The Position of Music in the Selawatan as the Indonesian Performing Arts

Indrawan, Andre (2018) The Position of Music in the Selawatan as the Indonesian Performing Arts. In: The 1st International Seminar Proceeding of the 10th Indonesian Art Festival, "Identity & Reality," at the STKW Surabaya, July 7, 2018., 7 July 2018, Surabaya.

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Abstract

This paper discusses a literature survey on the selawatan as an Indonesian Islamic music from mainly the academic sources of Indonesian authors as reflected in several research reports, journal articles, and chapters of textbooks. The issues raised in this study are focused on three questions: What is the selawatan and where is its position in the hierarchy of the types of Islamic music? How are the development and the spread of the selawatan sub-genres in Yogyakarta? What is the role of music in the selawatan as a performing art? The purpose of this study is, firstly, to gain theoretical knowledge about the selawatan as a type of Islamic Music; secondly, to gain former knowledge of the selawatan as an Indonesian performing arts genre and its development as well as spread in the Province of Yogyakarta Special Region; and thirdly, to understand the position of music in the selawatan as an Indonesian Islamic performing arts. This study uses a qualitative methodological approach through literature method and thematic analysis by selecting and discussing theoretical as well as descriptive materials, and in a particular context, comparing concepts, to gain insights and knowledge from the source under study. This study has resulted in several findings of the theoretical frameworks of (1) the authenticity of selawatan in Indonesia which was derived from the pesantren tradition, (2) the sub-genre development of the selawatan and its population comparison between the two eras, the colonial time and in 2000, and (3) the musical aspects of the selawatan which was represented in the organological considerations of the percussion ensemble as accompaniment to the art of selawatan. This study concludes that because Islamic texts and messages are the main core of the selawatan, the music, represented by mawlid's singing and the performance of rebana ensemble as the main selawatan accompaniment, plays the most important role as the musical identity bearer of the selawatan.

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