<![CDATA[Mang Koko has contributed various kawih wanda anyar patterns, such as kawih anggana sekar, kawih sekar caturan, kawih rampak sekar and others. From these various patterns, it turns out that there is a connection between one type of kawih and another, which implies that the first kawih pattern is the embryo of the second pattern and so on. This connection can be seen in the work of kawih sekar caturan which became the embryo of the drama swara and gending karesmén. The method I used is a qualitative research method (J. Moleong, 1990), that intends to understand the facts behind reality through direct observation or on-field review, while for the theory I refer to the theory garap by Rahayu Supanggah. The working process on the creation of the sekar caturan song carried out by Mang Koko is one of the steps in creating his larger works, namely drama swara and gending karesmén. The three types of Mang Koko's works have one thing in common, dramatical music, where the karawitan elements (sekar and gending) must be a medium for aesthetic expression that strengthens the dramatic elements. In his work, he goes through every process by learning, trying and repeating. The creative process that he has gone through has made Mang Koko a great artist]]>
