Siswanto
Institut Seni Budaya Indonesia Tanah Papua

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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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Abstract

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.
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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Abstract

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.