The role of traditional music ‘Karawitan’ in building community resilience in the Sodong Ponorogo Buddhist Village East Java Indonesia to facing the Covid-19 pandemic

Abstract

This study aims to describe and explain how community resilience needs to be leveraged during the spread of COVID-19 with traditional music ‘Karawitan’. This study uses a hermeneutic phenomenological approach. The research was conducted for 26 months in Sodong, Gelangkulon Village, Sampung District, Ponorogo Regency, East Java Province, Indoensia. The research data was taken by interview, observation, and document recording techniques and then analyzed using interactive model qualitative analysis techniques. The results showed that the traditional music ‘Karawitan’ played a major role in building the resilience of the Sodong Buddhist Village community in facing the Covid-19 pandemic. Traditional music ‘Karawitan’ communicates various matters relating to the Covid-19 pandemic and strategies to deal with it. Pengrawit, in routine and incidental rehearsals, presents songs with light, happy rhythms (slendro), containing religious, social, human and health values. Those songs not only presented but also explained (air). The traditional music ‘Karawitan’ also held peduli sasama and distributed them. These activities make community members able to eliminate psychological pressure and be able to adapt, be optimistic, and be able to survive in the face of the Covid-19 pandemic.

Keywords:

• Covid-19 pandemic
• traditional music
• Karawitan
• resilience

REVIEWING EDITOR:

• Lincoln Geraghty PhD
• [email protected]
• Associate Editor School of Media and Performing Arts
• University of Portsmouth
• Eldon Building
• Winston Churchill Ave
• Portsmouth
• PO1 2DJ
• UNITED KINGDOM

SubjectS:

• Cultural Theory
• Heritage
• Race & Ethnicity

Introduction

Covid-19 first appeared and was confirmed in Wuhan, China in December 2019 (Fakhriati & Erman, 2022). It was from this place that Covid-19 spread to almost the entire world so that WHO (World Health Organization) declared it a pandemic. After 28 months, the number of people exposed to Covid-19 has decreased, but there are no experts who can determine and/or confirm when the Covid-19 pandemic will end (Que et al., 2020). The Covid-19 pandemic has not only had an impact on public health, but has also affected economic conditions, education and social life, community psychology and others (Hanum, 2020). In the psychological aspect, Covid-19 makes people worried, anxious, afraid and so on.

The psychological impact of the Covid pandemic has been widely revealed in various parts of the world. in China, hundreds of teenagers and workers are experiencing psychological disorders due to this pandemic (Que et al., 2020; Zhang et al., 2020). During the pandemic in the Philippines, moderate to severe anxiety has been reported and some have experienced depression and moderate to severe psychological impacts (Tee et al., 2020). In Singapore, the psychological impact of the COVID-19 outbreak among healthcare workers is critical in guiding policies and interventions to safeguard their psychological well-being (Tan et al., 2020). So that Covid-19 is still a threat to the survival of mankind (Herlambang et al., 2021). Therefore, the parties are trying to minimize or reduce the impact arising from the Covid-19 disaster (mitigation) continuously by involving the community. This is what the residents of the Sodong Ponorogo Buddhist Village did.

Sodong Buddhist Village is one of the hamlets where until now few have been exposed to Covid-19. Throughout 2020–2021, out of a population of 465 people, only two people were exposed to Covid-19. They were both exposed while working outside the village (migrant workers). Even so, community members are still plagued by worry, anxiety and fear of Covid-19. The community seeks to increase awareness and preparedness based on the community’s collective experience of the pageblug disaster which has become a tradition and has become a social value. Vigilance and alertness do not accompany or do not grow by themselves but through a civilizing process. This process takes place simultaneously by involving human, material and media resources that are local wisdom.

Local wisdom is the conception of certain community members regarding understanding, knowledge and wisdom that influence decisions to solve the problems they face (Hanif & Retno, 2019). These views and conceptions are thoughts, initiatives and works that are profound and contain values for the supporting community (Geertz, 1983). These values are inherited and cultivated to the next generation by using the right media and in accordance with the circumstances, conditions and characteristics of society. The artistic process has the potential to be a medium for releasing tension, anxiety, and pent-up emotions by expressing them through works of art (Fakhriati & Erman, 2022; Triastari et al., 2021; Warman et al., 2023).

The people of Sodong Buddhist Village have a variety of traditional arts that are still sustainable, one of which is the karawitan art. Musical art has been entrenched in this village since the 1930s. Those who have concern and enjoy playing karawitan form a karawitan group. His musical group is called ‘Ngudi Laras’ and is based in the Dharma Dwipa Vihara Vihara pavilion. Exercise is held twice a week, by both men and women. The men exercised every Tuesday and Thursday at 19.00–23.00 pm while the women practiced every Wednesday and Sunday at 11.00–13.00 am. At the start of the pandemic (March–June 2020), the villagers could not enjoy the sound of karawitan because the musicians did not practice or put on performances. However, starting in June 2020, the musicians of the Ngudi Laras Karawitan have returned to practicing and at the same time prepare for Eid al-Fitr and Vesak. Training is increasingly being held routinely as we enter the new normal era.

Facing the Covid-19 Pandemic provides an overview of existing studies and scholarly works related to traditional music, community resilience, and the cultural context of the specific village in East Java. The review highlights the significance of traditional music in fostering resilience within the community, especially during the challenging times brought about by the COVID-19 pandemic.

The cultural significance of traditional music, specifically Karawitan, as an integral part of Indonesia’s rich cultural heritage, has been widely discussed (Maruti et al., 2021; Nuryadi & Kholifa, 2020; Vereshchahina-Biliavska et al., 2021; Widiantoro & Harnadi, 2020). Scholars emphasize the role of traditional music in preserving cultural identity and connecting communities to their roots. Studies have explored the social functions of Karawitan, emphasizing its role in fostering social cohesion and a sense of belonging (Campbell, 2021; Mokgachane et al., 2021). Traditional music is seen as a communal activity that transcends generational boundaries and unites community members.

Research on the relationship between cultural practices and well-being highlights the positive impact of engaging in traditional activities on mental health and community satisfaction (Anderson, 2020; Parc & Kim, 2020). Music is recognized for its therapeutic qualities and its ability to alleviate stress and anxiety. Discussions on cultural adaptation during crises shed light on how communities turn to their cultural practices, including traditional music, as a coping mechanism. This adaptive capacity is crucial for communities facing challenges like the COVID-19 pandemic. Given the restrictions imposed by the pandemic, literature exploring the digital transformation of cultural practices becomes relevant. Studies discuss how traditional music can be transmitted through online platforms, maintaining cultural connections in times of physical distancing.

Despite the existing body of literature, there may be gaps in understanding the specific role of Karawitan in the resilience of the Sodong Ponorogo Buddhist Village during the COVID-19 pandemic. These gaps provide the rationale for the current research. By synthesizing these key themes from the literature, the review establishes the foundation for the current study, emphasizing the unique cultural context of Sodong Ponorogo and the potential of Karawitan in contributing to community resilience during the ongoing global health crisis.

The Ngudi Laras Karawitan training can still be held because it is supported by the hamlet community members and the hamlet government while continuing to implement the health protocol (prokes). Another consideration is that this village is isolated/separated from the surrounding villages and karawitan art is one of the main entertainments for the people of Sodong Buddhist Village. This karawitan art lives, survives and develops in this village and is inseparable from and always intersects with people’s lives, both socially, economically and in customs. The enthusiasm of the people in holding this karawitan even though in the atmosphere of the Covid-19 pandemic, of course there is something that is needed by the community. This is not yet known by the public and invites various questions including; why are people not worried, anxious, and afraid?, what is the role of Karawitan Ngudi Laras in building community resilience to face the Covid-19 pandemic. For this reason, this research is interesting to carry out with the aim of describing and explaining the role of Karawitan Ngudi Laras in building the resilience of the Sodong Buddhist Village community during the Covid-19 pandemic.

Literature review

Community resilience

Role is a set of actions and behaviors that are dynamic in nature from existing positions in human organizations and in society. Meanwhile, the role is an action performed by someone in an event (Soekanto & Dan Sulistyowati, 2014). This role is also interpreted as an action carried out by an individual or group of people in an event, and is a form of behavior expected of a person or community member (Shafritz & Steven, 1987). According to Biddle and Thomas in Hia (2019) to find out the role or roles played by a person, agency, organization, it can be seen from his actions and behavior while holding that position or position.

The indicators according to Biddle and Dan Thomas (1966) can be studied from the following aspects; (1) Expectation, expectations about roles are other people’s expectations about appropriate behavior, which should be shown by someone who has a certain role, (2) Norms, norms are a form of hope. Expectations based on their nature can be classified into two types; predict (anticipatory), namely expectations about a behavior that will occur, and normative expectations (prescribed role expectations), namely the necessity that accompanies a role, (3) Performance (behavior form). Behavioral manifestations in roles. The role is manifested in real behavior, not just hope, (4) Evaluation (assessment) and sanctions (sanctions). Role assessment is the giving of a positive or negative impression based on society’s expectations of the intended role. While sanctions are people’s efforts to maintain a positive value or so that the embodiment of the role is changed in such a way that what was previously considered negative becomes positive.

Builders of community resilience

Role as a social expectation on the position of the status is part of the self. Self can form several roles played by individuals in society. The implication is that role expectations for a particular position can be used as a reference for accurately predicting the behavior of the person occupying that position (Sarlito, 2015). This is possible because of changing the role expected by others or changing one’s role into a completely different role.

The role of a person or organization is not only determined by behavior but also by beliefs and attitudes. They bring attitudes that are aligned with the expectations defined by their roles. Roles can affect the values held by a person and affect the continuity of the development and growth of their personality. This role theory focuses on actors and norms in social life, the individual plays a role sometimes not as himself but as an essential component of self (self). Likewise with the fact that playing someone else’s role does not mean something that is artificial or unnatural (Ritzer and Dan Smart, 2011).

Roles have several characters, namely (1) the role is played by the individual, (2) the role is behavior, what people do in that role can be seen and the role shapes the character of the person playing it, (3) The role is limited by space and time (Stephan & Renfro, 2002). This role according to Linton (Stephan, 1985) has two types; (1) Ascribed role, namely the role that has existed since he was born without any effort to achieve it such as gender, position in the family (as a brother, nephew and others), (2) Achieved role, namely the role that exists in individuals because he achieves achievement results. This role has a formal and informal structure. The formal role is the role that appears and is homogeneous. Meanwhile, informal roles are closed and implicit (emotional) roles (Ritzer, 2012). In its embodiment according to Martono (2016) it can be classified into an active role, participatory role, and passive role. The role intended in this study is the role played by the organization of people who perform karawitan along with the accompanying materials.

Community resilience during the Covid-19 pandemic

Covid-19 has had a broad impact on people in various regions and touched almost all aspects of life, including community psychology (Muara et al., 2021; Hanum, 2020). Many people in Indonesia are anxious, afraid, depressed and panicky (Herlambang et al., 2021). If this is not immediately eliminated, the situation and condition of the community will get worse. Therefore it is necessary to make efforts to build community resilience by involving the potentials in the surrounding environment. Resilience is the ability possessed by a person or society to face, overcome the problems of difficulties that are inevitable in life (Grotberg, 2003; Resnick et al., 2011). Resilience is needed by humans because no human being is without problems. This resilience is needed by humans to survive after being exposed to heavy pressure (Calista & Garvin, 2018). Resilience in relation to the pandemic is meant as the ability of individuals or communities to choose to recover from life events that are frightening, worrying and worrying, and full of challenges by increasing knowledge to be adaptive and overcome similar adverse situations in the future (Keye & Pidgeon, 2013).

Community resilience to the pandemics is a multidimensional approach with multiple criteria and factors. This suggests that government institutions must carefully plan for possible conditions and manage the community by monitoring the situation and potential risks to build a more resilient community to pandemics (Suleimany et al., 2022).

Resilience is a dynamic process in which an individual or group of individuals demonstrates their ability to adapt and act in solutions when faced with adverse pressures so that they can survive or recover their physical or emotional health (Cal & Santiago, 2013). This inner strength makes people feel competent so that they can overcome challenges in everyday life (Ahern et al., 2008). Resilience is also meant as the ability of an individual to bounce back from the pressures of life, learn and look for positive elements from their environment to help the success of the process of adapting to all circumstances and developing all of their abilities, even in stressful living conditions, both externally and internally (Niaz, 2006).

Aspects that participate in forming resilience include; emotional control, optimism, the ability to analyze the causes of problems, the ability to empathize, having tolerance for negative affect and being strong in dealing with pressure, positive acceptance of change and good relationships with others, and spiritual influence (Rojas, 2015; Connor & Davidson, 2003). Meanwhile, the characteristics of humans or people who have high resilience are that they tend to be easy to socialize, have good thinking skills, have people around who support them, have one or more talents or strengths, believe in themselves and believe in their ability to make decisions and have spirituality or religiosity (Yulianti, 2018; Murphey et al., 2013).

The role of local traditions as one of the levers of community resilience

The role intended in this study is the role played by the organization of people who perform karawitan along with the accompanying materials. Karawitan art is a form of gamelan art and sound art with slendro and pelog scales (Sudirga, 2020). Gamelan comes from the word gamel which means to hit, so gamelan can be interpreted as an instrument that sounds by being hit. If the review is about its meaning, then gamelan means an instrument that forms a unity of the type of wasp. The most commonly used gamelan is metallophone, including gangsa, gender, bonang, gong, saron, slenthem. The instrument is played by wiyaga using a hammer (beater) and a membranophone in the form of a kendhang which is played by hand. Other instruments include xylophones in the form of xylophones, aerophones in the form of flutes, chordophones in the form of fiddles, and vocal groups called sinden (Sumarsam, 1995).

Karawitan can be divided into three, namely (1) sekar karawitan, (2) gending karawitan, (3) sekar gending karawitan (Evendy & Purwadi, 2016; Adiyanto, 2020). The art of karawitan as a traditional musical art has many functions, namely ritual, entertainment, social and education, and so on (Setyoko & Pratama, 2021). One of the most prominent social functions of karawitan is as a medium of communication and entertainment. Communication is the process of conveying meaning from one entity or group to another through the use of mutually understood signs, symbols and semiotic rules (Rogers, 2003). While its function is to have fun, show bonds, build and maintain relationships with others. This can be used as inspiration and consideration for making decisions, to do or not to do something at a certain time (Verderber, 1978).

Djelantik (2004) explains that a quality art form must be able to convey a message or communicate well. The message or meaning of a work of art will not reach the heart if the communication is less effective, the relationship between the work and those who witness it becomes less stable. In the context of communication, karawitan art can function as an effective means of communication, both vertically and horizontally. Vertically, it is embodied in the form of pieces with various characters that some people can use as a means of communication with the Creator. Horizontally, communication in karawitan is reflected in the results of the presentation which is the result of collaboration between elements in karawitan art, is collective in nature, supports each other to provide a place for expression in accordance with their rights and obligations and responsibilities (Prabowo et al., 2019). According to Setyawan (2017) the function of karawitan is in accordance with the lifestyle of the Javanese people, most of whom adhere to the principle of mutual cooperation, prioritizing togetherness.

Methods

Research design

This study uses a hermeneutic phenomenological approach that interprets life texts and life experiences (Creswell, 2014) in Diagram 1. According to Anderson and Spencer (2002), life experience is intended as the experience of individuals or groups of individuals about phenomena. The phenomenon in the context of this research is Covid-19. Through this approach, the researcher explores the texts of life as outlined in the songs of the Karawitan Ngudi Laras and the actions of the artists in building the resilience of the community members so that the uniqueness of the community’s life experiences can be comprehensively revealed.

Diagram 1. Flowchart of hermeneutic phenomenological approach.

Partisipant

The location of this research is in Sodong Buddhist Village, to be precise in Sodong Hamlet, Gelangkulon Village, Sampung District, Ponorogo Regency, East Java Province, Indonesia. The time used for this research is three years, starting from May 2020 to April 2023. The research subjects consist of traditional leaders, musical figures, musicians, and hamlet communities. While determining the informants using purposive sampling technique, in which researchers select and/or determine subjects or research informants who are considered capable and willing to provide information on matters relating to and research objectives so that they are expected to be able to answer research problems.

Data collection and data analysis

Data collection techniques used in this study were interviews, observation, and document recording. Conduct in-depth interviews with participants to gain an in-depth understanding of changes in musical practices, the challenges they face, and how they adapt. In participatory observation with directly observing musical practices during the pandemic, whether in the form of virtual concerts, online practice, or limited social interaction.

In order for the data taken to have a degree of validity, it was carried out by source triangulation and then the data was analyzed using the interactive Miles and Huberman qualitative analysis technique. According to Milles et al. (2014) that the activities carried out in this analysis technique include data reduction, data display and data conclusion drawing/verification. These activities are carried out continuously, continuously, and will stop when the data is saturated.

Results

A Brief description of Sodong Buddhist Village

Sodong Buddhist Village is a hamlet or hamlet located in the area of Gelangkulon Village, Sampung District, Ponorogo Regency. Dukuh or hamlet administratively the government of the Republic of Indonesia is part of a village. The hamlet area is isolated from the surrounding village area. There are only two access roads to get to this hamlet. The road goes up and down and winding. The topography of this village is at an altitude of 268 meters above sea level and is in coordinates 7050’ 36″S and 1110 9’16″E (Figure 1).

Figure 1. The map location of the Sodong Village.

The name ‘Sodong’ comes from deSO (village) and goDONG (leaf). This term relates to the model of residential houses that were made and used by the early inhabitants of this hamlet at the end of the nineteenth century. This is corroborated from Dutch Colonial records when they came to power in the Badegan Ponorogo area of East Java in 1837 mentioning that the people who inhabited the Gelangkulon hills had walls and roofs with leaves (godong in Javanese means leaves). In the next dynamics, people outside this hamlet call it Sodong (Hanif et al., 2021).

Sodong Hamlet is called the Buddhist Village because in 1950–1980 the majority of the people were Buddhists. However, after the 1980s, people who embraced Buddhism experienced a decline because they moved to Islam. Even in 2022 the number of people who embrace Islam is more than those who embrace Buddhism. Currently, the population of Dusun Sodong is 465 people, 339 people embrace Islam and 126 people embrace Buddhism (Tim, 2022). The people of Sodong Buddhist Village, although of different religions, still live in harmony and peace. Religion for community members does not become an insulator and a barrier in social life. They are able to implement the values of tolerance into all aspects of life, such as mutual cooperation, friendship, mutually happy (Hanif et al., 2022).

Ngudi Laras Karawitan, Sodong hamlet

Musical arts have been entrenched in Sodong Hamlet since the early 20th century. Many members of the public enjoy this art and make karawitan art an art in various community activities and family celebrations. This was conveyed by informants, including:

Akeh warga dhusun mriki sadurunge Indonesia merdika wis seneng karawitan. Menawi wonten dhusun sanesipun, mliginipun wonten ing dhusun-dhusun ingkang andhap, tiyang-tiyang sami ngumpul ningali (I-02, interview, 2 June 2022)

(Many residents of this hamlet liked karawitan before Indonesia’s independence. If there were musical performances in other villages, especially in the lower villages, the residents would flock to see them).

The same thing was conveyed by I-3 namely

Warga desa menika ingkang saged ngawontenaken pahargyan penganten, khitanan kedah ngawontenaken hiburan karawitan (Interview, 4 June 2022)

(Residents of this hamlet who are able to hold a wedding celebration, circumcision must hold karawitan arts).

Considering that the community’s interest in karawitan art was so great, the hamlet leaders formed a karawitan art group. This was conveyed by Soimin (98 years) when interviewing him

Ing taun 1970-an, warga sing seneng karawitan nyoba nata piranti gamelan kanthi gotong royong. Senajan ora jangkep kaya gamelan saiki, nanging cukup kanggo didadekake latihan lan pagelaran kanggo warga desa (I-1, interview, 7 June 2021).

(Residents who liked karawitan in the 1970s tried to put together gamelan sets together. Even though they were not as complete as today’s gamelan, they were enough to be used as practice and performances for the hamlet residents).

The musicians and the people who support the musical arts try to improve their abilities continuously, sustainably, and adapt to the dynamics of the times. They also complement the gamelan instruments. The long and unyielding struggle of the musicians and community leaders received a positive response from the Government of the Republic of Indonesia. The government through the Ministry of Religion in 2017 provided assistance with a complete gamelan set. This was conveyed by the following Buddhist figures

Para penggedhe dhusun ing kene kanthi bertahap lan bebarengan ngrampungake gamelan kasebut. Kajaba iku, dheweke uga njaluk bantuan kanggo pemerintah liwat macem-macem lembaga. Syukur yen ing taun 2019 panyuwunan bantuan dikabulake dening Kementerian Agama (I-2, Interview, 4 April 2021)

(The hamlet leaders here have gradually and worked together to complete the gamelan. In addition, they have also submitted assistance to the government through various agencies. We are grateful that in 2019 our request for assistance was granted by the Ministry of Religion).

Based on the observations made by the researchers, it turned out to be true. At the pedopo of the Jawa Dwipa Temple there is a complete set of gamelan that is used for practice and musical performances. The set of gamelan consists of kendhang, bonang, demung, saron, peking, kenong, kethuk kempyang, gong, wuwukan and kempul. In addition, there is also a set of loudspeakers (sound system).

Along with the increasingly complete facilities and infrastructure for karawitan, the people of Dusun Sodong then improved the governance (management) of the organization. On April 21 2017, management was formed for the 2017–2022 period. In the process of forming the board, it was also agreed upon the name of the art group, namely Karawitan Ngudi Laras. The name has the following meaning

Ngudi tegese nyoba kanggo nggayuh apa sing dikarepake. Laras tegese thinthingane swara cendhak ngganti swara dhuwur. Runtuting utawa cocoking swara (I-3, interview, 21 April 2021)

(Ngudi means trying to achieve what you aspire to or asking earnestly. Laras means the tone of voice from the lowest to the highest voice or the correct sound match).

The same thing was reinforced by other informants namely

Karawitan asale saka basa Jawa ‘rawit’ kang tegese alus lan alus. Dadi karawitan tegese lelembut rasa kang kinandhut ing kesenian gamelan. Ngudi laras maknane nyoba tenan kanggo mujudaken kepinginan sing kamulyan urip lan nindakake iku mboko sithik (I-04, interview, 25 April 2022)

(Karawitan comes from the Javanese word ‘rawit’ which means smooth and soft. So karawitan means the softness of the feelings contained in gamelan art. Ngudi Laras means trying really hard to realize his desire, namely the glory of life and do it gradually).

From gathering information, document records and observations made by researchers, it is clear that Karawitan Ngudi Laras is not financially oriented. Residents who are involved in this arts group are more oriented towards inner needs such as a sense of calm, joy, added brotherhood, and so on. Stage fees from those who invite some for the organization and some for the musicians. The money that comes in to the organization is used for maintenance of gamelan, uniforms and makeup for musicians, as well as other organizational needs. Meanwhile, the ‘wages’ that are distributed to the pengrawit are only money to replace working in the fields or looking for animal feed. Even so, the musicians were satisfied and remained enthusiastic about carrying out the training and fulfilling the invitations of the community members.

The role of Karawitan Ngudi Laras in building the resilience of the people of Sodong Hamlet in responding to the Covid-19 pandemic

The musicians of the Ngudi Laras Karawitan, Sodong Dusun, heed the government’s advice to keep their distance and reduce mobility as well as the Enforcement of Restrictions on Community Activities (PPKM) by not holding routine rehearsals and failing to fulfill invitations to perform. This is as conveyed by the chairman of Karawitan Ngudi Laras namely

Kita sengaja ora nindakake rutinitas, namung kala-kala, lan ora nampa panjaluk manggung amarga ana potensi wong kumpul akeh sing bisa nyebarake Covid. Iku bakal nggawa suasana lan kahanan luwih elek (I-4, interview, 7 July 2022).

(We deliberately don’t carry out routinely, only occasionally, and don’t accept requests for performances because there is the potential for people to gather in large numbers which can spread Covid. That will make the atmosphere and conditions worse).

The above information is corroborated from the results of observations that from April 2020 to March 2022 the musicians carry out non-routine training, only occasionally and no residents hold celebrations with musical entertainment. Meanwhile, entering the new normal era, especially starting in October 2021 until now, they have been carrying out routine training and serving invitations from members of the public.

During the Covid-2019 pandemic in April 2020–May 2021, the Ngudi Laras karawitan were still practicing, although not routinely. Based on observations for 13 months, the women pengrawit carry out training once every 2 weeks, sometimes held on Thursdays or Sundays at 14.00–16.00 WIB. Likewise for pengrawit gentlemen, only the time is different. The pengrawit gentlemen usually carry out the practice at night, starting at 19.00–21.00 WIB. This exercise could be held because the community members wanted it and the hamlet government and security forces allowed it. The reason the security forces allowed Karawitan Ngudi Laras to carry out the exercises was because the residents of Sodong Hamlet barely interacted with residents outside the hamlet, an isolated place, and used the training as a vehicle and media for socializing the prevention of Covid-19. The hamlet leaders and hamlet government also conveyed the same thing, one of them is as follows

Masyarakat desa iki kepengin supaya Karawitan Ngudi Laras tetep nindakake senam amarga wis dadi kabutuhan. Yen ora latihan, sampeyan rumangsa sepi. Mung nonton televisi babagan Covid nggawe sampeyan kuwatir, bingung lan stress (I-5, interview, 5 August 2020).

(The people of this hamlet want Karawitan Ngudi Laras to continue practicing because it has become a necessity. If you don’t do the practice, it feels lonely. Just watching television news about Covid makes you anxious, confused and stressed).

The positive response from the community members and the parties who allowed the practice to be carried out was well used by the musicians. They do not just fulfill entertainment needs but moral and social responsibilities as shown in Figure 2.

Figure 2. Pengrawit is carrying out training at the Jawa Dwipa Vihara Hall.

The management of the Ngudi Laras Karawitan in every practice always appeals to the musicians and members of the public who attend or watch it to be regulated according to the Covid-19 Health protocol (prokes). Pengrawit and residents who attend or watch are kept apart and wash their hands, and so on. Apart from that, the karawitan management also enculturates and disseminates cultural values to the karawitan members and members of the public who watch the opening session (introduction to practice). I-4 as an elder of Karawitan Ngudi Laras is often assigned to deliver advice or advice before the practice begins. This is what he did during the following exercise

para leluhur kita ngendika menawi kedadosan pandemi Covid menika kados ingkang kita alami sapunika kaliyan pageblug. Pageblug dumadi amarga ana sing salah ing urip kita. Pramila kita kedah nindakaken supados sesambetan kita kaliyan Gusti, sesami manungsa lan alam saged imbang, rukun, lan rukun. Cara supaya awak lan jiwa kita ayem yaiku tansah nyedhak marang Gusti, tulung-tinulung, gotong royong, peduli marang lestarine alam sekitar. Kajaba iku, iku minangka pakulinan tradisional lan ditindakake kanthi tertip (Observation, 5 January 2022)

(Our predecessors said that the Covid pandemic incident is like what we are currently experiencing with pageblug. Pageblug occurs because something goes wrong in living our life. Therefore we must do so that our relationship with God, fellow human beings and nature is in balance, harmony and harmony. The way to be calm our body and soul must always be closer to God, help each other, mutual cooperation, care for the preservation of the nature around us. Apart from that, the habit of padasan and diyang is carried out in an orderly manner).

The community members who were present saw and listened to the speech and then carried it out. Based on the author’s observations from May 2020 to June 2021, many community members are restoring padasan, dancing, and carrying out rituals at the Jawa Dwipa Temple, Shirotol Mustaqim Mosque, and Danyang Gadung Melati Sela Bale.

In addition to giving advice or speeches as stated above, Karawitan Ngudi Laras chooses popular pieces created by other people and composed by the musicians of the Ngudi Laras Karawitan in accordance with the situation and conditions of the Covid-19 Pandemic. There are rhythmic types of gending presented classic and there is also a contemporary with slendro tunings. The lyrics of the songs presented include:

1. Gambuh Macapat Wulang Reh by Sinohoen Pakoe Boewono IV

Table

Lyrics in Javanese

Lyrics in English

Sekar gambuh ping catur, Kang cinatur polah kang kalantur, Tanpa tutur katula-tula katali, Kadaluwarsa kapatuh, Kapatuh pan dadi awon. Aja nganti kabanjur, Barang polah ingkang nora jujur, Yen kebanjur sayekti kojur tan becik, Becik ngupayaa iku, Pitutur ingkang sayektos. Tutur bener puniku, Sayektine apantes tiniru, Nadyan metu saking wong sudra papeki, Lamun becik nggone muruk, Iku pantes sira anggo. Ing wong urip puniku Aja nganggo ambek kang tetelu, Anganggowa rereh ririh ngati-ati, Den kawangwang barang laku, Kang waskitha solahing wong.

The fourth gambuh song Talking about excessive behavior Without advice entangled in suffering It’s become a habit Habits can be bad Don’t be too late Dishonest behavior If it is too late, of course it will be bad and not good Better try follow the true teachings That true saying It really deserves to be followed Even though it came from a lowly person If good at teaching You deserve it In human life Don’t have that third character Be patient, careful, and careful Always introspective on behavior Be good at reading other people’s behavior

1. Telu Kang Tan Pisah (Buddhist-Reminder) by Anonymous

Table

Lyrics in Javanese

Lyrics in English

Mengertiya hukum anicca Tembung Jawa ora langgeng bakal sirna Padhang kanti peteng Mengertiya hukume duka tembung Jawa Tegase nandang sangsara Iku nyata wis dadi garwana jalma Tan peduli wong kang urip mulya mukti Umat buddha kudu mengrtinya Dasar nyata kahanan ing ndonya Iku mesti ra beda lan sesami rina wengi Nandang rekasa ing ati Mengertiya hukum anatta Tembung jawa tegasane ngusir samsara Yen di nengna Aku iki mung pangrasa Aku iku nyataneng krentekeng ati

Understand the law of anicca Javanese expressions are impermanent Light turns dark Understand the law of anger It’s bound to be miserable It’s real has become a provision for humans It doesn’t matter if the person is rich Buddhists must understand Real evidence of living conditions in the world It’s definitely not different and every night feel tormented Understand the law of anatta Javanese expression to drive away suffering If you shut up I just feel I am truly the power of the heart

1. Pepeling (Islamic reminder/remembrance) by Ki Anom Suroto

Table

Lyrics in Javanese

Lyrics in English

Wis wancine tansah dielingake Wis wancine podo nindaake Adzan wus kumandhang wayahe sembahyang Netepi wajib dawuhe pangeran. Sholat dadi cagak ing agama Limang wektu kudu tansah dijaga. Kanthi istiqomah lan sing tumakninah Luwih sampurno yen berjama’ah Subuh, Luhur lan ‘Asar. Sholat sayekti ngadohke tindak mungkar. Maghrib lan Isya jangkepe. Prayogane ditambah sholat sunate. Ja sembrana iku printah agama. Ngelingana neng ndonya mung sedhela. Sabar lan tawakal pasrah sing kuwasa. Yen kepengin mbesok munggah suwarga.

It’s time to be reminded It’s time to carry out The call to prayer is sounded at the time of prayer Keep God’s commandments Prayer is a pillar in religion Five time must always be implemented With istiqomah and tumakninah More perfect if together Fajr, Dhuhr and Asr Prayer keeps away from abominable deeds Complement Maghrib and Isha Will be added sunnah prayers Do not neglect this religious order Remember the world is only temporary Be patient and surrender to God If you want to go to heaven someday.

The character of the Ngudi Laras musician, before or after presenting the piece, often gives an air (explanation) about the meaning contained in the song (Observation, August 2020–June 2021). This is done so that the community members do not just enjoy the sound of sinden (singers) and the gamelan (music). Not a few residents who memorized the music and the lyrics even imitated and sang while taking breaks or working in the fields, rice fields, and so on. However, attitudes and actions contradict the message conveyed in the piece being sung. This problem, as explained by the pengrawit figures, is that many Muslim residents memorize and sing pepeling songs but don’t pray. Likewise, Buddhist residents memorize and sing Buddhist songs, but their behavior is not in accordance with the teachings of Sridarta Gautama.

The above activities received a positive response from the community members. They were happy to receive an explanation (air) from the leaders of the Ngudi Laras Karawitan. This is as conveyed by the informants, one of them namely

Tiyang-tiyang remen diwenehi katrangan ngenani gending kang disuguhake amarga ana tembang kang nggunakake basa Jawa Kuna kang krasa asing. Isine tembang iku akeh pitutur luhur supaya bisa urip manut paugeran supaya tentrem (I-6, interview, 20 September 2022)

(People like to be given an explanation about the gending that is presented because there are lyrics using Old Javanese which feels foreign. The songs contain many noble messages so that they can live life according to the norms so that they are peaceful)

Similar information was conveyed by other members of the community who often came and saw the Ngudi Laras Karawitan rehearsals as well as when they performed at celebrations. In addition, residents pay attention when they are given speech or advice because the language used is easy to understand, short, and interspersed with humor as shown in Table 1.

Table 1. action in Social Resilience.

No	Social resilience	Action
	Social reliance	The musician have good supposition and trust in collective relationships with family members, relatives, friends and colleagues, citizens and others with whom the person is dealing during the day.
	Social solidarity	The musician have unity, harmony and loyalty that result from the shared interests, feelings, empathy and actions.
	Social communication	Interactions and relationships between The musician that follow a set of norms and values.
	Social networks	Networks are the types of communication that are established as a result of citizens’ relationships and are responsible for building social interactions among the musician.
	Social partnership	The musician have active participation of citizens in the political, economic, cultural and generally in all aspects of public life, which includes formal and informal participation, in various forms of governmental and non-governmental associations and organizations.

Community members are enthusiastic about seeing or attending the Ngudi Laras Karawitan practice at the Jawa Dwipa Temple driven by various things, including a thirst for entertainment, refreshing, eliminating boredom, and others. This was conveyed by informants who came from residents who were not musicians. One of them is the following I-07

Ing omah wae tambah bingung, wedi, bosen. Mulo ikut, warga ningali karawitan. Ningali karawitan dadikne rasa seneng. Kajaba iku, ningali karawitan angsal t

ambah kawruh, pitutur luhur, pitedah, lan penyegarahan. Mulo niku bebane urip krasa suda lan nambahi semangat kanggo urip ngadhepi pandemi ana cara kanggo ngatasi (interview, 15 September 2021)

(Just being at home is getting more confused, scared, bored. For this reason, residents see karawitan, feel happy. Apart from that, they get information, instructions, and enlightenment. So that the burden feels reduced and the motivation to live in the face of a pandemic is a solution.).

Similar opinions were also expressed by other members of the community who saw that the practice of the Ngudi Laras Karawitan made the heart entertained, happy, calm, and increased the spirit of togetherness. In training, the Karawitan Ngudi Laras coach or elder conveys information related to Covid-19 and efforts to mitigate it. Apart from that, he also gave the speeches and the songs that were presented. The songs that are presented contain values and moral messages in attitude, action, and behavior so that life becomes harmonious and prosperous as shown in Figure 3.

Figure 3. The leader of the Ngudi Laras karawitan delivering songs to the musicians and the audience.

Ngudi Laras karawitan in each practice provides a sasomo care box. Community members who attend or watch the karawitan practice are welcome to enter or fill in the care for sasomo box that has been provided. Filling in the Sasomo care box is voluntary and there are no binding conditions including the amount of funds. The funds collected by Kaarawitan Ngudi Laras are allocated and distributed to members of the public who are affected by disasters or are sick, are economically disadvantaged, and purchase materials for Covid-19 disinfectants such as povidone iodine, potassium permanganate, hydrogen peroxide, alcohol, and spray equipment. This is as conveyed by the treasurer of karawitan as follows

Kotak peduli marang sesama manungsa iki dianakake minangka sarana kanggo ngundhakake keprihatinan masyarakat marang sapadha-padha. Warga ora diwajibake ngisi kothak iki utawa dadi sukarelawan. Dana saka kothak iki satus persen kanggo warga; bantuan kanggo warga sing lara, tuku bahan semprotan kanggo nyegah penyebaran Covid, lan liya-liyane (I-05, interview, 5 August 2021)

Sesamo care box as a means of arousing community concern for one another. Residents are not required to fill in this box or voluntarily. Funds from this box are one hundred percent for residents; assistance to sick residents, purchase of spray materials to prevent the spread of Covid, and so on)

Similar statements were also made by other administrators that this social care fund is from the residents and for the residents as shown in Figure 4. This is confirmed by observations at the practice site of the Jawa Dwipa Temple, there are solids, soap, residents who come use it to wash their hands. Apart from that, it is also strengthened by the following information from residents who are not musicians.

Figure 4. Community members watching the musical rehearsal and filling in the Sasomo care box.

Kulo kerep ndeleng latihan karawitan nanging ora tansah ngebaki kothak peduli marang wong liya. Aku ngisi yen ana rejeki. Aku pracaya, para pangurus karawitan ngatur dana iki kanggo tujuan mulia. Contone, pangurus nyebarake utawa mbantu warga tanpa beda-bedakne, wujud bantuane obat-obatan, nyemprot lingkungan, lan liya-liyane (I-06, interview, 2 September 2022).

(I often watch karawitan practice but don’t always fill in the care box for others. I fill it in when I have good luck. I believe the administrators manage these funds for a noble cause. For example, administrators distribute or help residents indiscriminately in the form of medicines)

Other members of the community also expressed the same thing. In general, they feel happy with the activity of filling in the Peduli Sasama because it has many benefits. In addition, the karawitan board manages funds in a transparent and targeted manner. The karawitan administrator who is in charge of managing these funds makes a report on the income of funds and their use. This financial report is written on the training information board so that residents without hesitation and sincerely set aside some of their fortune for others through the Ngudi Laras Karawitan.

Discussion

There are several things that can be done to build the resilience of community members so they are able to eliminate feelings of anxiety, worry and fear in dealing with the Covid-19 pandemic. Among them by providing information and outreach about matters related to Covid-19, and strategies for responding to it. So that community members understand, are able to avoid, act as solutions and adapt to the Covid-19 pandemic. This is what the musicians or Karawitan artists Ngudi Laras Dusun Sodong do. They are aware of and care about the condition of the community members in the surrounding environment. Residents are experiencing anxiety and do not know what action to take. This is because the information he received about Covid-19 was not complete and comprehensive.

The concern and actions of Karawitan artist Ngudi Laras towards community members in mitigating Covid-19 are integrated into various activities that intersect with karawitan. It was shown from the results of the research above that the Ngudi Laras Karawitan at the beginning of each rehearsal or performance conveyed information and socialized matters related to Covid-19 and how to react to it. This activity had a positive impact on the people of Sodong Hamlet. Community members come to know, understand and consciously actualize in various new cultural activities in the new normal era such as wearing masks, maintaining distance, reducing mobility and so on. This fact supports the persuasive communication theory that peaceful communication will motivate the communicant to consciously carry out the action desired by the communicator (Burgon & Huffner, 2002). In persuasive communication there are invitations that predispose the communicant to be moved to do according to the communicator’s directions (Mirawati, 2021).

Pengrawit who convey information and outreach about Covid-19 in their social life are included as prominent figures. The existence of musical figures as well as community leaders as non-formal leaders has an important role in building the resilience of the people of Sodong Hamlet. The message from the karawitan figure received a positive response from the community members because the community members placed high trust and obedience to the character. This fact is entrenched in people’s lives supporting paternalistic culture. Paternalistic culture is a character system such as the character Karawitan Ngudi Laras who is positioned as a party that must be respected by the community, and on the other hand, community members are positioned as the party being led and carrying out orders. In life they tend to be submissive and obedient without any rejection even though they sometimes contradict themselves (Wahyono, 2020).

The songs performed by Karawitan Ngudi Laras such as gambuh, pepeling, telu kang tan seperate, autumn mountains, kinanti, and others with slendro rhythms. The song is presented with slendro because it creates an atmosphere that is light, cheerful and happy so that it can entertain, relieve anxiety and raise people’s optimism in facing the Covid-19 pandemic. Apart from that, these songs contain many values, such as the value of the relationship between humans and God, the relationship between humans and the natural and social environment, as well as other universal values. For example; the kinanti song contains ways to strengthen one’s identity, the gambuh song contains various things, one of which is interaction between humans, the scope of interaction is very broad, including relationships with parents, neighbors, friends, and including dealing with disasters. Pepeling song is a warning song related to the relationship between humans and God. No matter how busy you are, don’t forget your obligation to God because if people are far away from God, God will be far away from humans. If humans are close to God, they will get peace and protection.

The values mentioned above are a source of education, instruction, inspiration, recreation (entertainment), and for community members in building resilience in facing the Covid-19 pandemic. This is because art can be used as a therapy to educate a sense of human beauty, make feelings refined and humanus (Rahmanisa et al., 2021). This sense of beauty fosters awareness of social, moral and spiritual values, and a soul that is as smooth as a piece of music. This is in line with the opinion which states that art has individual and social functions. Art as an individual can be used as the satisfaction of physical and emotional needs so that it is comfortable. While socially can be made as education, recreation or entertainment, communication, health or treatment (therapy), and others.

Conclusion

Ngudi Laras Karawitan art in Sodong Hamlet plays a major role in building the resilience of the Sodong Buddhist Village community in facing the Covid-19 pandemic. Karawitan Ngudi Laras plays a role in growing and maintaining community resilience in facing the crisis caused by Covid-19. Armed with incidental and routine karawitan practice activities, musicians always communicate and socialize information about the Covid-19 pandemic and strategies to deal with it. The musicians select and present songs that are appropriate to the situation and conditions of the Covid-19 pandemic. The selected songs contain religious, social, human, health, and psychological values. The songs are not only presented but also explain the messages contained in nature (air). Karawitan Ngudi Laras also assists community members in mitigating Covid-19 by collecting and distributing Sasomo care funds. These activities are a source of education, inspiration, instruction, and entertainment for community members so that they are able to face and survive during the Covid-19 pandemic.

The major policy recommendations from this research is: (1) promotion of Cultural Initiatives to develop and implement policies that support the promotion of traditional music (Karawitan) as a cultural asset. This includes organizing events, workshops, and educational programs to preserve and transmit this cultural heritage. Integration of Karawitan in Educational Curriculum can Advocate for the integration of Karawitan into the local educational curriculum. This can enhance cultural awareness and appreciation among the younger generation, fostering a sense of identity and community resilience. Support community-led initiatives that utilize Karawitan as a tool for building resilience. Encourage the creation of cultural events, performances, and collaborative projects that involve the entire community. Invest in digital platforms and resources to facilitate the online transmission of Karawitan. This can help sustain cultural practices during times of crisis, such as the COVID-19 pandemic, when physical gatherings may be restricted. Develop inclusive policies that celebrate and accommodate diverse cultural expressions. Recognize the role of traditional music, like Karawitan, in fostering social cohesion and resilience.

The limitations of the study is the findings of the study may be specific to the Sodong Ponorogo Buddhist Village, and caution should be exercised when generalizing the results to other communities with different cultural contexts. The study focused on the impact of Karawitan during the COVID-19 pandemic, and the findings may not capture the long-term effects or changes in resilience over extended periods. Interpretations of the role of Karawitan in community resilience are subjective and may vary among individuals. Different perspectives and experiences could influence the study’s outcomes. The study primarily utilized qualitative methods, and while valuable for in-depth understanding, quantitative data could provide additional insights into the broader community impact of Karawitan.

Then, specific suggestions for future research is to conduct comparative studies across different villages or cultural settings to explore variations in the role of traditional music in building community resilience during crises. Undertake longitudinal studies to track the evolution of community resilience over an extended period, considering the sustained impact of cultural practices like Karawitan. Investigate the effectiveness of digital platforms in preserving and transmitting traditional music during crises. Assess the role of technology in maintaining cultural practices when physical gatherings are limited. Include quantitative assessments to complement qualitative findings, providing a more comprehensive understanding of the quantitative impact of Karawitan on community well-being. In Cross-Cultural Analyses, explore the cross-cultural aspects of traditional music in community resilience. Examine how different cultural contexts influence the ways in which music contributes to community well-being. By addressing these limitations and pursuing suggested avenues for future research, scholars can contribute to a more nuanced understanding of the role of traditional music, specifically Karawitan, in building community resilience during challenging times, such as the COVID-19 pandemic.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Muhammad Hanif

Muhammad Hanif is an assistant professor at the Social Studies Education Postgraduate in Universitas PGRI Madiun. His current research interest are social science education, history, cultural, and character building. He can be contacted at email: [email protected].

Endang Sri Maruti

Endang Sri Maruti is a Lecturer in Primary Teacher Education in Universitas PGRI Madiun. Her research focuses on Javanese Language, primary education, culture, and literacy. She can be contacted at email: [email protected].