal.
The heart feels left Engraved are memories of Mother.
Giving rise to profound sorrow.
This farewell to the city of Garut Forces us to part.
the one hand, he composed kawih that are simple in nature, characterized by easily patterns, and repetitive musical structures, which make them easy to memorize.
Such works function as a medium for basic musical education as well as a means of instilling moral values in younger generations, in line with TilaAos findings .
3: 364Ae.
on the role of the arts in shaping social and educational values within society.
Mang Koko also composed kawih with Wandering for a long time in Bandung.
The face of the village remains deeply missed.
Catching fish in the Racing to swim and playing in the mud.
Battles played atop sandy hills.
Quenching thirst with coconuts.
themes of social criticism that exhibit a high level of complexity, reflected in his careful choice of diction, dense rhythmic structures, and melodic treatment that demands a high degree of skill from the juru kawih.
These two seemingly opposing polesAisimplicity and complexityAiare united within a single aesthetic framework, demonstrating Mang KokoAos ability to maintain the continuity of tradition while simultaneously deepening musical expression (Daryana, 2024: 482Ae499.
Fauzi, 2025: 41Ae.
In his other works.
Mang Koko presents The story continues in Bandung.
The village remains only a shadow.
Alive now only in Longing felt most strongly during Eid.
Growing attached to life in migration.
Bound closely until more philosophical and religious lyrics that convey profound reflections on moral values, spirituality, and the relationship between humans and the Creator.
The combination of the simplicity of everyday language with the depth of philosophical and religious meaning enriches the aesthetic dimension of Kawih Wanda Anyaran, making it relevant to diverse segments of society with varying artistic and spiritual needs (Fauzi, 2025: 41Ae59.
Karmila, 2023: 27Ae.
The paradox of simplicityAecomplexity SimplicityAeComplexity The paradox of simplicityAecomplexity performative approach of Kawih Wanda in Kawih Wanda Anyaran is clearly evident in Pantun Jurnal lmiah Seni Budaya Vol.
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Mang Koko presents variations in complexity within a harmonious aesthetic ornamentation techniques that demand high- IndividualAeCollective level skills from the juru kawih, while The individualAecollective paradox in simultaneously maintaining repetitive and Kawih Wanda Anyaran is evident in the roles of Mang Koko as the creator and the foundational musical learning (Jaenudin, performers of the kawih.
Individually.
Mang 2024: 500Ae.
This approach enables his Koko demonstrates his distinctive creativity works to accommodate various levels of listenersAo and performersAo abilities while innovation, and thematic choices that reflect enriching the overall aesthetic dynamics his personal aesthetic vision.
His works (Krismayanti, 2024: 74Ae85.
Ardiansyah, 2024:
97Ae.
The integration of simple lyrics with distinguish one kawih from another, while musical complexity underscores the position of Kawih Wanda Anyaran as a medium that is identity (Daryana, 2024: 482Ae.
not only entertaining but also educational creatorAos The collective aspect of the kawih created by Mang Koko requires the juru kawih realities, bridging Sundanese tradition with modern innovation (Gardapandawa, 2023:
harmoniously, maintaining musical 101Ae112.
Sampurna, 2025: 58Ae.
rhythmic coherence within the ensemble.
The simplicityAecomplexity paradox in This interaction demands that performers Kawih Wanda Anyaran is not merely a adapt their individual expression to the structure and character of the kawih, resulting intentionally employed by Mang Koko to in a cohesive and unified performance.
The bridge multiple dimensions of musical and beauty of Kawih Wanda Anyaran emerges social experience.
The simplicity of the lyrics from the balance between the creatorAos and structure facilitates accessibility for novice listeners, while musical complexity harmony of the performers (Fauzi, 2025: 41Ae and depth of meaning provide space for reflection, learning, and appreciation for Mang KokoAos personal expression in more advanced audiences.
Mang KokoAos Kawih Wanda Anyaran is highlighted through works are capable of embracing diverse social thematic choices, musical structure, and layers and maintaining the continuity of melodic innovations that reflect his aesthetic Sundanese tradition while simultaneously vision and creative philosophy.
Each kawih expanding the horizons of artistic expression serves as a medium to convey Mang KokoAos relevant to contemporary contexts.
This ideas, emotions, and unique character, giving paradox emphasizes that the beauty and function of Kawih Wanda Anyaran emerge (Iskandar, 2023: 5522Ae5529.
Karmila, 2023:
from the ability to unite simplicity and 27Ae.
The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko The kawih also functions in social The IndividualAeCollective paradox in contexts such as performances, competitions.
Kawih Wanda Anyaran confirms that the or educational settings, which require the creatorAos works to be appreciated, learned, and performersAo collective harmony complement understood by a broader audience.
This each other.
Mang KokoAos creativity is evident social function underscores the role of Kawih Wanda Anyaran as a means of communication, innovations that give each kawih a distinct learning, and cultural preservation, where character, while the performers maintain individual aesthetic values merge with ensemble cohesion so that the work can be collective needs (Tila, 2023: 364Ae376.
Karmila, fully appreciated.
Kawih Wanda Anyaran 2023: 27Ae.
Kawih Wanda Anyaran bridges serves dual functions: as a medium for Mang KokoAos personal expression and wider personal expression and as a vehicle for social social purposes, demonstrating the harmony community benefit.
education, and cultural The individual creativity and collective purpose The individualAecollective paradox in lies at the core of its aesthetic value.
Kawih Wanda Anyaran is also apparent in the demonstrating that the beauty of Kawih Wanda Anyaran arises from the balance Mang KokoAos personal creativity between the creatorAos personal interests and drives the development of rhythm, scale the communityAos needs.
modulation, and ornamentation techniques RationalAeEmotional that demand high-level skills from the juru The rationalAeemotional paradox in kawih, while the kawihAos structure still requires Kawih Wanda Anyaran arises from the tension between the carefully structured musical (Jaenudin, 2024: 500Ae515.
Krismayanti, 2024:
composition and the feelings and expressions 74Ae.
The interaction between the creatorAos evoked during performance.
Each kawih is individual expression and the performersAo composed with attention to laras, surupan, collective abilities produces a cohesive and rhythm, and melodic patterns, reflecting the aesthetically pleasing performance, where personal innovation does not disrupt musical harmonization (Ardiansyah, 2024: 97Ae108.
(Karmila, 2023: 27Ae41.
Setiadi, 2024: 139Ae.
Gardapandawa.
Mang KokoAos This At the same time, the kawih can evoke a approach emphasizes that Kawih Wanda wide range of emotions in both performers Anyaran functions not only as a medium for and audiences, from joy and longing to the creatorAos expression but also as a tool for making the performance not merely technical 101Ae.
preservation, making the balance between individual interests and collective needs meticulous compositional arrangement and central to its aesthetic value (Sampurna, 2025:
expressive depth.
Kawih Wanda Anyaran 58Ae72.
Alif, 2025: 86Ae.
demonstrates how rationality and emotion Through Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 unite to enrich both musical and social composition does not limit creativity or meaning (Tila, 2023: 364Ae376.
Karmila, 2023:
emotional expression but rather enriches the 27Ae.
artistic and social dimensions of Kawih Wanda The Anyaran structure of Kawih Wanda Anyaran serves as a Each 74Ae85.
Ardiansyah, 2024: 97Ae.
framework that governs the flow of the (Krismayanti.
The rationalAeemotional paradox in Kawih Wanda Anyaran underscores that a well-planned patterns, is precisely arranged according to structure does not diminish the richness of Mang KokoAos vision (Iskandar, 2023: 5522Ae emotional expression.
The systematically Setiawan Gardapandawa, 2023: 101Ae arranged laras, surupan, rhythm, and melodic Yet, space for improvisation remains patterns provide a framework for performers open for performers, particularly the juru kawih and pamirig, allowing them to add interpretations, allowing the performance to ornamentation, rhythmic variations, or vocal remain vibrant and emotionally resonant.
The balance between rationality and emotion This balance enables works that enables Kawih Wanda Anyaran to function as a emotionally and artistically alive, providing performers the flexibility to interpret the expressive flexibility, enhancing both musical kawih according to their musical sensitivity meaning and the workAos social and spiritual (Tila, 2023: 364Ae.
The rationalAeemotional paradox is also CONCLUSION evident in the audienceAos experience and the Anyaran.
Systematic Kawih Mang KokoAos Kawih Wanda Anyaran Wanda exhibits a distinctive paradoxical aesthetic, in management provides a framework for ornamentation.
Mang Koko creates kawih that 2025: 41Ae59.
Sampurna, 2025: 58Ae.
The are simultaneously simple and complex, interaction between the planned musical rational and emotional, and individual and structure and emotional expression creates a laras, surupan, rhythmic structure, and sekar spiritual and philosophical reflection (Fauzi.
Through the manipulation of nuances, ranging from joy and longing to interwoven with musical and thematic performers to convey diverse emotional This approach not only generates a fresh and contextually relevant musical style listeners can appreciate both the depth of but also positions Kawih Wanda Anyaran as a musical meaning and inner resonance (Purba, medium for education, social reflection, and 2025: 320Ae333.
Setiadi, 2024: 139Ae.
The the reinforcement of Sundanese cultural presence of improvisational space for the juru Its success demonstrates Mang kawih and pamirig emphasizes the workAos KokoAos ability to preserve traditional roots flexibility so that the rationality of the The Paradoxical Aesthetics of Kawih Wanda Anyaran by Mang Koko while opening space for modernity and Ardiansyah.
artistic innovation.
et al.
Kotekan Technique As An Idea for the Creative Kawih Wanda Anyaran affirms that Process in Music Creation.
Pantun traditional music is not static but rather Jurnal Ilmiah Seni Budaya.
Vol.
No.
97Ae108.
contemporary developments.
The paradoxes Becker.
Deep listeners: Music, emotion, reflected in the lyrics, themes, and musical and trancing.
Bloomington: Indiana structures enrich the aesthetic experience for University Press.
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