Bia Music in Batu Village, Likupang, North Minahasa

Sri Sunarmi (Program Studi Pendidikan Seni Drama, Tari, dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Manado, Tondano 95618, Indonesia)
R. A. Dinar Sri Hartati (Program Studi Pendidikan Seni Drama, Tari, dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Manado, Tondano 95618, Indonesia)
Putri Reina Gandawari (Program Studi Pendidikan Seni Drama, Tari, dan Musik, Fakultas Bahasa dan Seni, Universitas Negeri Manado, Tondano 95618, Indonesia)

Journal of Theory and Practice in Arts
Vol. 1 No. 3 (2026)

This study investigates Bia Music in Batu Village, South Likupang District, North Minahasa Regency, North Sulawesi, focusing on its historical development, organological characteristics, sound production, playing techniques, socio-cultural functions, and sustainability. A qualitative descriptive approach was employed, with data collected through literature review, observation, documentation, and interviews with community members, performers, and local cultural informants. Data were analyzed through data reduction, descriptive presentation, interpretation, and cross-source comparison to strengthen validity. The findings indicate that Bia Music originated from the use of marine shells as signaling instruments and subsequently developed into an organized musical ensemble through local creativity and experimentation. Organologically, Bia is classified as an aerophone because its sound is produced through controlled airflow and resonance within the shell cavity. Different shell types and sizes, including Charonia tritonis, Cassis cornuta, and Stramonita haemastoma, are adapted as melodic and accompanying instruments with differentiated pitch functions. Sound characteristics are strongly influenced by shell morphology, cavity dimensions, embouchure, and blowing pressure, while production and tuning require practical knowledge, precision, and repeated comparison with reference pitches. Bia Music currently functions in entertainment, religious activities, community events, cultural festivals, education, tourism, social interaction, and cultural identity formation. However, its continuity faces challenges related to environmental degradation, declining shell availability, performer regeneration, and cultural transmission. The study concludes that Bia Music constitutes living cultural heritage whose sustainability requires integrated strategies involving intergenerational transmission, documentation, cultural education, community participation, institutional support, artistic development, and environmental conservation.