Saman dan Campur Sari: batas penerimaan budayaSaman and Campur Sari: the limits of cultural borrowing
1990-an–2000-an1990s–2000s
Ketika tari Saman digemari di sekolah-sekolah Jawa dan Jakarta, orang Aceh menyambutnya sebagai kebanggaan, tetapi tidak membalas dengan mempelajari tari atau lagu Jawa. Pada masa ketegangan, siaran ketoprak dan lagu Jawa bahkan dimatikan karena televisi nasional dianggap ‘televisi Jawa’. Sebaliknya, nasyid dari Malaysia diterima luas sejak 1990-an. Pola ini menunjukkan selektivitas budaya Aceh: terbuka pada arus Melayu-Islam, tertutup pada simbol Jawa.
When the Saman dance became popular in schools in Java and Jakarta, the Acehnese welcomed it with pride but did not reciprocate by learning Javanese dances or songs. In times of tension, broadcasts of ketoprak and Javanese songs were even switched off because national television was seen as 'Javanese television'. Malaysian nasyid, by contrast, was widely embraced from the 1990s. The pattern shows the selectivity of Acehnese culture: open to Malay-Islamic currents, closed to Javanese symbols.
Campur Sari adalah musik Jawa tradisional yang dinyanyikan dalam busana adat, tanpa goyang, dengan lirik perkenalan, percintaan, dan penantian; pada akhir 1990-an ia terdengar di bus kota hingga slametan desa dan meraih panggung nasional. Pada masa yang sama, siswa di Jawa dan Jakarta mulai berlatih tari Saman, yang ditarikan dalam satu baris dengan gerak dinamis dan diiringi seorang penyanyi. Penampilan Saman di televisi dalam acara nasional maupun internasional menjadikannya kebanggaan Aceh, bersama lagu Bungong Jeumpa.
Namun arus ini tidak timbal balik. Di Aceh tidak ditemukan minat mempelajari tari bedhaya atau lagu Campur Sari. Ketika Saman masuk ekstrakurikuler sekolah di luar Aceh, remaja Aceh justru beralih mencari bentuk baru yang disebut Tari Kreasi Baru, yakni perpaduan tari tradisional dengan musik etnik. Pada masa kebencian terhadap ‘Jawa’, keluarga mematikan televisi saat ketoprak, lawak, atau lagu Jawa ditayangkan, tetapi berkumpul dan bersorak ketika berita tentang Aceh muncul, walau hanya beberapa menit.
Keterbukaan Aceh tampak pada jalur lain. Pada 1990-an nasyid dari Malaysia masuk, antara lain melalui jaringan Darul Arqam, dan pada awal 2000-an remaja Banda Aceh membentuk grup nasyid sendiri dengan gaya busana grup-grup Malaysia, lalu tampil di acara perkawinan. Nasyid juga mengisi jeda pengajian Maulid. Perbandingan ini memperlihatkan bahwa identitas budaya Aceh dijaga melalui pilihan: unsur yang dianggap Melayu-Islam diserap, sedangkan unsur yang diasosiasikan dengan dominasi Jawa dijaga jaraknya.
Campur Sari is traditional Javanese music sung in customary dress, without swaying, with lyrics of introduction, love and waiting; in the late 1990s it was heard from city buses to village slametan and reached a national audience. At the same time pupils in Java and Jakarta began practising the Saman dance, performed in a single row with dynamic movement and accompanied by a singer. Saman's appearances on television at national and international events made it a source of Acehnese pride, along with the song Bungong Jeumpa.
Yet the flow was not reciprocal. In Aceh there was no interest in learning the bedhaya dance or Campur Sari songs. When Saman entered school extracurriculars outside Aceh, Acehnese youth instead turned to a new form called Tari Kreasi Baru, a blend of traditional dance with ethnic music. In the period of hostility towards 'Java', families switched off the television when ketoprak, comedy or Javanese songs were aired, but gathered and cheered when news about Aceh appeared, even for a few minutes.
Acehnese openness took other routes. In the 1990s Malaysian nasyid arrived, partly through the Darul Arqam network, and in the early 2000s Banda Aceh youths formed their own nasyid groups dressed in the style of Malaysian bands and performed at weddings. Nasyid also filled the intervals of Maulid sermons. The comparison shows that Acehnese cultural identity is maintained by choice: elements seen as Malay-Islamic are absorbed, while those associated with Javanese dominance are kept at a distance.
Gagasan kunciKey ideas
Kebanggaan tanpa timbal balikPride without reciprocity
Saman dirayakan di Jawa, tetapi budaya Jawa tidak dipelajari di Aceh.Saman was celebrated in Java, but Javanese culture was not learned in Aceh.
Televisi sebagai medan identitasTelevision as an identity arena
Siaran nasional dibaca sebagai corong budaya Jawa.National broadcasting was read as a mouthpiece of Javanese culture.
Jalur Melayu-IslamThe Malay-Islamic route
Nasyid dari Malaysia diterima sebagai ekspresi yang selaras dengan identitas Aceh.Malaysian nasyid was embraced as consonant with Acehnese identity.
Posisi dalam kerangkaPlace in the framework
Tokoh, lembaga, dan konsep yang paling dekat dengan entri ini, beserta sifat hubungannya.The figures, institutions and concepts closest to this entry, and how they relate to it.
Pertanyaan reflektifReflective question
Mengapa unsur budaya Malaysia lebih mudah diterima di Aceh daripada unsur budaya Jawa?Why are Malaysian cultural elements more readily accepted in Aceh than Javanese ones?
Kutip entri ini:Cite this entry: “Saman dan Campur Sari: batas penerimaan budaya”, Acehnologi — Gerbang Studi AcehAceh Studies Gateway, https://acehnologi.com/entri/saman-dan-campur-sari/