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Pelatihan Teknik Penggunaan Lagu untuk Pembelajaran Karakter Anak Berbasis Tradisi Mako Mako pada Guru Paud Sara Dewanti Purba; Markus Rumbino; Nathalia Dwijayanti; Zacheus Bomani Meokbun
Indonesia Bergerak : Jurnal Hasil Kegiatan Pengabdian Masyarakat Vol. 4 No. 3 (2026): Juli: Indonesia Bergerak : Jurnal Hasil Kegiatan Pengabdian Masyarakat
Publisher : Asosiasi Riset Ilmu Teknik Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/inber.v4i3.1575

Sentani is a region rich in cultural traditions and local wisdom that continue to be preserved, one of which is the Mako-Mako tradition, a communal eating practice uniquely carried out by children aged 7 to 13 along the lakeshore or upstream areas of rivers. This tradition not only persists amid modernization and technological development but also embodies important values, including togetherness, environmental awareness, and conflict-resolution skills. However, in the era of globalization, local cultural values are increasingly marginalized, particularly in early childhood education. This community service program aimed to develop learning media in the form of songs based on the Mako-Mako tradition and to train early childhood teachers in their use for character education at PAUD Melody Kids. The program employed a participatory approach consisting of three main stages: the creation of songs incorporating values derived from the Mako-Mako tradition, teacher training on the use of the songs as learning media, and the integration of the songs into character education activities. The results indicated that the Mako-Mako tradition-based songs provided an engaging and contextual learning medium for introducing local cultural values to children. The training also enhanced teachers’ understanding and ability to incorporate songs into character education activities. This approach has implications for strengthening culturally responsive early childhood education and supporting the preservation of local wisdom through creative and child-friendly learning media.

Musik Gesek Auwkwilka: Transformasi Dari Kotak Kapur Makan Pinang (Aukong) Menjadi Musik Gesek (Auwkwilka) Alfred Titus Modouw; Markus Rumbino; Sara D Purba
Pacific Performing Arts Review Vol. 1 No. 2 (2025):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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Kajian ini mengenai musik gesek auwkwilka yang hidup dalam seni budaya Suku Sentani di Timur Danau Sentani. Bagi Suku Sentani musik gesek auwkwilka merupakan hasil kreatif dan transformatif dari kotak kapur makan pinang (aukung) menjadi musik gesek (auwkwilka). Proses transformatif itu telah terjadi sejak masa Leluhur Suku Sentani. Proses pembuatan auwkwilka dan proses penggunaannya mendapat perhatian khusus dari peneliti, sebagaliknya aspek lain terkait musik gesek auwkwilka, seperti makna filosofis, ekologis, psikologis, kosmos. Musik gesek auwkwilka dimainkan sambil makan pinang dan dipergunakan dalam momentum budaya untuk penyambutan tamu-tamu terhormat untuk mengekspresikan kekayaan sang musik gesek auwkwilka. Metode penelitian yang digunakan dalam kajian ini adalah metode deskriptif kualitatif untuk meneliti kekayaan musik gesek auwkwilka pada Suku Sentani di Distrik Heram kota Jayapura Provinsi Papua.

Politik Ekonomi Liberal dan Politik Etis dalam Masyarakat Malind Merauke: Membaca Ulang Karya Etnografi J. Van Baal melalui Lantunan Tutur Septina Layan; Agustina Marwati; Markus Rumbino; Sara Dewanti Purba
Pacific Performing Arts Review Vol. 1 No. 2 (2025):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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This article explores the intersections between colonial political policies and indigenous knowledge systems in Papua, focusing on the Malind society in Merauke. It examines the impact of Liberal Economic Policy (1870) and the Ethical Policy (1901) as colonial frameworks that shaped the representation of indigenous peoples in the Dutch East Indies. Van Baal’s writings, particularly his ethnographic descriptions of the Malind, are discussed as colonial narratives that documented mythologies, rituals, and kinship systems while simultaneously reproducing Eurocentric interpretations. Through a critical postcolonial reading, this study positions Van Baal’s works as part of a broader archive that legitimized colonial authority and economic exploitation. At the same time, the article highlights the oral traditions of the Malind narratives chant as a form of local epistemology that preserves ecological knowledge, social structures, and territorial rights. Unlike colonial archives, these oral traditions constitute living narratives that affirm Malind identity and their relationship with the natural environment. The comparison reveals a tension between colonial narratives that objectified indigenous societies and local narratives that assert autonomy and resilience. Methodologically, this research employs qualitative textual analysis, combining literature review of colonial archives with interpretative analysis of Malind oral traditions. The findings indicate that while Liberal Economic and Ethical Policies institutionalized exploitation and paternalism, Malind oral traditions provided counter-narratives of ecological balance and communal sovereignty. This study contributes to the discourse on decolonizing knowledge by showing how local narratives challenge colonial epistemologies and remain relevant for contemporary reflections on cultural identity and environmental justice. Keywords: Politics of Liberal Economy; Ethical Policy; Colonial Narrative; Oral Tradition; Malind Society

Ekspresi Musikal Black Brothers sebagai Resistensi Budaya Papua pada Masa Orde Baru Septina Layan; Sara Dewanti Purba; Markus Rumbino; Agustina Marwati
Pacific Performing Arts Review Vol. 1 No. 2 (2025):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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Penelitian ini mengkaji ekspresi musikal Black Brothers sebagai strategi resistensi kultural terhadap dominasi negara pada masa Orde Baru. Sebagai kelompok musik legendaris asal Papua, Black Brothers tidak hanya dikenal karena kontribusinya dalam musik populer Indonesia, tetapi juga melalui peran penting mereka dalam membangun kesadaran identitas, martabat, dan solidaritas kolektif masyarakat Papua. Pada masa Orde Baru, ketika kebebasan berekspresi dibatasi dan identitas nasional dihomogenkan, musik menjadi ruang artikulasi simbolik bagi kelompok terpinggirkan untuk menyampaikan kritik dan aspirasi tanpa konfrontasi langsung. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis teks dan studi literatur. Sumber data mencakup syair lagu, dokumentasi pertunjukan, arsip media, serta kajian akademik terkait musik, resistensi budaya, dan diaspora Afro-Melanesia. Analisis dilakukan menggunakan kerangka teori resistensi kultural, performativitas, dan identitas rasial. Temuan menunjukkan bahwa Black Brothers mengartikulasikan perlawanan melalui penggunaan metafora dalam lirik, pengolahan genre reggae-rock yang identik dengan tradisi Afro-diaspora, serta performativitas panggung yang menegaskan kebanggaan rasial Melanesia. Musik Black Brothers tidak hanya berfungsi sebagai hiburan, tetapi menjadi medium politik kultural yang menyuarakan trauma kolonial, ingatan kolektif, dan harapan kebebasan Papua secara simbolis. Penelitian ini memperkuat pemahaman tentang peran musik sebagai ruang perlawanan non-kekerasan dalam konteks politik represif, sekaligus membuka ruang penelitian lanjutan mengenai praktik estetis Papua sebagai bentuk diplomasi budaya dan advokasi memori sejarah dalam komunitas pascakolonial. Kata kunci: Black Brothers, Papua, resistensi kultural, Orde Baru, Ekspresi Musikal

Peran Instrumen Tifa dan Kendang dalam Kolaborasi Musikal pada Sanggar Seni Reog Karya Budaya dan Sanggar Yongkua Kabupaten Keerom Achmad Rendi Wianto; Markus Rumbino; Septina Rosalina Layan; Siswanto
Pacific Performing Arts Review Vol. 1 No. 1 (2025)
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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This research aimed to examine the fundamental principles underlying the artists'response to sound stimuli as perceived by the community, specifically focusing on therole of Kendang and Tifa instruments in musical collaboration between Sanggar SeniReog Karya Budaya and Sanggar Yongkua in Keerom Regency. The collaborationbetween these two art studios represented an effort to foster brotherhood and preventsocial and cultural tensions during the transmigration era. This study employed aqualitative research method with a social and cultural context approach to the Skantocommunity. The findings revealed that the kendang produced rhythmic patterns thatwere unfamiliar to the local community. However, this phenomenon presented asignificant area of investigation, as it did not represent contemporary music art butrather demonstrated the critical thinking process of the Skanto community incollaborating both instruments. Through this collaboration, harmonious sound stimuliwere produced that, despite originating from different cultural backgrounds, could beappreciated by the community. The research concluded that improvisation had evolvedinto invention or new discovery, creating a unique musical fusion that bridged culturaldifferences.

Analisis Aspek Musikal Lantunan Helaehili dalam Perspektif Masyarakat Sentani pada Ritual Kematian Teresia Alista Sedik; Septina Rosalina Layan; Markus Rumbino
Pacific Performing Arts Review Vol. 1 No. 1 (2025)
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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The purpose of this research is to gain knowledge based on the traditions and behavior of the local community, regarding the musical aspects of the helaehili chanting in the death of the Sentani people. This research was conducted because of the opinion that helaehili itself is different from the view of western music. The chanting of helaehili itself is closely related to the death rituals of the Sentani people. The approach used in this study is qualitative in nature by focusing on musical aspects and the socio-cultural context of the Sentani people, within the community itself. It is this identity that describes the musical meaning to shape a society's behavior, in the death of the Sentani people. this behavior will be seen through the singer's vocals, thus creating a deep affection about sadness. Death in the Sentani community itself is identified with the chanting of helaehili which, in this chant, tells the kindness and respect for someone who has died.

Akulturasi Musik dan Identitas Komunal dalam Ansambel Bambu Kamen Berok di Biak Numfor Markus Rumbino; Lucia Lusi Ani Handayani; Darlane Litaay; Feby Marina Inggamer
Pacific Performing Arts Review Vol. 2 No. 1 (2026):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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Kamen Berok is a bamboo music ensemble that thrives in the coastal regions of Papua, particularly in Biak Numfor. Rooted in traditional bamboo playing, it has evolved through prolonged encounters with church music and modern education, forming an acculturative hybrid between Western tonal systems and local Papuan rhythmic aesthetics. This study employed an applied ethnomusicology framework to understand the role of music as social action that impacts identity, knowledge transmission, and community strengthening. The methods used were music ethnography with participant observation, in-depth interviews, and audio-visual documentation in Biak Numfor. Analysis was conducted thematically and participatorily by involving community leaders, trainers, and young players as co-researchers. The results affirmed the function of Kamen Berok as a space for identity negotiation, a medium for cultural education, and a platform for ecological and cultural policy advocacy.

Eyo Gitar sebagai Medium Ekspresi Lisan dan Identitas Komunal Masyarakat Pegunungan Papua : Nataniel Kogoya; siswanto; Markus Rumbino; Agustina Marwati
Pacific Performing Arts Review Vol. 2 No. 1 (2026):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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This study examined Eyo Gitar as a medium of oral expression and communal identity representation in highland Papuan society, specifically in the Lanny Jaya region of Papua Pegunungan. The research employed qualitative ethnographic methods, including participant observation, in-depth interviews, and audio-visual documentation conducted over five months (August–December 2025) with instrument makers, senior players, traditional leaders, and youth learners. The findings revealed that the production of Eyo Gitar involved collective work with clear role divisions, reflecting the solidarity system and communal values fundamental to Papuan social life. The selection of wood materials such as lem eyo or wuyu eyo was based not only on physical and acoustic properties but also on spiritual considerations, demonstrating a sacred ecological relationship between humans and nature. Eyo Gitar was performed in various social contexts including welcoming guests, accompanying wedding processions, and bakar batu ceremonies, with songs containing personal narratives, family histories, and emotional reflections that functioned as embodied memory connecting present generations with ancestors and traditional values. The performativity of Eyo Gitar—through the combination of guitar plucking, foot stomping, and emotional singing—created participatory and communal musical experiences that strengthened solidarity and collective identity. However, the preservation of Eyo Gitar faced several challenges including limited regeneration of players and makers, minimal documentation, external cultural influences, and environmental degradation threatening material availability. Despite these challenges, significant potential existed through community initiatives, educational institution involvement, and researcher interest in documenting and promoting Eyo Gitar as Papuan cultural heritage. This study confirmed that Eyo Gitar was not merely a musical instrument but a living system of knowledge integrating aesthetic, social, spiritual, and ecological dimensions in a distinctive musical practice. The research recommended collaborative and community-based approaches to support the sustainability of Eyo Gitar through local curriculum integration, participatory documentation, and ecological conservation programs.

Interpretasi Cerita Rakyat Saromani Masyarakat Biak Papua dalam Karya Komposisi Musik Feby Marina Inggamer; Septina Rosalina Layan; Markus Rumbino; Marti Fauziah Ariastuti
Pacific Performing Arts Review Vol. 2 No. 1 (2026):
Publisher : Institut Seni Budaya Indonesia Tanah Papua

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This study aimed to interpret the Saromani folklore of the Biak community into a musical composition as a form of transforming local cultural values into the medium of sound art. The Saromani folklore represents one of the oral tradition heritages of the Biak community, containing moral, social, and cultural values that remain relevant in contemporary society. This research employed a qualitative research method with a practice-based research approach, encompassing the stages of exploration, interpretation, experimentation, and artistic realization. Data were obtained through literature review, observation, and narrative analysis of the Saromani folklore structure. The findings revealed that narrative elements in the story, such as characters, plot, conflict, atmosphere, and cultural values, could be transformed into musical elements including melody, rhythm, harmony, dynamics, tempo, and timbre. This interpretative process resulted in a musical composition that represented the Saromani narrative journey musically while serving as a medium for artistic expression and local cultural preservation. Through this artistic creation, the Saromani folklore was not only maintained as an oral tradition heritage but also re-presented in a more contextual and communicative form for contemporary society. This study demonstrated that musical interpretation could serve as a creative approach in cultural revitalization efforts and the development of music works based on local wisdom.

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