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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education
Chan, Clare Suet Ching
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Arts Humanities Education

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Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology Chan, Clare Suet Ching; Saidon, Zaharul Lailiddin
Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i1.28715

Abstract

This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.
Max as a Digital Platform for Noise Music Performance Mokhtar, Muhamad Hafifi; Chan, Clare Suet Ching
Harmonia: Journal of Arts Research and Education Vol 23, No 2 (2023): December 2023
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v23i2.37468

Abstract

This article explores Max as a digital platform for performing noise music through a practice-led research method. The practice-led research method was used to explore the possibilities of building Max patches, while content analysis method was used to analyse the outcome of the patches. Several Max patches were created to explore the potential of Max as an alternative approach for performing noise music. Findings show that Max can replicate the audio processing methods used in conventional performance. Due to Max capabilities, some of these methods could be automated and arranged prior to the performance. In addition, Max patches featured changing sound, random pitches, mixture of pre-recorded audio source and live instrument, and drone sound combined with automatic constant real-time audio self-processing and automatic audio panning, a feature that seldom appears in the local noise music scene. In conclusion, this research argues that Max has much potential for creating a variety of digital sounds that are harsh and dissonant to the ears, therefore contributing to the musical diversity in noise music performance. These sounds are the results of the features of audio self-processing, random pitches, automatic audio panning object and self-changing pitched drone audio signals relying on random MIDI values that appeared in Max.
24 Jie Ling Gu (24 Festive Drums): Imagining the 24 Jie Ling (Phenomena) of China in Enacting Cultural Solidarity among the Chinese Diaspora of Malaysia Chan, Clare Suet Ching
Harmonia: Journal of Arts Research and Education Vol 22, No 2 (2022): December 2022
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v22i2.31813

Abstract

The 24 Jie Ling Gu (24 Festive Drums) is a drum ensemble that  consists of 24 lion drums (shigu) played by twenty-four drummers who move to spectacular and dynamic choreography in synchronization with the rhythmic patterns struck on the shigu. It is an “invented tradition” created by the Chinese diaspora of Malaysia. In response to the 1970s National Cultural Policy (NCP) which aimed toward the construction of a homogenized national identity, the Chinese founded the 24 Jie Ling Gu ensemble to enact cultural solidarity and unify the people toward a sense of belonging to their distant motherland in China. They created the music and movements of the 24 Jie Ling Gu to manifest the 24 jie ling (phenomena)—the weather changes, agricultural activities, and natural phenomenon inherent in the 24 jie qi (jie: joints; qi: breath) or seasonal periods. Due to the fact that the Chinese of Malaysia have not physically experienced China but are connected to it through literature and media technology, I argue that the 24 Jie Ling Gu performers utilized their imagination and localized experience of Malaysia to manifest the 24 jie ling in China. This article is based on ethnographic fieldwork and ongoing revisits to this genre through a span of more than 20 years. 
Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology Chan, Clare Suet Ching; Saidon, Zaharul Lailiddin
Harmonia: Journal of Arts Research and Education Vol 21, No 1 (2021): June 2021
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v21i1.28715

Abstract

This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.
Exploring the Tripartite Performance in the Musical Enculturation: An Ethnographic Study of Banyumasan Sinden Suharto, Suharto; Sugiyanto, Sugiyanto; Chan, Clare Suet Ching
Resital: Jurnal Seni Pertunjukan Vol 26, No 2 (2025): Agustus 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i2.15664

Abstract

This study examines the musical enculturation of Banyumasan sinden across three performance genres: wayang kulit, lengger calung, and ebeg. Using Merriam’s tripartite model – musical concept, behavior, and sound – as the analytical framework, this research explores how different learning trajectories and social contexts shape the formation of musical identity. Employing an ethnographic approach, this study analyzes field data gathered through interviews, observations, and documentation of sinden practices in rural and semi-urban area of Banyumas. Findings reveal that wayang sindens develop their skills through vertical cultural transmission within artist families, reinforcing ethical and aesthetic ideals. In contrast, lengger sindens engage in horizontal, community-based learning characterized by participatory interaction and vocal expressiveness. Meanwhile, ebeg sindens follow a situational, adaptive learning model shaped by informal performance settings and pragmatic vocal function. The study concludes that each sinden tradition reflects a distinct pattern of enculturation rooted in its socio-performative context, and offers insight into the preservation of local musical knowledge through lived community practice. The findings provide implications for integrating community-based pedagogy into traditional music education curricula in Indonesia
Co-Authors Mokhtar, Muhamad Hafifi Saidon, Zaharul Lailiddin Sugiyanto - Suharto Suharto