Category Archives: Driwan Music Record Cybernuseun

The Gesang Popular song Bengawan Solo Historic Collections

MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

                PENDIRI DAN PENEMU

  THE FOUNDER

      Dr IWAN SUWANDY, MHA

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                       

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

SHOWCASE :

 

The Indonesian Song Begawan Solo Music record History

(Sejarah rekaman Lagu Bengawan solo ciptaan Gesang  )

 

 
Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations  in 1940 and have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.
Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.In 2007, Gesdang hospitalized PKU Solo and prostate surgery. In January 2010, Gesang was hospitalized again, not long after Gesang home.Furthermore, Gesang was hospitalized Wednesday, May 13 due to respiratory and urinary infections womb. Sunday, May 16 RSU Solo Gesang entered ICU because of a decrease in blood pressure. Tuesday, May 18 Gesang rumored dead, but the news was wrong.Songs creation Gesang

* Solo
* Red Bridge
* Farewell (the Indonesian version was popularized by Broery Pesulima)
* Hat Mount
* Ali-ali
* Andheng-andheng
* Fade
* Tales
* Handkerchief
* World Peace
* The Orphanage
* Nusul
* Newsletters
* Wheel World
* Great Wall
* Seto Ohashi
* Pandanwangi
* Impenku
* Pearl Necklace
* Young Adult
* Borobudur
* Tirtonadi
* Sandhang Food
* Handkerchief-

 
 
original info
 
Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Tahun 2007, Gesdang dirawat di rumah sakit PKU Solo dan menjalani operasi prostat. Di Januari 2010, Gesang masuk rumah sakit kembali, tak lama kemudian Gesang pulang.

Selanjutnya, Gesang masuk rumah sakit Rabu 13 Mei karena gangguan pernafasan dan infeksi kandungan kemih. Minggu, 16 Mei Gesang masuk ICU RSU Solo karena mengalami penurunan tekanan darah. Selasa, 18 Mei Gesang digosipkan meninggal dunia, akan tetapi kabar tersebut ternyata salah.

Lagu-lagu ciptaan Gesang

* Bengawan Solo
* Jembatan Merah
* Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
* Caping Gunung
* Ali-ali
* Andheng-andheng
* Luntur
* Dongengan
* Saputangan
* Dunia Berdamai
* Si Piatu
* Nusul
* Nawala
* Roda Dunia
* Tembok Besar
* Seto Ohashi
* Pandanwangi
* Impenku
* Kalung Mutiara
* Pemuda Dewasa
* Borobudur
* Tirtonadi
* Sandhang Pangan
* Kacu-kacu

 Frame One :

The Bengawan Solo (Gesang) Record Collections(Dr Iwan Collections)

 

1.Before World War Two

 1)His Master Voice record

His Master Voice Record sing by Che Sutinah, Bagawan solo and Sapu Tangan,(this HMS record may be in 1940 when this song was created by Gesang but  no Gesang Name writen as the composer,why I donnot undertand ,che sutinah my be from Singapore or Malaya,please comment and more info,tghis record found in Indonesia-Dr Iwan note)

 

2)Bengawan solo music Record Hawaiians Kilima

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song BENGAWAN SOLO AND OTHER INDONESIAN POPULAR SONG :Kole-kole,Toean , Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Limbe-limbe,Angin berbisik.

 

 

 HAWAIIANS KILIMA 

 BY RUDI WAIRATA
Rudi Wairata 1929-1981
FIRST ERA 1929 – 1981

 SECOND ERA 1929 – 1981

 2.After World War Two

1)Sri Rejeki,Rudi Pirngadie  with His Tetap Segar Orchestra, Down The Riverside Of Indonesia In Krontjong Beat .

Side one : Sungai Deli, Sungai Tjiliwung, Tjitarum Disenja Raja,Ditepi Sungai Seraju,Bengawan Solo.

2. Foreign Countries Record

1) Japanese record

2) Suppraphon Ceskoslovakia Record(for the first time report by Dr iwan S,)

at this records also another indonesian song O laka Laka, goro-goro ne and gula gula santan , please the collectors who have this record  or another countries ‘s record please report ,thanks from Dr iwan)

 3).Other Countries Record

Frame Two: The Bengawan solo record label(  Bengawan Solo, eksplorasi google)

Solo songs copyright
 Gesang MARTOHARTONO world is an artist who was born in Indonesia. Gesang creation songs have been translated into various languages ​​including, English, Mandarin and Japanese. To avoid the occurrence of claiming the work of other countries, such as claiming the song “Solo” by some Dutch citizens recently, record companies Partiwi Music Publishers (PMP) has been taking care of creation of songs royalties, amounting to 44 Gesang title track to the Directorate General of Intellectual Property Rights Department of Justice and Human Rights. All songs Gesang the patent certificate, has been published since September 25, 2009.

Based on information from Andy Hutadjulu, General Manager of PMP in Solo, Gesang songs also had plagiarized by the country of Malaysia, “1960 Years ago, one of the songs are very well-known Gesang creation of ‘Solo’ ve traced by Malaysia with the title track ‘ Main Cello ‘, “said Andy Hutadjulu, Friday, May 21, 2010.

“Rhythm, tone and tempo of the song with the song ‘Solo’, it’s just a poem and its title changed,” said Andy Hutadjulu, General Manager of PMP in Solo, Friday, May 21, 2010.

Andy said, polemical work Gesang song plagiarism by Malaysia recently completed when President Sukarno, when it intervened directly.

Bung Karno deliberately invited the Malaysian side at an event at the Senayan sports competitions. “There song Solo Gesang also played and watched it immediately.”

By looking at it, Malaysia has acknowledged, that the song was the work Gesang, musicians Indonesia, “said Andy.

Other Gesang song creation entitled ‘Sweep Hand’ is also almost claimed by Malaysia, to serve as the national anthem.

“But it is so copied the Malaysian national anthem at last, the song ‘Light of the Moon’,” he said.

After the patent, it is expected there will be no longer claim the songs Gesang.
All of that song was certified as a work Gesang patents. So it has been legally recognized. “If there are parties who claim that the song was his creation merupakaan Gesang it can not, because it’s against the law,” said Andy.

Until now, PMP is managing the 3,000 title track of about 92 musicians. Songs that are managed under the label PMP, among other things, the song To you work Kusbini Affairs, Yen Ing Tawang Ana Lintang Andjar Any late work, Ampar-Banana works Ampar Hamiedhan AC and other songs from musicians Indonesia.

Before he died, Gesang just received royalties from the PMP, dated May 5, 2010. Royalties earned by Gesang of the month from July to December there were about Rp 21,788,852. [*]

Sources: Viva News

Related Posts
AMI Award Never To Gesang
Ask Gesang 3 Song Written Keroncong
Maestro Keroncong Martohartono Gesang (1917-2010)
Nidji Solo Song Will Bring to America
2.The composer Gesang
1). Kroncong Bengawan solo song creation Gesang, sung by Waljinah
 

Waljinah is one the most famous and beloved singers of traditional Javanese, ESPECIALLY for her song “Walang snicker” which made her very popular Among the Javanese. She also has made some Collaborations with top Indonesian artists Such as Didi Kempot, Gesang, Puspa point and so on. Her Voice is Heard on the radio daily and Appearances She makes numerous television. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and Various other styles. Hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Solo, a tune the which has Become famous throughout Indonesia, Japan and much of Asia, and the which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.
Gesang
 
Background
Born October 1, 1917
Template: Dutch flag Surakarta, Surakarta Kasunanan, Dutch East Indies
Died May 20, 2010 (age 92 years)
Template: Flag Indonesia Surakarta, Indonesia
Genre Keroncong
Singer jobs
Songwriter
Instruments Vocals

Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)

Table of contents
1 Song Solo
2nd Life
3 Songs creation Gesang
 
 

 Solo Song
This song was created in 1940, when he beusia 23 years. Gesang young when it was sitting on the edge of the Solo River, he is always amazed by the river, was inspired to create a song. This song creation process takes about 6 months.

Solo song also has its own popularity abroad, especially in Japan. Solo was used in one of the Japanese movies. [1]

Life
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.

Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.

As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.

Gesang had reportedly died on May 18, 2010 after his health reportedly deteriorating. [2]

Gesang was rushed to hospital due to his health declined on Wednesday (19/05/2010). Furthermore, Gesang be treated in the ICU since Sunday (16 / 5) because of his health continued to decline. Hospitals to form a team to handle health consisting of five different specialists. Until finally he died on Thursday (20/05/2010) At 18:10 in the Hospital PKU Muhammadiyah Surakarta. [3]

 Songs creation Gesang
Solo
Red Bridge
Farewell (the Indonesian version was popularized by Broery Pesulima)
Caping Mount
Ali-ali
Andheng-andheng
Fade
Myth
Handkerchief
World Peace
The Orphanage
Nusul
Newsletters
Wheel World
Great Wall
Seto Ohashi
Pandanwangi
Impenku
Pearl Necklace
Youth Adult
Borobudur
Tirtonadi
Food Sandhang
-Handkerchief handkerchief

 
 
 
 
 
 
 
 
 
 
 
 

original

1.Penyanyi Indonesia

1)Waljinah

2)Gordon Tobing

 2.Foreign Countries

 a.Jepanese

the styler 

b.Hongkong

1) Rebecca Pan

Rebecca Pan Di-hua (潘迪華, 潘迪华; also Poon Tik-wah, Pan Wan Ching) is a Chinese actress and singer.

She was born in Shanghai. She moved to Hong Kong in 1949. Her singing career began in 1957. One of her songs, which she recorded when she was 18, is played briefly in In the Mood for Love — the English version of an Indonesian folk song, “Bengawan Solo“.

2) Francis Yip

Frances Yip

Frances Yip
Chinese name 葉麗儀 (Traditional)
Chinese name 叶丽仪 (Simplified)
Pinyin ye4 li4 yi2 (Mandarin)
Jyutping jip6 lai6 ji4 (Cantonese)
Ancestry [Southern Chinese from Guangzhou)
Origin Hong Kong
Born January 1, 1947 (1947-01-01) (age 64)
Central, Hong Kong Island, Hong Kong
Occupation Singer
Genre(s) Cantopop
Instrument(s) Singing
Voice type(s) Cathy Sharon (Jakarta, Indonesia)
Label(s) [EMI)
Years active 1969 – present
Awards
This is a Chinese name; the family name is Yip.

Frances Yip Lai-yee is a Hong Kong Cantopop singer. She is best known for performing many of the theme songs for television series produced by TVB in the 1980s and early 1990s.

born on 22 Oct 1947, Frances is of Hakka ancestry, Yip hit international fame with her signature tune, The Bund from the TVB drama of the same title. Before her success, she tributed songs in her earlier albums originally performed by singers such as Adam Cheng, Roman Tam and Jenny Tseng.

In her 41-year career, Yip has released more than 80 albums, mostly of songs in American English, Indonesian, Malay, Mexican Spanish, Japanese, Tagalog, Cantonese and Mandarin. She has performed on television, and in films, concerts and cabarets in more than 30 countries on five continents. Yip is fluent in both Chinese (Cantonese and Mandarin) and English. She recently overcame breast cancer

3).Mona Fong

 

Mona Fong

Mona Fong Yat Wah
(Mona, Lady Shaw)
Chinese name 方逸華 (Traditional)
Chinese name 方逸华 (Simplified)
Pinyin fāng yì huá (Mandarin)
Jyutping fong1 jat6 waa6 (Cantonese)
Birth name Li Meng-Lan (李夢蘭)
Ancestry Guangdong
Origin  Hong Kong
Born 1934 (age 76–77)
Shanghai, Republic of China
Other name(s) 方夢華
Occupation general manager, production manager, film and television producer
Spouse(s) Run Run Shaw (1997-)
Parents Fong Man Lo

Mona Fong Yat Wah, Lady Shaw is a Hong Kong film and television producer and production manager. A Cantonese born in Shanghai, Mona achieved fame as one of the most popular nightclub singers and recording artists in Singapore and Hong Kong in the 1950s. She often sang English covers of top hits of the time. She is currently the Deputy Chairman and General Manager of Shaw Brothers Studio and Television Broadcasts Limited (TVB). She is also the second wife of renowned media mogul Sir Run Run Shaw.

To date, Fong has produced over a hundred films since 1977, the latest of which was Drunken Monkey in 2002.[1] Effective 1 January 2009, she was appointed General Manager of TVB.[2]

 4)The list of bengawan solo Record(Daftar Koleski Rekaman Musik Lagu Bengawan Solo)

Bengawan Solo Songs (83 music files)
 
01 lagukeroncong gesang bengawan solo
file type:mp3

   

02

gesang bengawan solo

file type:mp3

 

 

 

03

bengawan solo klantink

file type:mp3

 

 

 

04

putri ayu ft lius dan klanting bengawan solo

file type:mp3

 

 

 

05

keroncong bengawan solo

file type:mp3

 

 

 

06

tantowi yahya bengawan solo

file type:mp3

 

 

07

02 bengawan solo

file type:mp3

 

 

 

08

keroncong bengawan solo sundari soekotjonew

file type:mp3

 

 

09

01 hetty koes endang keroncong bengawan solo

file type:mp3

 

 

10

gesang bengawan solo

file type:mp3

 

 

 

 

 83 different bengawan solo songs.  Bengawan Solo’s latest album is In the Mood for Love (2000 Film) which is released on 2000-11-06 .

Frame Three:

The Composer Gesang and his Song Bengawan Solo History

1. The Song Bengawan solo

 

1)Hak cipta lagu Bengawan Solo

 GESANG MARTOHARTONO adalah seniman dunia yang lahir di Indonesia. Lagu-lagu ciptaan Gesang telah diterjemahkan ke berbagai bahasa di antaranya, Inggris, Mandarin dan Jepang. Untuk menghindari terjadinya pengklaiman karya dari negara lain, seperti pengklaiman lagu “Bengawan Solo” oleh beberapa warga Belanda baru-baru ini, perusahaan rekaman Penerbit Musik Partiwi (PMP) telah mengurus royalti lagu-lagu ciptaan Gesang yang berjumlah 44 judul lagu ke Direktorat Jendral HAKI Departemen Hukum dan Hak Asasi Manusia. Semua sertifikat paten lagu Gesang tersebut, sudah terbit sejak 25 September 2009.

Berdasarkan keterangan dari Andy Hutadjulu, General Manager PMP di Solo, lagu-lagu Gesang juga sempat dijiplak oleh negara Malaysia, “Tahun 1960 lalu, salah satu lagu ciptaan Gesang  yang sangat terkenal, yakni ‘Bengawan Solo’ pernah dijiplak oleh Malaysia dengan judul lagu ‘Main Cello’,” kata Andy Hutadjulu, Jumat, 21 Mei 2010.

“Irama, nada dan tempo lagu tersebut sama dengan lagu ‘Bengawan Solo’, hanya saja syair dan judulnya yang diubah,” kata Andy Hutadjulu, General Manager PMP di Solo, Jumat, 21 Mei 2010.

Andy mengungkapkan, polemik penjiplakan lagu karya Gesang  oleh  Malaysia baru selesai ketika Presiden Soekarno, kala itu turun tangan langsung.

Bung Karno sengaja mengundang pihak Malaysia di sebuah acara perlombaan olahraga di Senayan. “Di situ lagu Bengawan Solo dimainkan dan Gesang juga menyaksikannya langsung.”

Dengan melihat itu, Malaysia baru mengakui, kalau lagu itu adalah karya Gesang, musisi Indonesia,” kata Andy.

Lagu ciptaan Gesang lainnya yang berjudul ‘Sapu Tangan’ juga nyaris diklaim oleh Malaysia, untuk dijadikan lagu kebangsaan.

“Tetapi yang jadi ditiru sebagai lagu kebangsaan Malaysia akhirnya, lagu ‘Terang Bulan’,” katanya.

Setelah paten, diharapkan tak akan ada lagi klaim lagu-lagu Gesang.
Semua lagu itu sudah bersertifikat hak paten sebagai karya Gesang. Jadi secara hukum sudah diakui. “Jika ada pihak-pihak yang mengaku bahwa lagu Gesang itu merupakaan ciptaannya sudah tidak bisa, karena itu melanggar hukum,” ujar Andy.

Hingga saat ini, PMP sudah mengelola sebanyak 3.000 judul lagu dari sekitar 92 musisi. Lagu-lagu yang dikelola di bawah label PMP, di antaranya, lagu Bagimu Negeri karya Kusbini, Yen Ing Tawang Ana Lintang karya almarhum Andjar Any, Ampar-Ampar Pisang karya Hamiedhan A.C. dan lagu-lagu lain dari musisi Indonesia.

Sebelum meninggal, Gesang baru saja menerima royalti dari PMP, tanggal 5 Mei 2010. Royalti yang didapatkan oleh Gesang dari bulan Juli-Desember ada sekitar Rp 21.788.852.  [*]

Sumber: Viva News

Tulisan Terkait

2.The composer Gesang

1).Lagu Kroncong Bengawan solo ciptaan gesang,dinyanyikan oleh Waljinah

 

Waljinah is one the most famous and beloved Javanese traditional singers, especially for her song “Walang Kekek” which made her very popular among the javanese. She also has made some collaborations with top Indonesian artists such as Didi Kempot, Gesang, Titik Puspa and so on. Her voice is heard on the radio daily and she makes numerous television appearances. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and various other styles. hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Bengawan Solo, a tune which has become famous throughout Indonesia, Japan and much of Asia, and which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.

Gesang
Gesang
Latar belakang
Lahir 1 Oktober 1917
Templat:Bendera belanda Surakarta, Kasunanan Surakarta, Hindia Belanda
Meninggal 20 Mei 2010 (Umur 92 tahun)
Templat:Bendera indonesia Surakarta, Indonesia
Jenis Musik Keroncong
Pekerjaan Penyanyi
Pencipta lagu
Instrumen Vokal

Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Daftar isi

 

 Lagu Bengawan Solo

Lagu ini diciptakan pada tahun 1940, ketika ia beusia 23 tahun. Gesang muda ketika itu sedang duduk di tepi Bengawan Solo, ia yang selalu kagum dengan sungai tersebut, terinspirasi untuk menciptakan sebuah lagu. Proses penciptaan lagu ini memakan waktu sekitar 6 bulan.

Lagu Bengawan Solo juga memiliki popularitas tersendiri di luar negeri, terutama di Jepang. Bengawan Solo sempat digunakan dalam salah satu film layar lebar Jepang.[1]

Kehidupan

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Gesang sempat dikabarkan meninggal dunia pada tanggal 18 Mei 2010 setelah kesehatannya dilaporkan memburuk.[2]

Gesang dilarikan ke rumah sakit akibat kesehatannya menurun pada Rabu (19/05/2010). Selanjutnya, Gesang harus dirawat di ruang ICU sejak Minggu (16/5) karena kesehatannya terus menurun. Rumah sakit membentuk sebuah tim untuk menangani kesehatan yang terdiri dari lima dokter spesialis yang berbeda. Hingga akhirnya beliau meninggal pada hari Kamis (20/05/2010) Pukul 18:10 di Rumah Sakit PKU Muhammadiyah Surakarta.[3]

 Lagu-lagu ciptaan Gesang

  • Bengawan Solo
  • Jembatan Merah
  • Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
  • Caping Gunung
  • Ali-ali
  • Andheng-andheng
  • Luntur
  • Dongengan
  • Saputangan
  • Dunia Berdamai
  • Si Piatu
  • Nusul
  • Nawala
  • Roda Dunia
  • Tembok Besar
  • Seto Ohashi
  • Pandanwangi
  • Impenku
  • Kalung Mutiara
  • Pemuda Dewasa
  • Borobudur
  • Tirtonadi
  • Sandhang Pangan
  • Kacu-kacu

the end @ Copyright Dr Iwan Suwandy 2011

The Vintage Legend Hawaiians KILIMA Record Collections

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom

THE VINTAGE INDONESIA POPULAR SONG

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song

Kole-kole,Toean dan Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Bengawan solo,Limbe-limbe,Angin berbisik.

other Kilima Hawaiaans record (google explorations)

  RUDI WAIRATA
Rudi Wairata 1929-1981
1929 – 1981 1929 – 1981
The Mena Moeria Minstrels – The Amboina Serenaders The Mena Moeria Minstrels – The Amboina Serena Suppose

biografie biography

1929 1929

Diederich Gijsbrecht Christo ‘Rudi’ Wairata wordt op 25 december 1929 geboren in Ternate (Halmaheira eilanden in de Molukse archipel) als zoon van Andries Egbert Wairata en Anthoinetta Cornelia Meulenaar. Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmaheira islands in the Moluccan islands), the son of Andries Egbert Wairata and Cornelia Anthoinetta Meule To.

Vader Wairata leidt een zangkoor en zijn oudste broer speelt in een hawaiianband. Father Wairata leads a choir and his oldest brother plays in a hawaiian band.

1939 1939

Op zijn tiende verjaardag krijgt Rudi een hawaiianplaat van Sol Hoopii en een van Andy Iona . On its tenth anniversary Rudi gets a hawaiian plate Sol Hoopii and one of Andy Iona.

hoopii.jpg (10112 bytes)
SOL HOOPII SOL HOOPII

1940 1940

Rudi bouwt zijn ukele om tot een hawaiiangitaartje en oefent met een potlood. Rudi construira ukele to a hawaiian guitar and performs with a pencil.

De familie Wairata is ondertussen naar Djokja verhuist en zijn vader stuurt hem daar op pianoles. The family Wairata has moved to Djokja and his father sends him on piano.

1942 1942

Als twaalfjarige vervangt Rudi zijn broer tijdens een optreden voor Radio VERAL. Het is een succesvol optreden en Rudi gaat voortaan de hawaiiangitaar in het ensemble bespelen. As a twelve year old replaces Rudi his brother during a performance for Radio generalized. It is a successful action and Rudi is now the hawaiian guitar in the ensemble playing. Zijn broer schakelt over op gitaar. His brother switches on guitar.

1943 19431950 1950 Rudi treedt vaak op tijdens bruiloften en partijen. Rudi is common at weddings and parties. Samen met onder andere Ruben Rumahlewang speelt hij bij het ensemble Mena Moeria (een oude strijdkreet; letterlijk mena = voor en moeria = achter ) in Jogjakarta en Batavia. Together with other Ruben Rumahlewang he plays in the ensemble Moeria Mena (an old battle cry, literally menagement = = moeria and rear) in Jogjakarta and Batavia. Rudi ontmoet ook George de Fretes en krijgt les van hem. Rudi also met George de Fretes and had lessons from him.De groep is regelmatig te beluisteren via de NIROM (Nederlands Indische Radio Omroep) The group is regularly heard by NIROM (English Indian Radio Broadcasting)
1951 1951

Vader Wairata heeft een beurs voor een muziekstudie voor zijn zoon Rudi op het Koninklijk Conservatorium in Den Haag geregeld. Father Wairata has a scholarship to study music for his son Rudi at the Royal Conservatory in Den Haag regularly.

Zijn in Nederland wonende oom haalde hem vrijwel direct over om in Nederland een hawaiianband te beginnen. His uncle living in the Netherlands took him almost directly in the Netherlands to start a hawaiian band. Dat worden de Mena Moeria Minstrels . That the Mena Moeria Minstrels. Op 16 oktober 1951 winnen ze de voorronde van het SAHIN-concours (SAHIN staat voor Stichting Amateur Hawaiianensembles In Nederland ) in het Amsterdamse Bellevue . On October 16, 1951 they won the preliminary round of the Competition Sahin (Sahin Foundation for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. De bezetting bestaat dan uit: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury en Patty . The occupation exists from: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. Ook de finale op 15 december 1951in de hal van de Snijbloemenveiling in Honselersdijk winnen ze met vlag en wimpel. The finale on 15 December 1951in the hall of the cut flowers in Honselersdijk Auction they won with flying colors.

1952 1952

Zangeres Joyce Aubrey , de ex- vrouw van George de Fretes , sluit zich na haar komst naar Nederland aan bij The Mena Moeria Minstrels . Joop Sahanaya , een neef van Rudi Wairata, gaat gitaar spelen in het ensemble. Singer Aubrey Joyce, the former wife of George de Fretes, quit after coming to the Netherlands at The Mena Moeria Minstrels. Sahanaya Joop, a nephew of Wairata Rudi is playing guitar in the ensemble.

De groep heeft veel succes met huladanseressen in hun show. The group has a lot of success with huladanseressen in their show.

1953 1953

The Mena Moeria Minstrels krijgen een platencontract bij platenmaatschappij Dureco NV (Dutch Record Company). The Mena Moeria Minstrels get a record contract with record company Dureco NV (Dutch Record Company). Op maandag 2 februari 1953 (daags na de watersnoodramp ) worden de eerste opnamen gemaakt in de studio gevestigd in het Bavohuis in Amsterdam-Oost. On Monday, Feb 2, 1953 (the day after the flood disaster), the first recordings made in studio located in the Bavo House in Amsterdam-Oost. Hun 78-toeren platen worden uitgebracht op het Omega label. Guus Jansen is hun labelmanager. Their 78-rpm records to be released on the Omega label. Guus Jansen their label manager.

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS THE MENA MOERIA Minstrels
vlnr: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya From left to right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya

Speciaal voor het krontjong repertoire en het vertolken van Molukse en Indische liedjes treedt de groep ook op onder de naam The Amboina Serenaders . Especially for krontjong repertoire and interpreting of Moluccan and Indian songs will the group under the name The Amboina Serena club. Op het RCA label (toen vertegenwoordigd door Dureco – zij brengen ook de eerste platen van Elvis Presley in Nederland op de markt) worden de opnamen van de Amboina Serenaders uitgebracht. Peter Bronkhorst is hiervan de labelmanager. At the RCA label (then represented by Dureco – they put the first record of Elvis Presley in the Netherlands on the market) are the images of Amboina Serena Suppose given. Peter Bronkhorst is the label manager. In de studio wordt een vibrafonist aan de bezetting toegevoegd. The studio is a vibraphonist added to the occupation.

1954 1954

 

http://translate_p_data/3mVCtIKeuSZwZ2Vqd.swf
Video clip KAIWAHU MARCH (78 toeren plaat) met foto’s en 2 Hawaiian video filmpjes (Dailymotion) Video clip KAIWAHU MARCH (78 rpm disc) with pictures and video clips Hawaiian 2 (Dailymotion)

1955 1955

 

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS – 1e EP op Omega 145.506 THE MENA MOERIA Minstrel – 1st EP on Omega 145506

 

1956 1956 The Amboina Serenaders scoren een grote hit met Ik Wil Klappermelk Met Suiker , dat door de Nederlandse componist en tekstdichter Pierre Wijnnobel is geschreven. The Amboina Serena club scored a big hit with I Want coconut milk with sugar, by the Dutch composer and poet Pierre Wine Nobel text is written. Met voortreffelijke zang van Joyce Aubrey en Lou Lima (= Ming Luhulima) With excellent vocals by Joyce and Lou Aubrey Lima(= Ming Luhulima)

Joyce Aubrey in the Tuney Tunes of January 1957
JOYCE AUBREY in de Tuney Tunes van januari 1957 Joyce Aubrey in the Tuney Tunes of January 1957

Rudi Wairata en zijn Mena Moeria Minstrels nemen een zeer geslaagde versie op van Moon Mullican ‘s hit Honolulu Rock-A Roll-A. Een mix van hawaiianmuziek met rock-‘n-roll. Rudi Wairata and Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock-A Roll-A. A mix of hawaiian music with rock-‘n-roll.

1957 1957 Er ontstaat onenigheid in de groep. There is disagreement in the group. Rudi Wairata verlaat de groep. Rudi Wairata leave the group. Hij maakt met een nieuwe formatie platen voor het RCA label (nu bij Inelco) onder de naam Rudi Wairata & The Hawaiian Minstrels en Rudi Wairata & The Serenaders . He created a new formation for the RCA record label (now Inelco) under the name Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata & The Serena club.Ming Luhulima wordt de nieuwe leider van The Mena Moeria Minstrels – The Amboina Serenaders. Luhulima Ming is the new leader of The Mena Moeria Minstrels – The Serena Amboina club.Rudi Wairata neemt met zijn Ensemble The Hawaiian Minstrels het nummer Rock And Roll And Breezes (RCA) op. Rudi Wairata takes his Ensemble The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. Het wordt door sommigen beschouwd als de allereerste Indo-Rock opname. It is regarded by some as the first ever Indo-Rock recording. De muziek is van Wairata zelf en de tekst is geschreven en wordt gezongen door Charlie Kuipers . The music is Wairata itself and the text is written and sung by Charlie Kuipers.

The Mena Moeria Minstrels - The Amboina Serena led Suppose Ming Luhulima
THE MENA MOERIA MINSTRELS – THE AMBOINA SERENADERS olv Ming Luhulima THE MENA MOERIA Minstrels – THE SERENA Amboina RS led Ming Luhulima
vlnr: Joop Sahanaya – steeler? From left to right: Joop Sahanaya – steeler? – Jack Salakory – Joyce Aubrey – Ming Luhulima – Jack Salakory – Joyce Aubrey – Ming Luhulima

1958 1958 Rudi Wairata gaat met een hawaiianband in België werken. Rudi Wairata with a hawaiian band in Belgium. Tijdens de Wereldtentoonstelling Expo ’58 in Brussel speelt hij in de Hawaiian Village (onderdeel van het attractiepark) samen met Mike Anoi (Guus ‘broer’ Arends) . During the Expo’58 World Exhibition in Brussels he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus’ brother ‘Arends). Als pauze-act spelen The Tielman Brothers in de Hawaiian Village zich met hun wervelende rock-‘n-roll show in de kijker. If break-act play The Tielman Brothers at the Hawaiian Village with their whirlwind rock-‘n-roll show in the viewer. Tijdens een grote brand gaan hun instrumenten, maar ook die van Rudi Wairata verloren. During a major fire to their instruments, but also that of Rudi Wairata lost.The Mena Moeria Minstrels – The Amboina Serenaders vallen uiteen nadat Joyce Aubrey in de zomer van 1958 zich aansluit bij The Royal Hawaiian Minstrels – Suara Istana olv haar ex- echtgenoot George de Fretes . The Mena Moeria Minstrels – The Serena Amboina club cover after Joyce Aubrey in the summer of 1958, joins The Royal Hawaiian Minstrels – Suara Istana led her ex-husband George de Fretes. Hij is als verstekeling aan boord van de Johan Barneveldt naar Nederland gekomen. He is a stowaway aboard the Johan Barneveldt come to the Netherlands.Ming Luhulima richt zijn eigen krontjong-ensemble Pantja Warna op. Ming Luhulima address its own krontjong ensemble Pantja Warna on.
1959 1959 Rudi gaat steelgitaar spelen bij de Kilima Hawaiians . Rudi is steelgitaar play in Kilima Hawaiian. Daarvoor heeft Broer Arends hun vertrokken steeler Theo Ehrlicher tijdens een korte periode opgevolgd, maar dat is geen succes geworden. This has left their brother Arends steeler Theo Ehrlicher during a brief period followed, but that is not success. Nog vóór Rudi is ook aan George de Fretes is gevraagd of hij bij de Kilima Hawaiians wil komen spelen. Even before Rudi is also the George Freteswas asked whether he wants to Kilima Hawaiian play. Hij gaat niet op het verzoek in. He is not on the request.

The Kilima Hawaiian with Rudi Wairata
THE KILIMA HAWAIIANS met RUDI WAIRATA THE HAWAIIAN Kilima with RUDI WAIRATA

Bill Kilima and his Cowboys
BILL  KILIMA AND HIS COWBOYS met RUDI WAIRATA BILL AND HIS COWBOYS Kilima with RUDI WAIRATA

 

1960 1960

Het blad Romance brengt een speciale EP van Rudi Wairata & De Kilima Hawaiians uit. The magazine Romance brings a special EP & Rudi Wairata The Kilima Hawaiian off. Hierop is een zeer swingende en rockende versie van Steel Guitar Rag als Steel Guitar Rock te beluisteren. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock as to listen.

Rudi Wairata & The Kilima Hawaiian
DE KILIMA HAWAIIANS – ROMANCE EP THE HAWAIIAN Kilima – ROMANCE EP
vlnr: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman From left to right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman

Tijdens een tournee van de Kilima Hawaiians in Duitsland blijft Wairata achter en gaat voor de Amerikanen spelen. During a tour of the Kilima Hawaiian Wairata remains behind in Germany and the Americans play.

1961 19611969 1969 De gouden jaren van de hawaiianmuziek zijn voorbij. The golden years of the hawaiian music are over. Het interessante werk in grote shows wordt steeds minder. The interesting work in big shows is always less. Alleen in de amusementssector in de horeca is nog wat te verdienen. Rudi is ook actief op cruiseschepen. Only in the entertainment sector in the trade is still something to earn. Rudi is also active on cruise ships. In Wiesbaden runt hij nog een tijdje een theaterbureau en zo af en toe krijgt Rudi Wairata nog de gelegenheid om een LP op te nemen. In Wiesbaden he still runs a theater while a desk and every now and then Rudi Wairata will have the opportunity to LP as well. Internationaal presenteert Rudi zich nu als Rudy. International Rudi presents itself now as Rudy. Verder gebruikt hij ook artiestennamen als Sam Letto en Roy Moana Furthermore, he also artiestennamen as Sam and Roy letto MoanaIn de periode 1962-1963 neemt Rudi Wairata in Duitsland nog een aantal platen op voor het 777 label. In the period 1962-1963 is Rudi Wairata in Germany a number of plates for the 777 label. Zijn begeleidingsgroep heeft dan de naam The Hawaiian Boys . His begeleidingsgroep than the name The Boys Hawaiian. In 1966 wordt hij in Duitsland gesignaleerd met The Waikiki Islanders , hij bespeeld dan een pedal steelgitaar. In 1966 he reported in Germany with The Waikiki Islanders, he played a pedal steelgitaar.
1970 19701980 1980 Rudi richt de groep Rudy Wairata & The Oriëntal Four op. Rudi, the group Wairata Rudy & The Oriental Four op. Hij speelt nog regelmatig in Duitsland. He still plays regularly in Germany. Van de groep verschijnt ook een LP op MFP(EMI) onder de titel The Magic Of The Oriënt. Rudi heeft voor het album ook een cover van Once van The Hurricane Rollers , de allereerste Indo-Rock compositie uit 1959 van Rob Boekholt , opgenomen. The group also appears on an LP MFP (EMI) under the title The Magic Of The Orient. Rudi on the album including a cover of Once by The Hurricane Rollers, the first ever Indo-rock composition from 1959 Rob Boekholt included.In het midden van de jaren zeventig is Rudi actief bij de groep Suara Nusantara , ook bekend onder de naam The Nusantara Serenaders met Boet Manuhutu, David Nanuru en zangeres Liszy. Van dit ensemble verschijnt in 1976 een LP op EMI en tevens een album van Rudi samen met steeler Frans van Oirschot . In the middle of the seventies Rudi is active in the group Suara Nusantara, also known under the name The Nusantara Serena club with fines Manu Hutu, David Nanuru and singer Liszy. From this ensemble appears in a 1976 LP on EMI and also an album by Rudi steeler with Frans van Oirschot. De Tilburger Van Oirschot is ooit in 1948 begonnen met zijn eigen hawaiianensembles The Aloma Hawaiians, The Malua Hawaiians en The Honolulu Strings (1950). The Tilburger Van Oirschot has ever started in 1948 with his own ensembles hawaiian Aloma The Hawaiian, The Malua Hawaiian and The Honolulu Strings (1950).Historisch is de ontmoeting te noemen in 1978 tussen Rudi Wairata en George de Fretes op de zolder (ingericht als hawaiianmuziek-museum) van Gerard Dillen in Haarlem. Historically, the meeting called in 1978 between George and Rudi Wairata the Fretes in the attic (if equipped hawaiian music museum) Gerard Dillen in Haarlem. Dillen heeft in 1959 de International Fanclub Hawaii Calls opgericht. Dillen in 1959 the International Fanclub Hawaii Calls established. Hij geeft het maandblad Sound of Hawaii uit en organiseerd hawaiianshows. He gave the monthly Sound of Hawaii and hawaiian organized shows.Onder de naam Roy Moana wordt in 1978 een LP uitgebracht op GIP/Dureco met als titel Good Old Hawaii . Under the name Roy Moana is an LP released in 1978 on BIP / Dureco, entitled Good Old Hawaii. In de bezetting spelen Victor Gout (gitaar), Mieke Gout (ukelele), Henk Hensing (bas), André Spin (drums) en Ronnie Watti (zang) In the occupation play Gout Victor (guitar), Mieke Gout (ukelele), Henk Hensing (bass), Andre Spin (drums) and Ronnie Watti (vocals)Rudy Wairata & his New Polynesians is waarschijnlijk de allerlaatste formatie waar Rudi een LP ( It’s Aloha Time ) mee opneemt voor het Delta label. Rudy Wairata & his New Polynesian is probably the very formation of a Rudi LP (It’s Aloha Time) to record for the Delta label. 
1981 1981 Rudi Wairata overlijdt op 15 juli 1981 in Rotterdam, hij is dan slechts 51 jaar oud. Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old.
2006 2006 (p) Piet Muys (juni  2006) (p) Piet Muys (June 2006) mail

  • Speciale dank gaat uit naar: Special thanks go to:
    Riny Bade Riny Bade
    Hans de Raaij Hans de Raaij
    Peter Riethof † Peter Riethof †
    Bert Bossink Bert Bossink
  • Bronnen: Sources:
    Boek Haring & Hawaii (Lutgard Mutsaers 1992) Book Herring & Hawaii (Lutgard Mutsaers 1992)
    Rudy Wairata is still tickling the strings (Moesson 15-10-1980, Ralph Boekholt) Rudy Wairata is still tickling the strings (15-10-1980 monsoon, Ralph Boekholt)

aloha

 

Kilima Hawaiians

Kilima Hawaiians is a Dutch band, which got started by Bill Buysman in 1934 as “Kilima Hawaiian Trio”. In 1936 he was joined by his wife Mary Buysman. They had their first recordings in 1941, which made them already quite successful in a very short time. In 1942 bass player Wim van Herpen joined the trio and the band changed name to “The Kilima Hawaiians”. Under this new setting they had their greatest moments of success, during the late 1940s and 1950s. They got back into the picture in the late 1960s when they were exclusively signed by CBS/Artone. In the meantime some new artists joined the band and some band members left and were replaced by new people. Their last release with original work came out in the 1970s. Afterwards only compilation albums with previously recorded material got released

the kilima hawaiians – aloha

 
format : casette
label : atlantic records indonesia/atlantic tara ltd.
tahun : -
      album : aloha
comment,ayo kita ber aloha ria,ala musik hawaii…
di album ini ada 2 group musikSIDE A1.pearl harbour march
2.the manukuli songs
3.sweet hawaiaan chimes
4.the one rose that left in my heart
5.on linger longer island
6.under the tropical moon
7.hano hano molokai
8.oh i’ll dream about hawaii
9.twilight in hawaii
10.aloha waikiki shoreSIDE B1.lei aloha lei makamae
2.aloha once more
3.dreams of aloha
‘the leilani beach group’
4.the king of holiday island
5.two white seagulls
6.song of the island
7.blue hawaii
8.pagan love song
9.honolulu bewitched
10.leino kaiulani (george de fretes)
 
THE BIOGRAPHY OF KILIMA  HAWAIIANS RECORD
The Mena Moeria Minstrels
 
RUDI WAIRATA
Rudi Wairata 1929-1981
1929 – 1981 1929 – 1981
The Mena Moeria Minstrels – The Amboina Serenaders The Mena Moeria Minstrels – The Serena Amboina Supposebiography biography

1929 1929 Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmahera islands in the Maluku archipelago), the son of Andries and Egbert Wairata Anthoinetta Cornelia Meulenaar. Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmahera islands in the Moluccan islands), the son of Andrew and Cornelia Egbert Wairata Anthoinetta Meule To.

Wairata father leads a choir and his older brother plays in a Hawaiian band. Wairata father leads a choir and his oldest brother plays in a Hawaiian band.
 
1939 1939 On his tenth birthday, Rudi Hawaiian plate of Sol Hoopii and Andy Iona. On its tenth anniversary Rudi gets a Hawaiian plate Sol Hoopii and one or Andy Iona.

SOL SOL Hoopii Hoopii
 
1940 1940 Rudi builds his ukele into a Hawaiian guitar and performs with a pencil. Rudi construira ukele to a Hawaiian guitar and Performs with a pencil.

The family moved to Yogya Wairata has now and his father sends him on piano lessons. The family has moved to Yogya Wairata and his father sends him on piano.
 
1942 1942 As a twelve year old replaces Rudi his brother during a gig for Radio VERAL. It was a successful performance and Rudi is now the Hawaiian guitar in the ensemble playing. As a twelve year old Rudi Replaces His brother constantly a performance for Radio generalized. It was a successful action and Rudi is now the Hawaiian guitar in the ensemble playing. His brother switches to guitar. His brother on guitar switches.
 
1943 19431950 1950 Rudi often performs at weddings and parties. Rudi is common at weddings and parties. Teamed up with Ruben Rumahlewang he plays with the ensemble Mena Moeria (an old battle cry, literally mena = front and rear moeria =) in Jogjakarta and Batavia. Together with other Reuben Rumahlewang he plays in the ensemble Moeria Mena (an old battle cry, literally mena = = moeria agement and rear) in Yogyakarta and Batavia. Rudi also met George Fretes and will be taught by him. Rudi Also with George and had lessons from the Fretes him.De group is regularly heard on the NIROM (Dutch Indies Radio Broadcasting) The group is regularly heard by NIROM (English Indian Radio Broadcasting)
1951 1951 Father Wairata has a scholarship to study music with his son Rudy at the Royal Conservatory in The Hague regularly. Wairata Father Has A scholarship to study music for His son Rudy at the Royal Conservatory in The Hague regularly.

His uncle took him in the Netherlands living in Netherlands almost immediately on a Hawaiian band. His uncle living in the Netherlands firing him almost directly in the Netherlands to start a hawaiian band. That the Mena Moeria Minstrels. That the Mena Moeria Minstrels. On October 16, 1951 they won the first round of the competition, Sahin (Sahin Foundation stands for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. On October 16, 1951 They won the preliminary round of the Competition Sahin (Sahin Foundation for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. The occupation consists of: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. The occupation exists from Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. The final on 15 December 1951in the Hall of Flowers in Honselersdijk Auction they won with flying colors. The final on 15 December 1951in the hall of the cut flowers in Honselersdijk They won with flying colors Auction.
 
1952 1952 Joyce Aubrey Singer, the former wife of George Fretes, quit after her arrival in the Netherlands at The Mena Moeria Minstrels. Joop Sahanaya, a cousin of Rudi Wairata, is playing guitar in the ensemble. Singer Aubrey Joyce, the former wife of George Fretes, quit after coming to the Netherlands at The Mena Moeria Minstrels. Sahanaya Joop, a nephew or Wairata Rudi is playing guitar in the ensemble.

The group is very successful with huladanseressen in their show. The Group Has A lot of success with huladanseressen In Their show.
 
1953 1953 The Mena Moeria Minstrels get a recording contract with record company Dureco NV (Dutch record company). The Mena Moeria Minstrels get a record contract with record company Dureco NV (Dutch record company). On Monday, February 2, 1953 (the day after the flood), the first recordings made in studio located in the Bavo House in East Amsterdam. On Monday, February 2, 1953 (the day after the flood disaster), the first recordings made in studio located in the Bavo House in East Amsterdam. Their 78-rpm records to be released on the Omega label. Guus Jansen is their label manager. Their 78-rpm records to be released on the Omega label. Their label manager Guus Jansen.

The Kilima Hawaiian with Rudi Wairata
THE MENA MOERIA Minstrel THE MENA MOERIA Minstrels
Left to right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya From Left to Right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya

Especially for krontjong repertoire and voicing Moluccan Indian songs and the group also acts as The Amboina Serenaders. Especially for krontjong repertoire and interpreting or Moluccan and Indian songs Will the group under the name the club Amboyna Serena. On the RCA label (then represented by Dureco – it means the first recording of Elvis Presley in the Netherlands on the market), the recordings of Amboina Serenaders released. Peter Bronkhorst this is the label manager. At the RCA label (then represented by Dureco – They put the first record or Elvis Presley in the Netherlands on the market) are the images of Amboina Serena Suppose Given. Peter Bronkhorst is the label manager. In the studio, a vibraphonist added to the occupation. The studio is a vibraphonist added to the occupation.
 
1954 1954

http://translate_p_data/3mVCtIKeuSZwZ2Vqd.swf

MARCH KAIWAHU video clip (78 rpm record) with photos and two videos Hawaiian (Dailymotion) Video Clip KAIWAHU MARCH (78 rpm disc) with pictures and video clips Hawaiian 2 (Dailymotion)
 
1955 1955

THE MENA MOERIA Minstrel – 1st EP 145,506 Omega THE MENA MOERIA Minstrel – 1st EP on Omega 145506

 
 
The Amboina Serenaders 1956 1956 scoring a huge hit with I Want Coconut milk, by the Dutch composer and lyricist Pierre Nobel Wine was written. The Amboina Serena Club scored a big hit with coconut milk with sugar I Want, by the Dutch poet and composer Pierre Wine Nobel text is written. With outstanding vocals of Joyce and Lou Aubrey Lima (Ming Luhulima =) With excellent vocals by Joyce and Lou Aubrey Lima (Ming Luhulima =)

JOYCE Aubrey in Tuney Tunes of January 1957 at the Joyce Aubrey Tuney Tunes of January 1957

Rudi and his Wairata Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock A Roll-A. A mix of Hawaiian music with rock and roll. Rudi Wairata and Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock-A Roll-A. A mix of Hawaiian music with rock ‘n’ roll.
 
1957 1957 There is disagreement in the group. There is disagreement in the group. Rudi Wairata leave the group. Rudi Wairata leave the group. He creates a new formation for the RCA record label (now at Inelco) under the name Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata & The Serenaders. He created a new formation for the RCA record label (now Inelco) under the particular Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata club.Ming Luhulima & The Serena is the new leader of The Mena Moeria Minstrels – The Amboina Serenaders. Luhulima Ming is the new leader of The Mena Moeria Minstrels – The Serena Amboyna club.Rudi Wairata notes with his ensemble The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. Rudi takes Wairata His Orchestra The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. It is considered by some as the first Indo-rock record. Regarded by some as it is the first ever Indo-rock recording. The music is Wairata itself and the text is written and sung by Charlie Kuipers. The music is Wairata Itself And The text is written and sung by Charlie Kuipers.

THE MENA MOERIA Minstrel – THE Amboina Serenaders led by Ming Luhulima THE MENA MOERIA Minstrels – THE SERENA Amboyna RS Ming led Luhulima
Left to right: Joop Sahanaya – Steeler? From left to right: Jake Sahanaya – Steeler? – Jack Salakory – Joyce Aubrey – Ming Luhulima – Jack Salakory – Joyce Aubrey – Ming Luhulima
 
1958 1958 Rudi Wairata go with a Hawaiian band in Belgium. Rudi Wairata with a Hawaiian band in Belgium. During the World Expo ’58 in Brussels, he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus ‘brother’ Arends). During the World Exhibition in Brussels Expo’58 he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus ‘brother’ Arends). If break-act play The Tielman Brothers at the Hawaiian Village with their swirling rock n roll show in the spotlight. If break-act play The Tielman Brothers at the Hawaiian Village with Their whirlwind rock ‘n’ roll show in the viewer. During a major fire to their instruments, but also that of Rudi Wairata lost. During a major fire to Their instruments, but Rudi and Also That Wairata lost.The Mena Moeria Minstrels – The Amboina Serenaders fall after Aubrey Joyce in the summer of 1958, joining The Royal Hawaiian Minstrels – Suara Istana directed by her ex-husband George The Fretes. The Mena Moeria Minstrels – The Serena Amboyna club cover after Aubrey Joyce in the summer of 1958, joins The Royal Hawaiian Minstrels – Suara Istana led her ex-husband George Fretes. He is a stowaway aboard the John Barneveldt to the Netherlands. He is a Stowaway aboard the John Barneveldt come to the Netherlands.Ming Luhulima directed his own ensemble krontjong Pantja Warna on. Ming Luhulima address its own ensemble krontjong Pantja Warna on.
1959 1959 Rudi is playing steel guitar at the Kilima Hawaiians. Rudi is on steel guitar in Hawaiian Kilima. Prior to that, Brother Theo Arends their left Steeler Ehrlicher during a brief period followed, but it was not a success. This has left Their brother Theo Arends Steeler Ehrlicher consistently followed a letter period, but That is not success. Even before Rudi is also the George Fretes asked whether he wants to come and play the Kilima Hawaiians. Just before Rudi’s Also The George Freteswas asked whether he wants to play Kilima Hawaiian. He does not take up the invitation. He is not on the request.

THE Kilima Hawaiians with WAIRATA RUDI RUDI THE HAWAIIAN Kilima with WAIRATA

BILL AND HIS COWBOYS Kilima with RUDI WAIRATA BILL AND HIS COWBOYS Kilima with RUDI WAIRATA

 
 
1960 1960 The magazine brings a special Romance EP Wairata & Rudi De Kilima Hawaiians out. The magazine Romance Bring a special EP & Rudi Wairata The Kilima Hawaiian off. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock and listen. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock shaft to listen.

THE Kilima Hawaiians – THE HAWAIIAN ROMANCE EP Kilima – ROMANCE EP
left to right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman From Left to Right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman

During a tour of the Kilima Hawaiians Wairata in Germany remains behind and goes for the Americans play. During a tour of the Kilima Hawaiian Wairata Remains behind in Germany and the Americans play.
 
1961 19611969 1969 The Golden Years of Hawaiian music are over. The golden years of the Hawaiian music are about. The interesting work in major shows are becoming fewer. The interesting work in big shows is always less. Only in the entertainment sector in the hospitality industry is still some money. Rudi is also active on cruise ships. Only in the entertainment industry in the trade is still something to earn. Also Rudi is active on cruise ships. Wiesbaden for a while he runs a theatrical agency and occasionally gets Rudi Wairata have the opportunity to record an LP. Wiesbaden he still runs a theater while a desk and every now and then have the opportunity Rudi Wairata willing to LP as well. International Rudi presents itself now as Rudy. International Rudi now presents Itself as Rudy. Furthermore, he also uses stage names like Sam and Roy Letto Moana Further More, huh Also artist names as Sam and Roy letto MoanaIn the period 1962-1963 in Germany Wairata Rudi takes a number of records for the 777 label. In the period 1962-1963 in Germany, Rudi Wairata a number of plates for the 777 label. His support group has called The Boys Hawaiian. His support group than the notably The Boys Hawaiian. In 1966 he was spotted in Germany with The Waikiki Islanders, he played pedal steel guitar than one. In 1966 he reported in Germany with The Waikiki Islanders, pedal steel guitar he Played a.
1970 19701980 1980 Rudi, the group Wairata Rudy & The Oriental Four on. Rudi, the group Wairata Rudy & The Oriental Four on. He still plays regularly in Germany. He still plays regularly in Germany. The group also appears on an LP MFP (EMI) as The Magic Of The Orient. Rudi has a cover of the album Once by The Hurricane Rollers, the first Indo-rock composition from 1959 by Rob Boekholt included. The Group Also Appears On an LP MFP (EMI) under the title The Magic Of The Orient. Rudi on the album Including a cover of Once by The Hurricane Rollers, the first ever Indo-rock composition from 1959 Rob Boekholt included.In the mid-seventies, Rudi active in the group Suara Nusantara, also known as The Nusantara Serenaders with Boet Manuhutu, and singer David Nanuru Liszy. Of this ensemble appears in a 1976 LP on EMI and also with an album by Steeler Rudi Frans van Oirschot. In the middle of the seventies Rudi is active in the group Suara Nusantara, also known under the name the club with fines Nusantara Serena Manuhutu, and singer David Nanuru Liszy. From this ensemble Appears in a 1976 LP on EMI And Also an album by Steeler Rudi with Frans van Oirschot. From Tilburg Van Oirschot was ever in 1948 started his own ensembles Hawaiian Aloma The Hawaiians, The Malua Honolulu Hawaiians and The Strings (1950). The Tilburger Van Oirschot HAS ever started in 1948 with His Own Hawaiian ensembles Aloma The Hawaiian, The Malua Hawaiian Honolulu & The Strings (1950). Historically, the meeting called in 1978 between George and Rudi Wairata Fretes in the attic (organized as hawaiian music museum) by Gerard Dillen in Haarlem. Historically, the meeting called in 1978 Between George and Rudi Wairata the Fretes in the attic (if Equipped hawaiian music museum) Gerard Dillen in Haarlem. Dillen in 1959 founded the International Fanclub Hawaii Calls. Dillen in 1959, the International Fanclub Established Hawaii Calls. He gives the monthly Sound of Hawaii and Hawaiian-organized shows. Hey cool the monthly Sound of Hawaii and Hawaiian Organized shows.Onder named Roy Moana is a 1978 LP released on GIP / Dureco titled Good Old Hawaii. Under the particular Roy Moana is an LP released in 1978 on GDP / Dureco, Entitled Good Old Hawaii. Gout in the cast playing Victor (guitar), Mieke Gout (ukulele), Henk Hensing (bass), Andre Spider (drums) and Ronnie Watti (vocals) in the occupation on Gout Victor (guitar), Mieke Gout (ukulele), Henk Hensing (bass), Andre Spider (drums) and Ronnie Watti (vocals) Rudy & his New Wairata Polynesian is probably the last band that Rudi LP (It’s Aloha Time) it takes for the Delta label. Rudy & his New Wairata Polynesian is Probably the very formation of a Rudi LP (It’s Aloha Time) to record for the Delta label.
 
 
1981 1981 Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old. Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old.
2006 2006 (p) Piet Muys (June 2006) (p) Piet Muys (June 2006)
Special thanks to: Special thanks go to:
Riny Bade Bade Riny
Hans de Raaij Hans de Raaij
Peter Peter Riethof Riethof † †
Bert Bert Bossink Bossink
Sources: Sources:
Hawaii Book & Herring (Lutgard Mutsaers 1992) Herring Book & Hawaii (Lutgard Mutsaers 1992)
Rudy Wairata is still tickling the strings (15/10/1980 monsoon, Ralph Boekholt) Wairata Rudy is still tickling the strings (10/15/1980 monsoon, Ralph Boekholt)

 

 
the end @ copyright Dr iwan suwandy 2011

The Vintage Miss Riboet Orion and Ce Momo Latiff Music Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

Thanks to Matthew Isaac Cohen for noticing that I had mistaken Miss Riboet II for the real thing in my previous post.

 
 

 

 

 

MISS RIBOET (INDONESIA)

 

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

By the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pankgkur.

>Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

versi ke-3(version three)

kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942

 
kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942TEATER MODERN JATIM, PANGGUNG SANDIWARA HINGGA KE SANDIWARA DARDANELLA 
 

Sandiwara panggung tidak bisa lepas dari sejarh film di Hindia, selain wayang, Sandiwara panggung sangat di gemari disini. Bebarapa panggung tradisional hingga adaptasi dari eropha, India, China sampai ke hal Wayang. Tetapi kalangan Belanda lebih suka sandiwara panggung dari pada wayang. Memang sejarah wayang diciptakan untuk propaganda seorang raja seperti yang dikisahkan oleh cerita wayang, sehingga rakyat yakin raja mereka seperti tokoh wayang tersebut titisan dewa dan sangat memiliki kekuatan yang luar biasa.

Oranbg Belanda banyak yang main dalam sandiwara ini, termasuk juga kelompok sandiwara bangsa China yang lama di Hindia. Bebarapa sandiwara yang terkenal adalah Opera Srie Permata, komedi Stamboel, Miss Riboet Orion dan Dardanella.

Sandiwara panggung ini ceritanya beragam, mulai dari kisah HIndia dan orang Belanda totok, atau pun Indo, dan yang populer saat itu dari luar negeri. Sandiwara ini kerapkali diiringi oleh musik-musik, nyanyian dan tarian yang khas, terutama musik keroncong, sunda, melayu, hingga india dan Eropha. Yang nantinya mereka akan terjun dalam Film dan beberapa menjadi pembuat film/bisnis film.

Telah satu abad lebih masyarakat Jatim telah mengenal teater modern. Akan tetapi, masyarakat Jatim juga para kreator teater-nya gagal mempertahankan tradisi teater modern yang telah dibangun sejak tahun 1891 oleh August Maheiu dengan nama Komedi Stamboel dan kemudian dilanjutkan dengan Dardanella pada tahun 1926.
Dardanella semula bernama The Malay Opera yang diprakarsai oleh Willy Klimanoff, anak pemain sirkus terkemuka A. Klimanoff kelahiran Rusia. Willy Klimanoff hijrah ke Indonesia sepeninggalan ayahnya. Dengan penguasaan teknik akrobatik Willy Klimanoff mendapat pekerjaan di Komedi Stamboel, kemudian mengganti namanya dengan A. Pedro.
Dalam bentuk pertunjukan atau infra strukturnya, A. Pedro banyak melakukan perombakan secara revolusioner sebagaimana sistem pertunjukan yang telah terkonsep oleh Komedi Stamboel dalam tradisi lakon dan tonilnya. Pedro melakukan perombakan radikal tradisi komedi bangsawan pendahulunya. Jika dalam Komedi Stamboel diantara pergantian adegan diisi atau diselingi dengan tarian-tarian dan lelucon untuk kepentingan hiburan, maka A. Pedro menghilangkan nuansa-nuansa lelucon dan tarian. Dardanella lebih menfokuskan pada bentuk pertunjukan drama murni. Dardanella mementingkan esensi dramatik, kekuatan cerita dan permainan aktor-aktornya, meskipun selingan tarian tetap ada namun masih berada dalam satu keutuhan pementasan, dengan lain kata, tari-tarian menjadi bagian dari alur cerita dan adegan.
Pengaruh Dardanella terhadap perkembangan teater modern Indonesia sangat besar. Seiring dengan kemajuan dardanella banyak bermunculan teater-teater lain yang diprakarsai oleh bekas sri panggung dan anggota dardanella sendiri. Seperti Bolero, Orion yang didirikan Miss ribort, dan Tjahaya Timoer yang didirikan Andjar Asmara. Andjar Asmara sewaktu menjadi anggota Dardanella menjabat sebagai tangan kanan A. Pedro. Andjar Asmara juga melakukan perombakan dalam sistem managerial dan sistem modernisasi dalam teknik tata panggung. Bahkan dampak dari kemajuan Dardanella sampai ke Jakarta, dengan didirikannya “teater Maya” yang diketuai oleh Usmar Ismail pada tanggal 27 Mei 1944.

Munculnya teater-teater kecil tersebut sebagai antitesis dari keberhasilan Dardanella dan juga sebagai proses eksperimental terhadap tema dan bentuk pementasan yang konvensional.

TUNTUTAN SEJARAH

 
Komedi Stamboel dan Dardanella yang lahir di Jawa Timur yakni Surabaya dan Sidoarjo merupakan pelopor gerakan pementasan teater modern di Indonesia, bahkan secara tidak langsung memberikan dampak yang begitu besar terhadap teater di tanahair nantinya.Semangat modernitas yang dibangun oleh Dardanella terlihat dalam setiap pertunjukannnya telah memakai scrip atau naskah, pengadaan properti, kostum, make-up, juga melakukan pementasan yang utuh, artinya, teater Dardanella menghilangkan konvensi-konvensi lelucon dan tarian-tarian yang memberikan kesenangan lebih pada penonton. Dardanella melalui A. Pedro dan Andjar Asmara telah melakukan sistem manajerial pertunjukan secara profesional yang merupakan supra struktural dari suartu pertunjukan. Hal ini yang merupakan ciri dari teater modern dengan semangat realisme.Realisme yang dimaksud ialah melihat peristiwa sehari-hari yang dialami setiap saat (ilusi kenyataan), sebuah pementasan bukan bukanlah sekedar menyajikan cerita, tetapi ada pesonanya, yakni yang seakan-akan bersungguh-sungguh, suatu permainan yang menimbulkan rangsangan pikiran bahwa yang terjadi di panggung bisa pula terjadi pada penonton. Konsepsi estetika realisme yakni semangat impresionis. Tidak tidak menggubris lagi pesan-pesan sejarah, kitab suci, tetapi langsung memberikan kesan tentang persoalan-persoalan pokok-nya. Konsepsi realisme ingin menohok konsepsi romantisisme yang cenderung menjadikan kehidupan seperti mimpi. Dalam hal ini peentasan Dardanella tidak lagi menampilkan epos-ramayana yang merupakan model pementasan tradisional, akan tetapi Dardanella lebih banyak memainkan naskah-naskah yang sedang terjadi pada masyarakat sekitar. Misalnya dengan mementaskan naskah Nyai Dasima dan Kalibrantasi.Dardanella dengan demikian sadar akan posisi dan konteks sosial dalam masyarakatnya, Dardanella mengapresiasi material dan mengekspresikan kultur lokal dengan perspektif modern.Sedangkan pada dekade dewasa ini, kreator dan pekerja seni teater Jatim telah gagal mewarisi dan mempertahankan tradisi teater modern yang telah dibangun Komedi Stamboel dan Dardanella. Kegagalan pekerja teater Jatim lebih pada sikap kritis, mentalitas, spirit dan intelektualitas. Artinya, pekerja teater Jatim bersifat sebagai pekerja bukannya seseorang atau kelompok yang memiliki daya pikir kritis terhadap fenomena kultural, kepekaan terhadap konteks sosial dibelakang teks realitas.Dalam beberapa pertunjukan terakhir teater-teater Jatim di Surabaya, pekerja teater Jatim mengesampingkan problematik perspektif kritis massa. Pertunjukan teater Jatim hanya bersifat momentum, temporal dan gegabah mencermati fenomena sosialnya. Dalam hal ini, pekerja teater Jatim khusunya Surabaya tidak mempertimbangkan kebutuhan-kebutuhan mental masyarakatnya. Sebagaimana kita ketahui bahwa Surabaya merupakan kota ‘metropolis’ dimana kriminalitas, kekerasan, urban, ketimpangan sosial, tata kota, pendidikan, perdagangan dsb, adalah suatu problematik yang sering kali dijumpai. Dengan lain kata, pertunjukan-pertunjukan yang ditampilkan pekerja teater Jatim kurang kritis mengklarifikasi problematik. Eksperimentasi dan eksplorasi yang dilakukan para pekerja teater Jatim lebih pada bentuk belaka, tidak menyentuh esensi dan fenomena masyarakatnya atau dengan lain kata minimnya proses kontenplatif, bukannya bermewah-mewah dengan bentuk pertunjukan, baik secara infra stuktural maupun supra strukturalnya, namun minim ide dan gagasan serta gagal menyampaikan dan mengkomunikasikan kegelisahan kultural Jatimnya.

Fenomena yang tak kalah memalukan pekerja teater Jatim ialah, para kritikus teater Indonesia, seperti Jim Lim, Zaini KM, Umar Kayam, Putu Wijaya, Nano Riantiarno, Rendra, Afrizal Malna, Bagdi Sumanto, Hanindawan, Nursahid, Sapardi Djoko Damono, Gunawan moehammad dll dalam beberapa tulisan, pembabagan, referensi-referensi dan data tentang teater modern Indonesia, Surabaya dan Jatim pada umumnya tidak pernah dicatat keberadaannya. Entah karena secara kualitas teater Jatim tidas layak, atau memang di Jatim tidak ada kritikus teater yang berkualitas sehingga dapat mengangkat nama teater Jatim. Secara logika sederhana, seharusnya teater modern Indonesia maju dan terus berkembang di Jatim, dimana pewarisan tradisi teater modern pertama kali diletakkan, bukannya di Solo, Bandung, Yogyakarta dan Jakarta.
Mari kita pikirkan bersama-sama.

Sepenggal Kisah Miss Riboet Orion dan Dardanella

 

 

Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella. Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.
 

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

 

Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

 

Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.

 

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara. Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 58). Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

 

Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

 

Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

 

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

 

Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.

 

Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.

 

Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

the end @ copyright Dr Iwan suwandy 2011

The Malaysia Legend Singer Salamh Ismael(Salomah)

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

vintage Picture collections

Puan Sri Salmah binti Ismail or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian singer and film actress. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Saloma died on 25 April 1983 at Assunta Hospital, Petaling Jaya, Selangor, Malaysia. She was buried at Jalan Ampang Muslim Cemetery, Kuala Lumpur next to the grave of her husband

 

 I Love Saloma!

 

Saloma
 
Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer.
 She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee. Saloma atau nama sebenarnya ialah Salmah Ismail (22 Januari 1935 – 25 April 1983) dilahirkan di Pasir Panjang, Singapura. Beliau mula menyanyi pada usia tujuh tahun dan menjadi penyanyi profesional pada usia belasan tahun. Pada awalnya, beliau mengasah bakat bersama Orkes Fajar Murni pimpinan Yusof Osman
 

Biography

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60’s.

the end @ copyright Dr Iwan suwandy 2011

The Singapore legend singer Ce Momo (Latiff) Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

The Malaysia Legend Singer Record Salmah Ismael

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60’s.

the end @ copyright Dr Iwan suwandy 2011

The History Of Betawi Music record Development Book Two 1951-1980(Sejarah perkembangan Musik Betawai 1951-1980)

 

Orkes keroncong komunitas Indies di Batavia  (Ilustrasi: A.Th. Manusama (1919:12a))

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

     WELCOME TO THE MAIN HALL OF FREEDOM               

  SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom : 

 http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg

Dr Iwan  Book Cybermuseum

The historical development of   Jakarta Music Record 

 In 20th Century.

Sejarah Perkembangan Rekaman Musik Betawi (1900-1975)

                   Based on

Dr Iwan Rare Old Books and Music Record Collections             

             By

               

     Dr Iwan Suwandy

    Limited Private Publication

   special for premium member

_______________________________________________________________________________

 hhtp://www.Driwancybermuseum.wordpress.com copyright @ Dr iwan Suwandy 2011

___________________________________________ 

TABLE OF CONTENT

1.Preface(Kata Pengantar)

 2.Book One_Buku Pertama:

Betawi Music record Early 20th Century.(Rekaman Musik Betawi Pada Awal Abad Ke-20)

(1) During Dutch East Indie _Masa Hindia Belanda 1900-1942 

(2)During Japanese Occupation _Masa pendudukan Jepang 1942-1945

(3) During Indonesian Independent War _Masa Perang Kemerdekaan Indonesia 1945-1950

3.Book Two-Buku Kedua:

(1) Era Bung Karno 1951-1965

(2) Era Pak Harto 1966-1980

 _____________________________________

BOOK TWO :

The History Of Betawi Music record deevlopment 1951-1980 

1.TANGKIWOOD

DSC_0061_25_preset1.jpg

Once down the narrow alleys and crowded, we finally see a big way again. It seems a brother salted fish sellers were hawking wares. It becomes us to explore the region Tangkiwood end. Next time I want to visit the house djadoel artists who once lived here, and explore again the remains of the triumph of “Hollywood” her this Betawi

Child Puppet at Village Tank

Still remember August Mahieu with Komedie Stamboel? Mahieu like a trend setter in Java. He makes others emulate the style of the stage spectacle Komedie Stamboel or dkenal as Komedie Nobility. In fact, all of the show mimics Mahieu Abdul Muluk. Many people say, Abdul Muluk also mimic a similar performance from Iran. Throughout the history of human movement, of course subject imitate imitation, adaptation, collaboration, mixing, merging, or influenced by the arts and culture is inevitable.

Mahieu anesthetize the public in the Netherlands East Indies and stimulate other artists founded the alias comedy show. Call it Komedie Samboel Opera, Opera Sri Permata, Royal Opera, and Lord Indra. Unlike the group that contains the player Indo Mahieu Java, the new group using entirely indigenous players. However, the taste was abandoned Mahieu, namely the appearance of dancing tango, cabaret, pantomime, waltz, polka, with a costume a la noble, prince, queen, princess, just the smell of the west. That’s why Komedie Stamboel and their associated Komedie called Duke.

So the spectacle was entertaining a lot of heart grassroots “in those days, the 19th century. Town square is often so big stage for the comedy troupe. Audience? Diverse. But mostly yes “grassroots earlier. Even the plantation coolies want to be entertained entourage, according to Misbach Yusa Biran in the History of Film 1900-1950: Film Making in Java.

Mixed-repertoire repertoire of Baghdad, Europe, India, they play without using a script. Only the outline only understood the players. They do not know the script stage, all other conversations hanylah no improvisation. What article? The players were mostly illiterate.

It’s also probably why the show is not changing the comedy troupe repertoire or create their own style story. Until finally came Tio Tek Djien with Miss Riboet Orion and Piedro the Dardanelles. Two large entourage was spawned stories of their own devising with expertise Andjar Asmara and Nyoo Cheong Seng.

The development of this comedy troupe determine this nation’s artistic journey, especially in terms of cinema. From this comedy troupe and then appeared the term puppet children follow a term that developed in the land of Malacca, where Mahieu imitate the appearance of Abdul Muluk. The term is commonly used by the crew of the party. They called a puppet show stage.

Human life stage, kids puppet, is a life that consists of players in one group. They live, eat, drink. sleeping, playing, joking, playing in one house or village to then play together on stage, as always. Misbach wrote, if you’re in the recital tour, they lived in a house joint venture – empty buildings hired by the owner of the group. This causes them to not get along with other human beings other than humans in the group that the average illiteracy. Players are paid a daily comedy, they often have to work extra if the show in a deserted town audience.

In Batavia, children gathered in the region puppet named Tank, at Mangga Dua area. In the 1920s, stood Malayan Opera. Child puppets Malayan Opera is what most of living in the tank. In 1950, in which the village is then loaded with the artist, emerged as Tangkiwood – like Hollywood

Anak Wayang di Kampung Tangki

Sepenggal potret Tangkiwood, Kota
 
 
 
 
 
 
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Setelah menyusuri gang-gang sempit dan padat, akhirnya kami ketemu jalan besar lagi. Nampak seorang abang penjual ikan asin sedang menjajakan jualannya. Ini menjadi akhir kami menjelajahi kawasan Tangkiwood. Next time saya ingin berkunjung ke rumah artis-artis djadoel yang pernah tinggal disini, dan eksplore lagi sisa-sisa kejayaan “Hollywood”nya Betawi ini

Masih ingat August Mahieu dengan Komedie Stamboel? Mahieu bagai trend setter di Jawa. Ia membuat orang lain meniru tontonan panggung ala Komedie Stamboel atau dkenal sebagai Komedie Bangsawan. Padahal, Mahieu meniru pula dari pertunjukan Abdul Muluk. Banyak orang bilang, Abdul Muluk pun meniru pertunjukan serupa asal Iran. Sepanjang sejarah pergerakan manusia, tentu saja perihal tiru meniru, adaptasi, kolaborasi, percampuran, penggabungan, atau pengaruh  unsur seni dan budaya tak terelakkan.

Mahieu membius masyarakat di Hindia Belanda dan merangsang seniman lain mendirikan komedi alias pertunjukan. Sebut saja Komedie Opera Samboel, Opera Sri Permata, Opera Bangsawan, dan Indra Bangsawan. Tak seperti rombongan Mahieu yang berisi pemain Indo Jawa, rombongan baru tersebut menggunakan pemain yang seluruhnya pribumi. Meski demikian, cita rasa Mahieu tak ditinggalkan, yaitu penampilan dansa tango, kabaret, tablo, waltz, polka, dengan kostum ala bangsawan, pangeran, ratu, putri, pokoknya yang berbau barat. Itu sebabnya Komedie Stamboel dan ikutannya disebut Komedie Bangsawan.

Demikianlah tontonan tersebut menghibur banyak hati wong cilik di masa itu, abad 19. Alun-alun kota seringkali jadi panggung besar bagi rombongan komedi tersebut. Penontonnya? Beragam. Tapi kebanyakan ya wong cilik tadi. Bahkan kuli perkebunan ingin dihibur rombongan tersebut, demikian Misbach Yusa Biran dalam Sejarah Film 1900-1950:Bikin Film di Jawa.

Repertoar-repertoar campuran dari Baghdad, Eropa, India, mereka mainkan tanpa menggunakan naskah. Hanya garis besarnya saja yang dipahami para pemain. Mereka tak kenal naskah panggung, semua percakapan tak lain hanylah improvisasi. Apa pasal? Para pemain itu umumnya buta huruf.

Itu juga barangkali, kenapa pertunjukan rombongan komedi tersebut tak mengubah repertoar atau membuat sendiri kisah ala mereka. Hingga akhirnya muncullah Tio Tek Djien dengan Miss Riboet Orion dan Piedro dengan Dardanella. Dua rombongan besar ini menelurkan berbagai kisah karangan mereka sendiri dengan kepiawaian Andjar Asmara dan Nyoo Cheong Seng.

Perkembangan rombongan komedi ini menentukan perjalanan kesenian bangsa ini terutama dalam hal perfilman. Dari rombongan komedi ini kemudian muncul istilah anak wayang mengikuti istilah yang berkembang di tanah Malaka, di mana Mahieu mencontoh penampilan Abdul Muluk. Istilah tersebut biasa digunakan oleh awak rombongan itu. Pertunjukan mereka disebut wayang panggung.

Kehidupan manusia panggung, anak-anak wayang, adalah kehidupan yang terdiri dari pemain dalam satu rombongan. Mereka hidup, makan, minum. tidur, bermain, bercanda, bermain di satu rumah atau kampung untuk kemudian bermain bersama di atas panggung, begitu selalu. Misbach menuliskan, jika sedang ikut pertunjukan keliling, mereka tinggal di satu rumah kongsi – bangunan kosong yang disewa pemilik rombongan. Ini menyebabkan mereka tak bergaul dengan manusia lain selain manusia dalam rombongan itu yang rata-rata buta huruf. Pemain komedi dibayar harian, mereka seringkali harus bekerja tambahan jika pertunjukan di satu kota sepi penonton.

Di Batavia, anak wayang dikumpulkan di kawasan bernama Tangki, di daerah Mangga Dua. Di tahun 1920-an, berdiri Malayan Opera. Anak wayang Malayan Opera inilah yang kebanyakan tinggal di Tangki. Pada 1950, di mana kampung ini kemudian dijejali seniman, muncul sebutan Tangkiwood – seperti Hollywood

1a. Miss Tjitjih 

The group leader named Miss Tjitjih S.A. Bafaqih, one born in Pasuruan, East Java. He was already quite advanced ditahun 1962, 75 years old, born in 1888. Theoretical Dad has been retired, according to its own terms, but in practical secraa still lead straight. Actually he was bored with the play, both as a player or a leader or a play, but somehow, when you hear there is a play, just want to watch, apaun would happen, maybe it’s inborn. He told me that he knew very well that people who play it are snadiwara liar, is tantamount to a drug seller, is not entirely correct. The difference, play and the players got dressed lakon.punya story interesting. Perhaps in this world does need people like him. The people who are just moving the field of arts and culture. People said of him, people who are not so normal, he watched people, but we also sometimes be a spectacle because people rarely live IAMI no worse than a trash. but let us feel satisfied, and the audience that we need seba if they are not satisfied, recording will not come again.

  Bafaqih father was a traveling salesman from a disorder of the city, indeed the family is a family of merchants. Then went along with the heartfelt drama. Then mewrasa interested in the play field, seterusna easement and release their commercial work into play. in the history of the father hidunya Bafaqih met alone showman, a virgin from Sumedang who have talent with a fairly good-looking face, which later became his wife. The name comes from the name of Miss Tjitjih isterinyalah, before the play group was given the name: Opera De Nacht “. then” Valencia Opera “, and so Miss Tjitjih until 1962

Let stumbling We Were There …
Community Arts Miss Tjitjih
 

 
 
 
When you cross the street in East Cempakabaru, Central Jakarta, was standing strong a building that is named Miss Tjitjih Art Building. In the era of the 1970s, the building is always crowded with society are “thirsty” entertainment. They want to see pergelaraan Sundanese traditional arts groups.

Miss Tjitjih Arts Building with a capacity of 400 people were at the time keemasaannya never empty. “In that year (1970), we have a gig if you can up to three hours. Moreover, even a Saturday night gig could be up to four hours,” said Maman Sutarman, the player who doubles as director and screenwriter staging of Miss Tjitjih, when found in the Warta Kota his home in the back of the building arts, Friday (15 / 1).

In conversation, Maman Sutarman from West Java who was familiarly called Mang Esek, accompanied by Mohammad, co seprofesinya. They both claim to remember very well once their better period, especially when staged a play titled Bridge Shirotul Mustaqim.

“If now remember, sometimes sad also with our fate now. If we had played, the audience is full. Due to limited building capacity, the audience at that time in the queue. So every show the audience is always full,” recalled Mohammad diamini Asek Mang.

Mang Esek said, the group named their artistry Miss Tjitjih taken from a showman who was born in Sumedang, West Java, on tahun1928. In the past, this art is so popular because of the entertainment world and segemerlap not as much as now.

According to Mang Esek, the popularity of their community began to seem to fade in 1987. Along with the times especially the entertainment world that increasingly rampant, eventually displaced them as the times. Then Mang Esek along with members of the arts can survive only with the Foundation bernanung Miss Tjitjih who managed the city administration.

Today, Mang Esek with Miss Tjitjih arts group members lived in a two-story building behind the arts building as a “gift” to the struggle of the artist plays Miss Tjitjih first. “Yes, thank God we were still given a place to shelter,” said Mang Esek about two-storey building consisting of 17 rooms that.

When asked if they still do performances in the building that now run DKI Jakarta Provincial Government through the Department of Tourism and Culture, he says, “It depends.”

The point? “It depends on subsidies. If you go down so we play. Now these subsidies more widely used to treat the building. Even if we are playing well now quiet crowd,” he said. They appear usually on Saturday night. Every spectator entrance fee charged Rp 10,000.

Although the audience appeared minus Mang Esek and Mohammad and his colleagues always look excited. “We do not care if quiet is important we entertain people with Sundanese traditional theater. Intention we now want to prove even if we struggled we struggled there,” said Mang Esek

Miss Tjitjih, Devotion A Girl Sumedang

————————————————– ——————————

Nyi Tjitjih originally was just a regular performer in Sumedang Sunda. His role on stage is also somewhat indifferent to the role as a singer or a princess in another time. However, the story of life’s journey Nyi Tjitjih slowly changed after meeting with Aboe Fuel Bafaqih. At that time, Bafaqih, an Arab-born Bangil (East Java), with entourage stambulnya are conducting tour in West Java.

In the area of ​​Sumedang, Bafaqih met with Nyi Tjitjih who was playing with Tonil Sunda. Bafaqih immediately attracted him into bentukannya repertory, Opera Valencia. Bafaqih invitation was welcomed Nyi Tjitjih. From then Nyi Tjitjih become part of the Opera Valencia. When joining the Opera Valencia, Nyi Tjitjih 18 years old. In this bevy of new looks Nyi Tjitjih hidden talent. Besides her beautiful face, this girl also has a lovely voice, acting ability, and agility in dancing. From day to day ability to grow Tjitjih Nyi so she became a prima donna in these associations.

In 1928, the association Opera Valencia arrived at Batavia. In the same year, Bafaqih edit Nyi Tjitjih become his second wife. When it had just Tjitjih age 20 years. Furthermore, Nyi Tjitjih changed its name to Miss Tjitjih and the name was used as the name of this association Bafaqih leadership.

The full name is Miss Tjitjih association Toneel Gezelschap. So, practically defined as the birth of the 1928 Miss Tjitjih repertory.

The prima donna

It has become a common thing, at that time the name of the association serve as the prima donna perkumpulannya name. This is part of the “arms” to grab the attention of major public and commercial purposes / commercial. This is called the “star system”. Star system began to be a trend in the world of theater since the early 1920s.

Previously, the leadership repertoire Orion Tio Tek Djien Jr. established in Batavia in 1925 changed its name to the repertory of Miss Riboet Orion, following the name of a prima donna who is also wife of Tio, Riboet. At that time, rival Miss Tjitjih to grab public attention among them Miss Dja, a society belle of Dardanelles, and Miss Riboet of Miss Riboet Orion association.

Change the name was also accompanied by changes in the language of the show. Society Miss Tjitjih who previously used to switch to Malay language. This decision was taken on the idea of ​​Miss Tjitjih own who want to preserve the native culture and based on the reality that the public is a public supporter of Miss Tjitjih Jabar.

However, this decision is not without risk. Sundanese language usage in dialogue on the stage make the space for this group increasingly narrow. They are fixated on areas of West Java and Batavia only.

Miss Tjitjih Society who lived in Batavia since 1928 remained held regional tour to Jabar. In this tour, transportation equipment they use is a cow-drawn cart. If the journey is too far, they use the train.

The play-act that is often brought on stage was the play-the play that close to nature the majority of people thought the Dutch East Indies. Folktales like Sangkoeriang, Tjioeng Vanara, and played an active Kasaroeng Loetoeng on stage. Normally they play with improvisation.

In 1931, Miss Tjitjih theatrical troupe was invited to hold a show at the Bogor Palace. This association seems more famous so that the palace had asked for their performances. Among the audience of course there is the governor-general. In addition, they also have a fixed schedule for performing at Gambir Market Batavia until market closes in 1936.

Name Miss Tjitjih increasingly flying in stage liver lovers. In fact, various district hall who was a social event of the marvelous, as in Cianjur, Garut, Lebak, and Kasepuhan Keraton Cirebon, become the places visited Miss Tjitjih to show skill. If Miss Tjitjih’re onstage, the audience seemed mesmerized by the skill.

Age 28 years

Year 1936 seems to be the last year Tjitjih can waddle on stage. In that year, Tjitjih last breath. Before the last breath, Nyi Tjitjih still had time to play with his entourage in Cikampek (West Java) to perform a play written by Crow Solo Tek Tio Jr. Djien.

In these plays a role as Tandak Nyi Tjitjih who decided his love by the crown prince. Tjitjih who always played with all my heart on the stage when the screen suddenly fell down. Viewers who watched the show thought that what they watch is part of acting Tjitjih. Performing at this Cikampek stopped in the middle of the road. Nyi Tjitjih indeed been suffering from illness for a long time.

Although the conditions are not favorable, he was still forced to play. Nyi Tjitjih died after being taken to his homeland, Sumedang. Tjitjih died at the age of 28 years. After the death of Nyi Tjitjih, Bafaqih remain consistent to continue breathing Miss Tjitjih repertory. The prima donna has died after part of his life spent devoted to the theatrical Sunda.

Devotion Sumedang girl was not in vain. Up to now the name of Miss Tjitjih still standing in the middle of the public who support it. It is appropriate Sunda theatrical life is getting more attention from the government, and we can not simply forget the bevy of 80 years standing who has this. Hopefully

Culture Award to Sundanese Artists

sundanese award

Indonesian Culture – indonesiaculture.net. Center of Sunda Association bestowed the Culture Award to several Sunda artists considered consistent in preserving the Sundanese art and culture. Among the recipients were Ms. Tien Rostini Asikin (Ma Ageung) and Kang Ebet Kadarusman.

Badan Musyawarah (bammus) Sunda Pusat memberikan Anugerah Budaya kepada beberapa seniman sunda yang dianggap konsistan dan serius dalam memelihara kebudayaan dan kesenian sunda, penghargaan tersebut diantaranya dianugerahkan kepada Ibu Tien Rostini Asikin (Ma Ageung) dan kang Ebet Kadarusman

Accompanied with minimal lighting, drum beats and traditional harps were sounded out in welcome towards the audience. Sited at the ‘Gedung Kesenian Miss Tjitjih’, the occasion was attended with song performances from Sundanese singers.

Dengan tata lampu yang sederhana, Musik mulai dimainkan, hanya suara tabuhan gendang dan kecapi penonton seolah disapa dengan bahasa “wilujeng sumping” oleh suara musik tersebut. Bertempat di Gedung Kesenian Miss Tjitjih, juga dimeriahkan gelar acara budaya tembang sunda oleh para juara pasanggiri tembang sunda.

Every song sung by the singers were adorned with dancers accompanying the Sundanese melodies, and poetry carried out by Adang Darajatun and Hasanudin

Ditiap lagu-lagu yang dinyanyikan oleh penyanyi, para menari mengiringi alunan tembang sunda, juga bait-bait puisi yang dibawakan oleh Adang Darajatun dan Hasanudin melengkapi  acara pagelaran budaya seniman sunda.

sundanese award kolg

‘Gedung Kesenian Miss Tjitjih’ endeavors to maintain and develop Sundanese arts through the performances done and the struggle of Sundanese artists trying to maintain the preservation of Sundanese arts.

Kedepan Gedung Kesenian Miss Tjitjih berharap dengan dilaksanakannya acara budaya ini semoga kegiatan-kegiatan budaya khususnya budaya sunda dapat berkembang dan ramai penonton.“para seniman tetap berusaha mati-matian mempertahankan budaya sunda”.

 

(who have i ino after 1962, please be willing to tell me, thank you-Dr Iwan)

Ketua rombongan Miss Tjitjih bernama S.A. Bafaqih, seorang kelahiran Pasuruan, Jawa timur. Usianya sudah agak lanjut ditahun 1962 ,75 tahun,kelahiran 1888. Teoritis Bapak ini sudah pensiun, menurut istilah sendiri, tapi secara praktisnya masih tetap memimpin secara langsung. Sebenarnya ia sudah bosan dengan sandiwara, baik sebagai pemain ataupun pemimpin atau menonton sandiwara, tetapi entah bagaimana, kalau mendengar ada sandiwara, ingin saja ikut menonton, apaun yang bakal terjadi, mungkin sudah dibawa sejak lahir. Ia bercerita bahwa , ia tahu betul bahwa orang yang main snadiwara itu adalah tukang bohong,sama saja dengan seorang penjual obat,tidak seluruhnya benar. Bedanya, sandiwara punya lakon.punya cerita dan pemain berpakaian menarik. Mungkin didunia ini memang perlu orang-orang seperti dia. Orang-orang yang hanya bergerak dilapangan seni dan budaya. Orang berkata tentang dia, orang yang tidak begitu normal,ia ditonton orang, tetapi kami juga kadang-kadang jadi tontonan orang  sebab tak jarang hidup iami lebih jelek daripada seorang gembel. tetapi biarlah kami merasa  puas, dan penonton yang memerlukan kami  seba  jika mereka tidak puas, merekan tidak akan datang lagi.

 bapak Bafaqih adalah seorang pedagang keliling dari satu kelain kota, memang keluarganya adalah keluarga pedagang. Kemudian ikut-ikutan dalam oragnisasi sandiwara. Kemudia mewrasa tertarik dilapangan sandiwara, seterusna keenakan dan melepaskan pekerjaan dagangnya masuk sandiwara. dalam sejarah hidunya bapak Bafaqih bertemu dengan sorang pemain sandiwara, seorang dara dari sumedang yang memiliki bakat dengan paras yang cukup rupawan ,yang kemudian menjadi isterinya. Dari Nama isterinyalah bersumber nama Miss Tjitjih, sebelumnya rombongan sandiwaranya diberi nama :De Nacht Opera”.kemudian “Valencia Opera”, lalu jadi Miss Tjitjih sampai tahun 1962

Biar Terseok Kami Masih Ada…
Komunitas Kesenian Miss Tjitjih
 

 
 
 
 
 

Bila Anda melintasi jalan di Cempakabaru Timur, Jakarta Pusat, tampak berdiri kokoh sebuah bangunan yang diberi nama Gedung Kesenian Miss Tjitjih. Di era 1970-an, gedung tersebut selalu dipadati masyakarat yang “haus” hiburan. Mereka ingin menyaksikan pergelaraan kelompok kesenian tradisonal Sunda itu.

Gedung Kesenian Miss Tjitjih yang berkapasitas 400 orang itu pada masa keemasaannya tak pernah sepi. “Di tahun itu (1970-an), kami kalau manggung bisa sampai tiga jam. Apalagi malam Minggu malah bisa sampai manggung empat jam,” kata Maman Sutarman, pemain yang merangkap sebagai sutradara dan penulis skenario pementasan Miss Tjitjih, saat ditemui Warta Kota di rumahnya di belakang gedung kesenian tersebut, Jumat (15/1).

Dalam obrolan itu, Maman Sutarman asal Jawa Barat yang akrab disapa Mang Esek, ditemani Mohammad, rekan seprofesinya. Mereka berdua mengaku sangat ingat sekali masa jaya mereka, terlebih saat mementaskan sandiwara berjudul Jembatan Shirotul Mustaqim.

“Kalau sekarang ingat lagi, kadang sedih juga dengan nasib kita sekarang. Kalau dulu kita main, penonton penuh. Karena kapasitas gedung terbatas, penonton waktu itu pada antre. Jadi setiap tampil penonton selalu penuh,” kenang Mang Asek diamini Mohammad.

Mang Esek menuturkan, kelompok kesenian mereka yang diberi nama Miss Tjitjih diambil dari seorang pemain sandiwara yang lahir di Sumedang, Jawa Barat, pada tahun1928. Pada masa lalu, kesenian ini begitu diminati karena dunia hiburan belum sebanyak dan segemerlap seperti sekarang.

Menurut Mang Esek, popularitas ko-munitas mereka mulai terasa meredup tahun 1987. Seiring perkembangan zaman terlebih dunia hiburan yang semakin marak, akhirnya mereka seperti tergusur zaman . Kemudian Mang Esek bersama anggota kesenian itu hanya bisa bertahan hidup dengan bernanung di Yayasan Miss Tjitjih yang dikelola Pemerintah Provinsi DKI Jakarta.

Saat ini, Mang Esek bersama anggota kelompok kesenian Miss Tjitjih tinggal di sebuah bangunan berlantai dua di belakang gedung kesenian itu sebagai “hadiah” atas perjuangan para seniman sandiwara Miss Tjitjih dulu. “Ya alhamdulillah kami masih diberi tempat untuk berteduh,” kata Mang Esek tentang bangunan dua lantai yang terdiri atas 17 kamar itu.

Ketika ditanya apakah sekarang mereka masih melakukan pementasan di gedung yang kini dikelola Pemprov DKI Jakarta melalui Dinas Pariwisata dan Kebudayaan itu, dia mengatakan, “Tergantung.”

Maksudnya? “Tergantung subsidi. Kalau turun ya kita main. Sekarang ini subsidi lebih banyak digunakan untuk merawat gedung. Kalaupun kita main juga sekarang penonton sepi,” katanya. Mereka tampil biasanya pada Sabtu malam. Setiap penonton dikenai tiket masuk Rp 10.000.

Meski tampil minus penonton Mang Esek dan Mohammad bersama rekan-rekannya selalu tampil bersemangat. “Kita nggak peduli sepi yang penting kita menghibur orang dengan sandiwara tradisional Sunda. Niat kita sekarang ingin membuktikan biarpun kita terseok-terseok kami masih ada,” kata Mang Esek

Miss Tjitjih, Pengabdian Seorang Gadis Sumedang


Nyi Tjitjih awalnya hanyalah seorang pemain sandiwara Sunda biasa di Sumedang. Perannya di atas panggung juga terbilang biasa saja dengan peran sebagai penyanyi atau seorang putri raja di waktu lain. Namun, kisah perjalanan hidup Nyi Tjitjih perlahan berubah setelah bertemu dengan Aboe Bakar Bafaqih. Ketika itu, Bafaqih, seorang Arab kelahiran Bangil (Jawa Timur), bersama rombongan stambulnya sedang melakukan pertunjukan keliling di Jawa Barat.

Di daerah Sumedang, Bafaqih bertemu dengan Nyi Tjitjih yang sedang bermain dengan Tonil Sunda. Bafaqih langsung tertarik mengajaknya masuk ke dalam perkumpulan sandiwara bentukannya, Opera Valencia. Ajakan Bafaqih tersebut disambut baik Nyi Tjitjih. Mulai saat itu Nyi Tjitjih menjadi bagian dari Opera Valencia. Ketika bergabung dengan Opera Valencia, Nyi Tjitjih baru berusia 18 tahun. Dalam perkumpulan ini baru terlihat bakat Nyi Tjitjih yang terpendam. Selain wajahnya yang cantik, gadis ini juga mempunyai suara merdu, kemampuan akting, dan kelincahan dalam menari. Dari hari ke hari kemampuan Nyi Tjitjih berkembang sehingga ia menjadi primadona dalam perkumpulan tersebut.

Pada 1928, perkumpulan Opera Valencia sampai di Batavia. Pada tahun yang sama, Bafaqih menyunting Nyi Tjitjih menjadi istri keduanya. Ketika itu usia Tjitjih baru menginjak 20 tahun. Selanjutnya, Nyi Tjitjih diubah namanya menjadi Miss Tjitjih dan nama tersebut dipakai sebagai nama perkumpulan pimpinan Bafaqih ini.

Nama lengkap perkumpulan itu adalah Miss Tjitjih Toneel Gezelschap. Maka, praktis tahun 1928 ditetapkan sebagai kelahiran perkumpulan sandiwara Miss Tjitjih.

Sang primadona

Sudah menjadi suatu hal yang lazim, pada masa itu nama sang primadona perkumpulan dijadikan sebagai nama perkumpulannya. Ini merupakan bagian dari “senjata” utama untuk meraih perhatian publik dan maksud dagang/komersial. Hal ini disebut dengan “sistem bintang”. Sistem bintang mulai dijadikan tren pada dunia teater sejak awal tahun 1920-an.

Sebelumnya, perkumpulan sandiwara Orion pimpinan Tio Tek Djien Jr yang dibentuk di Batavia tahun 1925 mengganti namanya menjadi perkumpulan sandiwara Miss Riboet Orion, mengikuti nama seorang primadona yang juga istri Tio, Riboet. Ketika itu, saingan Miss Tjitjih untuk meraih perhatian publik di antaranya Miss Dja, seorang primadona dari perkumpulan Dardanella, dan Miss Riboet dari perkumpulan Miss Riboet Orion.

Perubahan nama itu ternyata juga diikuti dengan perubahan bahasa pengantar pertunjukan. Perkumpulan Miss Tjitjih yang sebelumnya menggunakan bahasa Melayu beralih ke bahasa Sunda. Keputusan ini diambil atas ide dari Miss Tjitjih sendiri yang ingin melestarikan budaya tanah kelahirannya dan berdasarkan realita bahwa publik pendukung Miss Tjitjih adalah masyarakat Jabar.

Namun, keputusan ini bukan tanpa risiko. Pemakaian bahasa Sunda dalam dialog di atas panggung membuat ruang gerak perkumpulan ini semakin sempit. Mereka terpaku pada daerah-daerah Jabar dan Batavia saja.

Perkumpulan Miss Tjitjih yang sejak 1928 menetap di Batavia tetap mengadakan pertunjukan keliling ke daerah Jabar. Dalam perjalanan keliling ini, alat transportasi yang mereka gunakan adalah gerobak yang ditarik sapi. Jika perjalanannya terlampau jauh, mereka menggunakan kereta api.

Lakon-lakon yang sering dibawa di atas panggung adalah lakon-lakon yang dekat dengan alam pikiran mayoritas masyarakat Hindia Belanda. Cerita-cerita rakyat seperti Sangkoeriang, Tjioeng Wanara, dan Loetoeng Kasaroeng aktif dimainkan di atas pentas. Biasanya mereka bermain dengan improvisasi.

Pada 1931, rombongan sandiwara Miss Tjitjih diundang untuk mengadakan pertunjukan di Istana Bogor. Tampaknya perkumpulan ini kian masyhur sehingga pihak istana pun meminta mereka pentas. Di antara penontonnya tentu saja ada gubernur jenderal. Selain itu, mereka juga mempunyai jadwal tetap untuk mengadakan pertunjukan di Pasar Gambir Batavia hingga pasar ini tutup pada 1936.

Nama Miss Tjitjih kian berkibar di hati pencinta panggung. Bahkan, berbagai pendopo kabupaten yang saat itu menjadi ajang pergaulan para menak, seperti di Kabupaten Cianjur, Garut, Lebak, serta Keraton Kasepuhan Cirebon, menjadi tempat-tempat yang dikunjungi Miss Tjitjih untuk memperlihatkan kebolehannya. Jika Miss Tjitjih sedang berada di atas panggung, penonton seolah-olah tersihir oleh kebolehannya.

Usia 28 tahun

Tahun 1936 tampaknya menjadi tahun terakhir Tjitjih bisa berlenggak-lenggok di atas panggung. Pada tahun itu, Tjitjih mengembuskan napas terakhirnya. Sebelum mengembuskan napas terakhir, Nyi Tjitjih masih sempat bermain dengan rombongannya di Cikampek (Jabar) dengan mementaskan lakon Gagak Solo karangan Tio Tek Djien Jr.

Dalam lakon tersebut Nyi Tjitjih berperan sebagai Tandak yang diputuskan cintanya oleh putra mahkota. Tjitjih yang selalu berperan sepenuh hati di atas panggung mendadak terjatuh pada saat layar turun. Penonton yang menyaksikan pertunjukan itu mengira bahwa apa yang mereka tonton adalah bagian dari akting Tjitjih. Pertunjukan di Cikampek ini terhenti di tengah jalan. Nyi Tjitjih memang telah mengidap penyakit sejak lama.

Walaupun kondisinya sedang tidak menguntungkan, dia tetap memaksakan untuk bermain. Nyi Tjitjih meninggal dunia setelah dibawa ke tanah kelahirannya, Sumedang. Tjitjih meninggal pada usia 28 tahun. Sepeninggal Nyi Tjitjih, Bafaqih tetap konsisten melanjutkan napas perkumpulan sandiwara Miss Tjitjih. Sang primadona meninggal dunia setelah sebagian hidupnya dihabiskan untuk mengabdikan diri pada sandiwara Sunda.

Pengabdian gadis Sumedang itu tidak sia-sia. Hingga kini nama Miss Tjitjih tetap berdiri di tengah-tengah publik yang mendukungnya. Sudah selayaknya kehidupan sandiwara Sunda ini mendapat perhatian lebih dari pemerintah, dan kita tidak begitu saja melupakan perkumpulan yang sudah 80 tahun berdiri ini. Semoga

(siapa yang memiliki info setelah tahun 1962,harap berkenan menginformasikannya kepada saya,terima kasih-Dr Iwan)

2.orchestra sound dibp R Sutedjo Space
song: Call terumi godly creation


2) Four Gang Djakarta Orchestra leader John S.
Side one: The song to convey my compliments (nn)

1) High in the clouds song (pious)

2) Say hello (nn)

Four Gang
One of the musical group that was formed under the auspices of Ismail Marzuki Jakarta RRI. Core personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which changed its name to Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail himself acting as a leader and that orchestra music arranger. This group was formed shortly after the proclamation of independence, which is intended to lower the political temperature of the hot and could explode at any time into open battle. Curtain time is given by the RRI Jakarta to the orchestra Four Sekawan about 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon. In 1946, days and hours of play Four Gang erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day, lunch at 13:15, 17:15 o’clock in the afternoon, and evening at 20.00. Four Gang music event in Jakarta RRI Programa Hiboeran entitled Heroes, Hiboeran Oentoek Armed Forces sea and is difficult to determine RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to regularly fill the musical events in the radio studio, Four Gang also took down directly to the various fronts. They cheer the fighters and the local community who love the song of struggle, especially the songs that were created by the quartet orchestra personnel, including Ismail Marzuki.
   

Ismail Marzuki song creation work of the most popular is the seduction of Palm Island are used as final cover songs broadcast by TVRI station on the reign of the New Order.

Ismail Marzuki blessed honor in 1968 with the opening of Taman Ismail Marzuki, a park and cultural center in Salemba, Central Jakarta. In 2004 he was crowned a national hero of Indonesia.

He had founded the orchestra Four Gang

2. Kroncong Assorted Colors Markasan DBP (Srimpi record Inc.)
Side 1 with the song:

1) pack sakerah (Sueb) 2) Kuto Suroboyo (Sukemi)

3) numpak railroad (j, Sudarminto et al),

4) Nyang T.H.R (noerjatian)

Side 2:

1) Motor Uduk (Ahmad & J.sudarminto)

2) The pansy (Juwariyah T.M.)

3) Dream dicokot Ulo (Soekemi / Achmad),

4) Nanggelo (Sueb)

A.ERA BUNG KARNO 1951-1965

1a.Grup Musik Sunda Miss Tjitjih di Betawi(Jakarta)

Hampir setiap orang di Indonesia ini tahu dimana terletak tontonan Miss Tjitjih. tontonan berupa tonil Sunda atau Sandiwara yang memakai bahasa penagntar bahasa Sunda. Setiap abang becak akan tahu ,bahkan kondektur Bis yang mempunyai trayek keluar kota atau datang dari jurusan luar kota di terminal Bus di Palputih akan bertanya kepada setiap penumpangnya:” Miss Tjitjih ! Ada yang turun! (hal sama diterminal kemapung melayu jatinegara, “Mester Mester turun”. Kenapa Miss Tjitjih samapi begitu terkenal? kenapa ia telah dapat merebut hati sebagian besar penduduk Jakarta? Dan mungkin pembaca tidak akan pertjaya bahwa tidak sedikit penonton asingyang pada waktu tertentu menonton sandiwara itu. Misalnya saja penonton yang berkebangsaan Rusia,Jerman,Ceko,Amerika Serikat dan sudah tentu bangsa asia seperti orang jepang dan lainnya.

Faktor pertama yang akan menonjol kedepan dalam menjawab pertanyaan tersebut diatas, yang sudah pasti adalah untuk hiburan, karena orang membutuhkan hiburan ,hiburan yang sehat dan murah. Faktor kedua adalah sejarah,s ebab rombongan miss Tjitjih sejak lama telah beroiperasi di jakarta (Betawi) ,mereka telah menanamkan sesuatu dihati penduduk Betawi. Orang Jakarta mengenal iss Tjitjih melalui tiga zaman, era Belanda,era Pendudukan Jepang dan era Republik Indonesia sampai sekarang (1962). Rombongan Miss Tjitjih sekali menginjak Jakzarta,tetap di Jakarta. Orang Jakarta mengenal Miss Tjitjih semenjak menempati suatu persil,ditempat mana orang sekarang mengenal sebagai Pasar Burrung didalam kompleks Senen.Kemudian pindah disekitar kompleks  Stasiun Pasar senen lama dan semenjak 1952 menempati tempat yang sekarang(saya tidak menemuinya lagi dis enen tahun 1971-Dr iwan)

RAMAI-LUCU-MENDEBARFKAN-MENGHARUKAN

Mengapa orang asing juga suka denagn pertunjukan Miss Tjitjih, dalam hal ini karena faktor Seni. Terus zterang, orang asing itu tidak akan mengerti baahasa pengantar yang dipergunakan Miss Tjitjih, mungkin mereka dapat menikmati cerita secara keseluruhannya, karena ada jurubahasanya. tetapi orang asing itu akan menemukan sesuatu penilaian lain yang terdapat pada permainan dan pemain Miss Tjitjih dan juga mereka menemukan faktor seni dan budaya yang khas ditempat eprtunjukan tersebut serta juga menemukan sekelumit hiburan rakyat  yang berisikan pendidikan  dalam bidang moral yang tetap mempertahankan nilai-nilai budaya yang khusus pula.Selain itu ditemukan lakon cerita dengan latar belakang sejarah,cerita rakyat yang tetap hidup dan akhirnya ceritanya bersifat ringan,lucu,mengharukan,mendebarkan dan berakhir dengan menyenangkan.Berdasarkan hal tersebut diatas ,pada tahun 1962  Presiden Sukarno menganugerahkan suatu penghargaan kepada rombongan  Miss Tjitjih pada bulan september 1962, selain penghargaan juga diberikan hadiah uang Rp.50.000,(setara us 5000.-) , bersama Miss Tjtjih juga diberikan hadiah kepada Sriwedari solo dan Ngesti Pandowo Semarang.

ORANG YANG MAIN SANDIWARA TUKANG BOHONG

Ketua rombongan Miss Tjitjih bernama S.A. Bafaqih, seorang kelahiran Pasuruan, Jawa timur. Usianya sudah agak lanjut ditahun 1962 ,75 tahun,kelahiran 1888. Teoritis Bapak ini sudah pensiun, menurut istilah sendiri, tapi secara praktisnya masih tetap memimpin secraa langsung. Sebenarnya ia sudah bosan dengan sandiwara, baik sebagai pemain ataupun pemimpin atau menonton sandiwara, tetapi entah bagaimana, kalau mendengar ada sandiwara, ingin saja ikut menonton, apaun yang bakal terjadi, mungkin sudah dibawa sejak lahir. Ia bercerita bahwa , ia tahu betul bahwa orang yang main snadiwara itu adalah tukang bohong,sama saja dengan seorang penjual obat,tidfak seluruhnya benar. Bedanya, sandiwara punya lakon.punya cerita dan pemain berpakaian menarik. Mungkin didunia ini memang perlu orang-orang seperti dia. Orang-orang yang hanya bergerak dilapangan seni danb udaya. Orang berkata tentang dia, orang yang tidak begitu mnormal,ia ditonton orang, tetapi kami juga kadang-kadang jadi tontonan orang  sebab tak jarang hidup iami lebih jelek daripada seorang gembel. tetapi biarlah kami merasa  puas, dan penonton yang memerlukan kami  seba  jika mereka tidak puas, merekan tidak akan datang lagi.

Padahal setiap malam pertunjukan selain penuh ,bahkan lebih dari penuh serta penonton terus memaksa untuk menonton,mereka rela untuk menonton sambil berdiri.Didekat pintu masuk,terbaca tulisan besar Harga karcil Rp.20,-(US$10.) keterangan Bapak Bafaqig pemimpin Rombongan Miss Tjitjih, bahwa  harga keperluan hidup terus meningkat, biaya eksploitasi sebenarnay tidak cocock lagi, selain berat buat dia,lebih-lebih karena mereka memberikan kesempatan kepada anggota Angkatan Bersenjata untuk menonton pada setiap malam Jumaat tanpa memungut bayara( saya masih ingat tahun 1973,dijawa tengah angota ABRI gratis nonton bioskop dan naik kendaran umum di jawa tengah-Dr Iwan)

DARI DUNIA DAGANG KE SANDIWARA

Suka duka pengalaman Pemimpin rombongan sandiwara Muiss Tjitjih  adalahs ebagai berikut,

Sebelum menempati kompleks bagunan tahun 1962, pemain berjumlah 84 orang, beserta seluruh karyawan beerta keluarga berjumlah 120 orang ,seluruhnya menempati kompleks tersebut. sebelum menjadi anak wayang(anak sandiwara) , bapak Bafaqih adalah seorang pedagang keliling dari satu kelain kota, memang keluarganya adalah keluarga pedagang. Kemudian ikut-ikutan dalam oragnisasi sandiwara. Kemudia mewrasa tertarik dilapangan sandiwara, seterusna keenakan dan melepaskan pekerjaan dagangnya masuk sandiwara. dalam sejarah hidunya bapak Bafaqih bertemu dengan sorang pemain sandiwara, seorang dara dari sumedang yang memiliki bakat dengan paras yang cukup rupawan ,yang kemudian menjadi isterinya. Dari Nama isterinyalah bersumber nama Miss Tjitjih, sebelumnya rombongan sandiwaranya diberi nama :De Nacht Opera”.kemudian “Valencia Opera”, lalu jadi Miss Tjitjih sampai tahun 1962 (siapa yang emiliki ino setealh tahun 1962,harap berkenan menginformasikannya kepada saya,terima kasih-Dr Iwan)

Orkes suara Angkasa dibp R Sutedjo

lagu : Seruan terumi ciptaan saleh

2)Orkes Empat Sekawan Djakarta pimpinan S.Jahja 

side one : Lagu sampaikan salamku (nn)

1) lagu Tinggi di awan (saleh)

2)  Sampaikan salamku(nn)

Empat Sekawan

Salah satu kelompok musik yang dibentuk Ismail Marzuki di bawah naungan RRI Jakarta. Personel inti memang hanya empat orang, yaitu Saleh Soewita (gitar), Ishak (contra-bass), Jachja (biola), dan Ariston da Cruz (piano; pemusik asal Filipina yang berganti nama menjadi Arief Effendi). Contra-bass kadang-kadang dipegang oleh Sarom. Ismail sendiri bertindak sebagai pemimpin sekaligus pengaransemen musik orkes itu. Grup ini dibentuk sesaat setelah proklamasi kemerdekaan, yang ditujukan untuk menurunkan suhu politik yang makin panas dan setiap saat bisa meletus menjadi pertempuran terbuka. Jam main yang diberikan oleh pihak RRI Jakarta kepada orkes Empat Sekawan sekitar 30 menit sampai 1 jam. Jam siaran mereka dua kali dalam satu pekan, biasanya setiap hari Selasa dan Rabu siang. Pada 1946, hari dan jam main Empat Sekawan tidak menentu, kadang-kadang hari Senin, Selasa, atau Rabu. Umumnya orkes ini bermain sekitar 45 menit, dan tiga kali siaran dalam satu hari; siang pukul 13.15, sore pukul 17.15, dan malam pukul 20.00. Acara musik Empat Sekawan di RRI Programa Jakarta diberi tajuk Hiboeran Pahlawan, Hiboeran Oentoek Tentara Angkatan Laoet dan Oedara RI, Hieboeran Malam Minggu, Hiboeran Petang, Penawar Rindoe, dan Alam Ria Indonesia. Selain secara berkala mengisi acara musik di studio radio, Empat Sekawan juga menyempatkan diri turun langsung ke pelbagai front. Mereka menghibur para pejuang dan masyarakat setempat yang menyukai lagu perjuangan, khususnya lagu-lagu yang diciptakan oleh personel orkes kuartet itu, termasuk Ismail Marzuki.

 

Lagu ciptaan karya Ismail Marzuki yang paling populer adalah Rayuan Pulau Kelapa yang digunakan sebagai lagu penutup akhir siaran oleh stasiun TVRI pada masa pemerintahan Orde Baru.

Ismail Marzuki mendapat anugerah penghormatan pada tahun 1968 dengan dibukanya Taman Ismail Marzuki, sebuah taman dan pusat kebudayaan di Salemba, Jakarta Pusat. Pada tahun 2004 dia dinobatkan menjadi salah seorang tokoh pahlawan nasional Indonesia.

Ia sempat mendirikan orkes Empat Sekawan

2. Kroncong Aneka Warna dbp Markasan(Srimpi record Inc)

side 1 dengan lagu :

1)pak sakerah(sueb)2)kuto suroboyo(sukemi),

3)numpak sepur (j,sudarminto dkk),

4) Nyang T.H.R (noerjatian)

Side 2 :

1)Motor Uduk(Achmad &J.sudarminto),

2)Si Banci (Juwariyah T.M.),

3)Mimpi dicokot ulo(Soekemi/Achmad),

4)Nanggelo(Sueb)

3. Orkes Kroncong Tjendrawasih dbp S.Padimin(lokananta record Inc)

Song side 1 :

1)Nandur Djagung(M arif),

2)Burung Merpati(S.Padimin)

song side 2 : 

1)ditepi bengawan solo(s.Padimin-kustiati),

 2).Kroncong Mesra (sunarno-supardi achijat)

:

3.Orkes Kroncong Kemayoran dbp  M.Sagi

(Irama record Inc)

1)Irama produksi  India with song

side one : Djali Djali  (NN) singer Oje

 

side two : Mengenang Nasib ciptaaan Sukamto-St.P.Bustamil

Keroncong M.Sagi Info (google explorations)

iramaI thought that, coupled with the previous post of today, I’d post something languid and tranquil, something somewhat relaxed. So, I brought out another classic Indonesian krontjong piece from the mid-20th century, on the local Irama label. “Irama” actually means “rhythm” in English – thus the title of the piece as well as the name of the record label are explained.

I posted a krontjong tune of the same vintage, and on another independent Indonesian label (Dendang), . This one is similar – it’s the style of krontjong that I quite enjoy, featuring the walking guitar and fiddle player trading runs in between smooth vocals. Krontjong itself is a relatively new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influence. Krontjong had changed dramatically since it was first recorded ca. 1904, and when this record was released (probably the late 1940s or so). The instrumentation was bare bones at first, featuring trios and the like. I’ve heard 1920s krontjong that sounds influenced by Stamboel theater, with a slightly more operatic sound, showing further influences at work. By the 1940s, krontjong was a rage, with whole orchestras and popular singers getting into the act…yet, to me this music is not easily explained. Indonesian-Hawaiian-guitar-and-fiddle-ballads?

As for the singer and band – I’m afraid these are muddy waters. I am mostly sure that “Moh.” stands for Mohammed, and “Kr.” stands for krontjong, but at the risk of being incorrect, I will let the original label stand as the official record

3)Jasa pemain biola M.Sagi

Awalnya dengan nama Kroncong Betawi lalu Kroncong Jakarta” … Di Jakarta saat itu … Susunan instrument seperti ini adalah berkat jasa M.Sagi seorang Violinist keroncong

also in Indonesia (Irama indonesian music co ltd) look below compare with above :

1) Dimin ,Mengenang nasib with M.Sagi Keroncong Orchestra ,productions Irama Record

FRAME FOUR :

THE INDONESIA KRONCONG HISTORY FROM GOOGLE EXPLORATION FOR COMPERATIVE STUDY:

Musik keroncong lahir di Indonesia melalui proses perjalanan sejarahnya yang panjang dan penuh keunikan dilihat dari unsur pembentuknya yang terdiri dari berbagai komponen budaya, etnik, dan bahasa. Apabila kita menarik benang merah tentang asal mula lahirnya musik keroncong di Indonesia, kita akan dihadapkan pada misteri sejarah yang menyangkut sejarah dunia. Sejarah tentang pendudukan Islam di wilayah selatan semenanjung Iberia dari abad kelima hingga abad ketigabelas. Latar belakang sejarah yang menjelaskan mengapa bangsa Eropa pada abad keenambelas begitu gigih mengerahkan segala kemampuan navigasi dan kekuatan militernya untuk memperoleh rempah-rempah dari Timur. Sejarah tentang kedatangan bangsa Portugis dan bangsa Belanda pada abad ketujuhbelas untuk memperebutkan hegemoni di Asia Tenggara melalui monopoli perdagangan di Malaka, Sunda Kelapa, dan kepulauan Maluku. Sejarah tentang perbudakan, dan kehidupan para musisi jalanan selama masa Hindia Belanda. Sejarah pembentukan jatidiri bangsa Indonesia sebagai bangsa yang merdeka dan memiliki warisan budaya yang tidak terhingga banyaknya termasuk musik keroncong. Beruntunglah bahwa pada akhirnya musik keroncong diterima dan menjadi milik bangsa Indonesia, suatu kenyataan yang telah memperoleh pengakuan dunia internasional.

Saat ini ketika kita berbicara tentang keroncong, kita dihadapkan pada sebuah terminologi yang mengandung pengertian yang luas. Secara etimologis, keroncong berasal dari nama sebuah alat musik sejenis gitar berukuran kecil berdawai empat yang lazimnya terbuat dari nylon, sehingga apabila dimainkan menghasilkan bunyi crong, bukan jreng seperti halnya bunyi dawai logam. Istilah keroncong diyakini berasal dari para perajin waditra di kampung Tugu yang mewarisi keahlian seni kriya waditra gitar. Gitar itu dinamakan keroncong sebagai adaptasi dari gitar cavaquinho yang dibawa oleh para pelaut Portugis berlayar mengelilingi dunia. Ketika tiba di kepulauan Madeira gitar itu dinamakan braguinha, karena berasal dari wilayah Braga di Portugal. Di Brazil penduduk menamakannya machete yang digunakan untuk mengiringi tari-tarian. Di kepulauan Karibia gitar itu dinamakan cuatro, karena berdawai empat. Ketika tiba di Polynesia samudera Pasifik, penduduk pribumi menyebutnya sebagai ukelele, atau jari yang melompat, karena cara memainkannya tidak dipetik melainkan digerus. Menarik untuk disimak bahwa gitar itu memperoleh popularitas sebagai ukulele dengan paten Hawaii, sedangkan sebutan ukulele sebagai keroncong telah diakui sebagai paten Indonesia menurut Salwa El-Shawan Castelo-Branco dalam kamus The Grove’s Dictionary of Music and Musicians, “Portugal” (2002:197).

Dengan demikian ukulele dapat dikatakan menempati posisi kunci dalam setiap permainan musik keroncong, sehingga orkestrasinya harus memiliki warna crong yang berfungsi sebagai rhythmic riff (motif berulang-ulang). Selain itu, ukulele yang tersebar dan digunakan dalam berbagai jenis ensambel memberi petunjuk bahwa warna crong juga turut membahana di manapun ukulele itu dimainkan. Kita di Indonesia juga sepakat bahwa tidak ada musik apapun yang boleh tampil menyandang label keroncong tanpa memiliki keunikan warna crong dari permainan ukulele. Secara universal diyakini bahwa tiada keroncong tanpa crong, dan melalui penyebaran ukulele tidak mustahil musik keroncong dalam berbagai versi juga dapat ditemukan di berbagai pelosok. Saat ini warna crong masih dapat ditemukan antara lain di kepulauan Halmahera dalam ensambel bastidor yang generik, di Malaka dalam ensambel dondang sayang, di Negeri Belanda dalam ensambel toegoenezen, di Hawaii dalam ensambel hawaiian guitar, di Suriname dengan krontjong ensambelnya, selain di Indonesia dalam ensambel orkes keroncong.

Apabila keroncong sebagai waditra telah mendunia, maka keroncong sebagai ensambel musik, keroncong sebagai bentuk lagu, dan keroncong sebagai gaya permainan gitar merupakan ciri khas Indonesia, yang dipengaruhi oleh gagrak gamelan Jawa. Orkestrasi ensambel keroncong lazimnya menampilkan biola atau flute sebagai pembawa alur melodi, gitar sebagai pengiring dan pembawa alur kontra-melodi, ukulele sebagai time-beater, dan cello petik (pizzicato) sebagai rhythm tune-percussion yang terkadang dipertebal dengan bass petik.

Seperti halnya pengendang menjadi pemimpin kelompok gamelan Jawa, maka pemain cello dengan pola gedugannya yang khas menurut Kusbini menjadi conductor dalam orkes keroncong. Gedugan itu memiliki fungsi ganda sebagai bass dan perkusi, yang menyebabkan orkes keroncong tidak membutuhkan dan menghindari penggunaan drum-set dalam orkestrasinya. Dari sini dapat kita saksikan betapa kuatnya dominasi waditra berdawai dalam menampilkan karakter chordophonic sebuah orkes keroncong secara total dari peranannya sebagai pembawa melodi hingga ritme dan harmoni.

Orkestrasi keroncong sebenarnya merupakan iringan tarian Moresco yang terdiri dari gitar dan tambourine perkusi yang berkeping logam sebagai perpaduan musik Arab-Kaukasia. Tambourine juga digunakan dalam orkes keroncong para pemusik Indies di Batavia pada masa Hindia Belanda. Itu sebabnya muncul versi lain tentang istilah keroncong ketika tambourine tersisih dari orkes keroncong akibat pengaruh gamelan Jawa, sehingga warna kerincing logamnya tidak lagi terdengar, dan yang tinggal hanyalah warna keroncong gitarnya. Warna kerincing logam dikembalikan sebagai properti para penari Jawa yang mengenakan gelang pada kaki mereka. Saat ini meski tambourine masih terdengar di kampung Tugu, orkes keroncong di Indonesia tidak lagi menggunakannya.

Orkes keroncong komunitas Indies di Batavia  (Ilustrasi: A.Th. Manusama (1919:12a)) Orkes keroncong komunitas Indies di Batavia (Ilustrasi: A.Th. Manusama (1919:12a))

Pada masa Hindia Belanda, keroncong tampil sebagai ars nova, seni baru yang bersifat non-tradisi dan non-klasik Barat, seni yang digemari oleh masyarakat perkotaan. Kota-kota besar di Jawa kemudian tumbuh menjadi sentra keroncong, sejak mencapai popularitas melalui Pasar Malam di Gambir, komunitas Krokodilen di Kemajoran, hingga concours Jaar Markt di Surabaya. Keroncong ketika itu menjadi bagian dari budaya massal yang memiliki nilai komersial, sehingga ensambel keroncong bermunculan di mana-mana. Namun setelah masa kemerdekaan, terjadi revolusi musikal di seluruh dunia dengan lahirnya musik berirama rock yang digemari kaum muda. Musik berirama rock dengan cepat menyebar melalui teknologi rekaman dan menjadi musik masa kini yang menggusur popularitas musik berirama konvensional termasuk keroncong.

Secara musikologis, musik konvensional adalah musik dengan irama yang aksentuasinya jatuh pada ketukan pertama, seperti irama tarian walsa dalam tiga hitungan, atau irama marcia dalam empat hitungan. Sebaliknya irama rock memberikan nafas yang segar ketika aksentuasi itu berpindah dari ketukan pertama yang ditandai dengan hentakan stick snare-drum pada ketukan kedua di antara permainan pola ritmik bass-drum dan hi-hat cymbal. Perpindahan aksentuasi itu melahirkan karakter sinkopatik, ketergantungan yang berkelanjutan, sehingga menimbulkan sensasi psikologis dari tanya yang tidak terjawab. Tidak mengherankan apabila irama rock berhasil menarik perhatian generasi muda, dan dengan cepat menguasai kehidupan musikal secara universal.

Tidak dapat disangkal bahwa drum-set menempati posisi kunci dalam irama rock. Saat ini tidak ada musik populer dari jenis apapun yang tidak menggunakan drum-set, mulai dari kelompok band yang sederhana hingga kelompok symphonic band atau light music orchestra yang canggih. Irama rock melalui permainan drum-set telah mendunia dan menjadi basis dari semua jenis musik populer masa kini. Sejalan dengan itu popularitas musik konvensional menjadi terpinggirkan dan dianggap representasi musik masa lalu yang telah usang, yang hanya diminati oleh kaum tua saja.

Dalam hal ini keberadaan musik keroncong menghadapi dilema, karena di satu fihak popularitasnya akan semakin merosot apabila tetap mempertahankan iramanya yang konvensional, sementara di lain fihak penggunaan drum-set dalam orkestrasi keroncong akan membunuh karakteristik musiknya. Waktu dengan cepat berlalu ketika musik keroncong akhirnya beranjak dari budaya massal musik industri yang bernilai komersial memasuki budaya tradisi yang dikelompokkan sebagai musik etnik. Jenis musik seperti ini selalu rentan menghadapi ancaman kepunahan, sehingga konsep tentang pelestarian dan revitalisasi menjadi agenda utama. Beruntung bahwa modal sosial dari keroncong terletak pada dukungan sebagian masyarakat Indonesia yang menjamin bahwa musik yang telah lahir sejak berabad-abad itu tidak akan punah. Namun upaya revitalisasi perlu terus menerus dilakukan untuk tujuan apapun, termasuk tujuan rekonstruksi, tujuan go-international, atau untuk kepentingan eksperimental dan archiving.

Upaya go-international terhadap musik keroncong pernah dilakukan oleh Rudi Pirngadie melalui penampilan orkes keroncong Tetap Segar yang membawakan gagrak Keroncong-beat dalam New York World’s Fair tahun 1964. Keroncong beat merupakan konsep yang mengetengahkan irama keroncong dalam bentuk gedugan cello, rhythmic riff ukulele, dan banyu mili gitar untuk mengiringi semua jenis lagu termasuk lagu Barat. Tidak kurang penyanyi keroncong seperti M. Rivani, Rita Zahara, dan Sayekti berhasil menarik perhatian masyarakat Amerika dalam membawakan lagu Barat seperti I left my heart in San Francisco yang dikeroncongkan. Eksperimentasi Keroncong beat ternyata tidak membawa hasil disebabkan antara lain karena tidak memiliki akar budayanya yang kuat di Indonesia. Tidak mustahil bahwa kegagalan itu juga diakibatkan karakteristik iramanya yang eksotik, tidak berdaya melawan irama rock yang sensasional. Namun betapapun juga, inovasi Pirngadie telah berhasil menunjukkan posisi dan nilai tawar musik keroncong Indonesia dalam kancah internasional.

Upaya go-international lainnya dapat dilakukan melalui penyusunan kemasan orkestra untuk keroncong seperti yang dilakukan oleh RRI melalui Orkes Studio Jakarta pimpinan Isbandi dalam acara Bintang Radio Televisi jenis Keroncong. Demikian pula eksperimentasi Singgih Sanjaya melalui garapan Light Keroncong dalam format orkestra yang tetap mempertahankan pakem keroncongnya. Upaya ini lebih sesuai bagi pelestarian musik keroncong sebagai musik tradisi yang dikemas secara artistik musikal. Upaya ini lebih akademik dan terhormat dalam mengangkat keroncong sebagai repertoar Indonesia di forum internasional, lebih dari sekedar menawarkan iramanya yang generik.

Upaya go-international juga berarti mempromosikan kepada dunia internasional bahwa keroncong adalah musik Indonesia, melalui hak paten atau hak atas kekayaan intelektual yang diikuti dengan berbagai publikasi tentang keroncong dari para peneliti. Sejauh ini peneliti seperti Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, dan Suka Hardjana telah banyak berperan, sementara para peneliti asing seperti Bronia Kornhauser dan Ernst Heins turut memberikan kontribusi mereka. Penelitian Philip Yampolsky menghasilkan rekaman penyanyi keroncong generik tahun 1930-an yang berbeda warna suaranya dengan penyanyi keroncong saat ini, selain selama bertahun-tahun Philip telah menaruh perhatian besar terhadap musik-musik etnik Nusantara.

Upaya go-international juga menuntut kita untuk menghargai para maestro yang telah berhasil menumbuhkembangkan musik keroncong sejak masa Hindia Belanda hingga dapat tampil saat ini sebagai salah satu mainstream musik Indonesia, seperti yang telah dirintis oleh komunitas Tugu dalam Krontjong Toegoe, Kusbini dalam Keroncong Asli, Gesang dalam Langgam Keroncong, Andjar Any dalam Langgam Jawa, serta para penyanyi yang telah turut mendukung kehidupan musik keroncong dari generasi ke generasi. Diharapkan semoga dengan semakin pesatnya pendidikan musik di Indonesia, para pemusik akademik generasi muda secara naluriah akan tergugah kepedulian mereka untuk turut menjaga pusaka yang telah diwariskan leluhur bangsa kita.

Dengan demikian upaya go-international yang sejati terhadap musik keroncong semata-mata tidak terletak pada penyebaran dan popularitas musik keroncong secara internasional, atau pada archiving sosok musiknya dalam bentuk partitur, atau berupa pergelaran orkes keroncong yang immanent, akan tetapi lebih tertuju pada sikap yang mencerminkan keinginan para pencipta, pemusik, dan peneliti keroncong Indonesia untuk berperilaku secara musikal.

Pada akhirnya kita berkewajiban secara moral untuk menjaga dan mendukung kepercayaan dunia internasional bahwa keroncong adalah musik Indonesia, seperti halnya fado dikenal sebagai musik Portugis, blues menjadi identitas musik negro Amerika, flamenco dari Spanyol, dan tango sebagai nyanyian rakyat Argentina, musik nasional yang bersifat kerakyatan dengan lagunya yang tidak sekedar dinyanyikan melainkan juga diekspresikan secara coração, atau dari lubuk hati yang paling dalam.

Selamatkan Musik Kroncong Kita

Membaca beberapa terbitan buletin ”Tjroeng”, nampak geliat semangat komunitas keroncong Indonesia (KKI), baik penggemar, musisi, penyanyi, dan pemerhati keroncong berkeinginan untuk menggali kembali dan melestarikan seni musik keroncong yang dirasa mulai surut pamornya. Secara jumlah KKI mungkin semakin meningkat sejalan dengan peningkatan jumlah penduduk di Indonesia, tetapi secara prosentase mungkin menurun. Dapatkah dikatakan musik keroncong mulai surut pamorya?

Bila dibandingkan dengan keadaan tahun 70an mungkin ada benarnya. Saat itu event kegiatan musik keroncong yang disponsori oleh pemerintah atau negara dapat dikatakan padat. Diantaranya, yang belum hilang dari ingatan adalah selalu diadakan rutin setiap tahun lomba pemilihan bintang radio dari tingkat daerah (provinsi) sampai dengan tingkat nasional. Pemilihan ini disponsori (diadakan) oleh Departemen Penerangan, dan Radio Republik Indonesia (RRI) yang merupakan lembaga dibawah naungan Departemen Penerangan selalu menyiarkan acara lomba pemilihan bintang radio tsb. Pada saat itu yang dilombakan tidak hanya musik keroncong tetapi juga dari jenis seriosa dan “hiburan”, atau lebih dekenal saat ini sebagai jenis pop.

Antusias masyarakat mengikuti penyelenggaraan pemilihan bintang radio sangat besar. Terbukti acara ini yang disiakan oleh RRI sampai larut malam selalu ditunggu oleh para pendenganya. Dan musik keroncong dikalangan masyarakat pada saat itu menduduki posisi lebih tinggi, lebih populer bila dibandingkan dengan jenis musik seriosa dan hiburan. Perkembangan kondisi di masyarakat mempengaruhi pula perkembangan selera masyarakat terhadap musik yang ada. Secara alami terbentuk polarisasi selera dan apresiasi terhadap musik sekaligus mempengaruhi perkembangan musik itu sendiri. Terjadi pergeseran selera, terutama dikalangan anak usia muda (remaja) yang lebih menyenangi musik jenis hiburan atau pop. Banyak bermunculan group musik pop seperti Koes Plus, Favourit Group, D’lloyd, Pambers, Mercys dll. Selain itu, pelan tapi pasti, mulai merangkak naik popularitas musik dangdut yang pada waktu itu lebih dikenal sebagai musik “Melayu”. Bahkan dedengkot musik dangdut seperti Oma Irama pada awal karier musiknya melalui jalur musik pop, dan beberapa single lagunya sempat populer waktu itu. Keadaan sekarang, popularitas kedua jenis musik ini semakin tinggi (penggemarnya semakin banyak) jauh meninggalkan jenis musik kroncong dan seriosa.

Tidak puas dengan wadah yang disediakan oleh pemerintah sebagai ajang lomba, para musisi musik pop menyelenggarakan sendiri pemilihan bintang pop, baik ditingkat daerah maupun tingkat nasional, yang lebih dikenal dengan pemilih “Pop Singer”. Semakin banyak event musik pop diselenggarakan, sementara event untuk musik keroncong semakin sedikit bahkan tidak ada sama sekali.

Perkembangan selanjutnya, dengan dihapuskannya Departemen Penerangan dari jajaran kabinet, otomatis hilang pula kalender kegiatan lomba pemilihan bintang radio yang menyertakan musik keroncong didalamnya. Berarti hilang pula ajang untuk sosialisasi dan mempopulerkan musik keroncong dikalangan masyarakat luas.

Apakah rentetan kejadian ini pada akhirnya menurunkan pamor musik keroncong secara keseluruhan dan mulai ditinggalkan penggemarnya?

Dimata masyarakat Indonesia secara menyeluruh mungkin pamor musik keroncong turun drastis kalau tolok ukurnya adalah jumlah bilangan pengemar atau penikmat musik keroncong. Tetapi dikalangan KKI sendiri popularitas atau pamor musik keroncong tetap ada dan terjaga, hanya jumlahnya mungkin lebih sedikit dibandingkan dengan penggemar musik pop atau dangdut. Penambahan jumlah penggemar juga tidak terlalu signifikan, mungkin menunggu perubahan selera seiring dengan penambahan umur para penggemar musik bukan keroncong. Kenyataannya, komunitas musik keroncong tetap ada, bahkan tidak hanya di Indonesia tetapi merambah ke negara lain dibawa oleh orang-orang Indonesia yang migrasi ke negara lain, seperti Malaysia, Suriname, Belanda dsbnya. Di negara yang disebutkan tadi, komunitas musik keroncong tetap konsisten menyenangi dan memainkan musik keroncong.

Menyenangi atau membeci suatu jenis musik atau lagu-lagu, berkaitan dengan selera, jadi sifatnya sangat subyektif, tidak dapat dipaksakan. Berjalan secara alami menuruti lingkungan dan kebiasaan yang ada. Lagu musik pop yang dibawakan oleh grop musik Peterpan atau oleh group musik Radja di Indonesia sangat digandrungi dikalangan anak remaja atau anak bau gede (ABG), tetapi mungkin lagu-lagu group tadi tidak dikenal sama sekali oleh masyarakat Suriname. Masyarakat disana boleh jadi lebih mengenal artis Waljinah dengan lagu “Walang Kekeknya”. Kesimpulannya, secara global, mana yang lebih punya pamor atau lebih populer? Musik pop atau musik keroncong? Silahkan pembaca mempersepsikan sendiri untuk menjawab pertanyaan lain yang telah disebutkan diatas.

Permasalahan yang dihadapi komunitas keroncong di Indonesia dan dibelahan dunia lainnya adalah bagaimana menjaga sustainable eksistensi musik keroncong. Hal ini perlu mendapat perhatian mengingat adanya keprihatinan dari beberapa kalangan yang menyangsikan daya tahan musik keroncong terhadap “gempuran” jenis musik lainnya, khususnya musik pop. Sebagaimana berita yang dilansir oleh situs internet antara.co.id, tanggal 19 Oktober 2008, memuat berita tentang harapan besar maestro keroncong Indonesia, ”Gesang”, meminta masyarakat penggemar musik keroncong ikut melestarikan aliran musik asli jawa ini (maksudnya keroncong) agar tetap hidup sepanjang masa. Dibalik harapan beliau menyiratkan adanya kekhawatiran bahwa musik keroncong Indonesia mulai surut pamornya. Lambat laun, jika tidak ada upaya ”nguri-uri” musik keroncong, bukan tidak mungkin nantinya akan punah ditinggalkan penggemarnya. Keadaan ini merupakan tantangan sekaligus peluang seluruh insan komunitas keroncong untuk mengembalikan kemasyhuran musik keroncong agar harapan maestro “Gesang” keroncong dapat diwujudkan.

Bagaimana upaya kita melestarikan budaya seni musik keroncong?

,Terdapat beragam jenis keroncong, ada Keroncong Asli, Langgam Keroncong, Stambul Keroncong, ditambah dengan Krontjong Toegoe. Dari masing-masing jenis tadi memiliki ”rumus” atau ”pakem” sendiri-sendiri [mengenai rumus ini telah dimuat di buletin Croeng sebelumnya]. Melihat rumus atau pakemnya, musik keroncong dapat dikatagorikan sebagai musik yang serius, setara dengan musik klasik karena ada kaidah yang harus dipenuhi agar dapat disebut sebagai musik keroncong. Disinilah letak indah dan ”adiluhungnya” musik keroncong! Jadi kalau ada sebagian warga masyarakat mengatakan bahwa musik keroncong adalah ”kampungan” atau ”jadul” itu syah-syah saja karena berbeda persepsinya, tetapi itu keliru besar! Tidak sembarang orang dan tidak banyak yang dapat mencipta dan memainkan musik “pure” keroncong dengan baik dan benar. Hanya orang-orang yang memiliki talenta khusus. Oleh karena itu, musik keroncong yang dimainkan tanpa mentaati kaidah-kaidah, atau menyimpang yang ada dapat dikatakan sebagai musik keroncong kontemporer atau eksperimental. Biasanya dari kalangan anak muda yang senang melakukan eksperimen sehingga lahirlah musik CongDut (keroncong Dangdut), CongRock (paduan keroncong dan rock), CongLan (paduan keroncong dan gamelan), dll. Bagaimana kita menyikapi terhadap lahirnya jenis musik tersebut.

2.10 th Year Anniversary Asia Africa Confrence memorable in 1965, lokanata national kroncong song record

a) Cover(sampul Depan)

 

A. ERA Bung Karno 1951-1965(Era Bung Karno)

Kroncong

1.Lagu Betawi Era 1950-1960
1) orchestra sound dibp R Sutedjo Space
song: Call terumi godly creation

2) Four Gang Djakarta Orchestra leader John S.
Side one: The song to convey my compliments (nn)

1) High in the clouds song (pious)

2) Say hello (nn)

Four Gang
One of the musical group that was formed under the auspices of Ismail Marzuki Jakarta RRI. Core personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which changed its name to Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail himself acting as a leader and that orchestra music arranger. This group was formed shortly after the proclamation of independence, which is intended to lower the political temperature of the hot and could explode at any time into open battle. Curtain time is given by the RRI Jakarta to the orchestra Four Sekawan about 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon. In 1946, days and hours of play Four Gang erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day, lunch at 13:15, 17:15 o’clock in the afternoon, and evening at 20.00. Four Gang music event in Jakarta RRI Programa Hiboeran entitled Heroes, Hiboeran Oentoek Armed Forces sea and is difficult to determine RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to regularly fill the musical events in the radio studio, Four Gang also took down directly to the various fronts. They cheer the fighters and the local community who love the song of struggle, especially the songs that were created by the quartet orchestra personnel, including Ismail Marzuki.
   

Ismail Marzuki song creation work of the most popular is the seduction of Palm Island are used as final cover songs broadcast by TVRI station on the reign of the New Order.

Ismail Marzuki blessed honor in 1968 with the opening of Taman Ismail Marzuki, a park and cultural center in Salemba, Central Jakarta. In 2004 he was crowned a national hero of Indonesia.

He had founded the orchestra Four Gang

2. Kroncong Assorted Colors Markasan DBP (Srimpi record Inc.)
Side 1 with the song:

1) pack sakerah (Sueb) 2) Kuto Suroboyo (Sukemi)

3) numpak railroad (j, Sudarminto et al),

4) Nyang T.H.R (noerjatian)

Side 2:

1) Motor Uduk (Ahmad & J.sudarminto)

2) The pansy (Juwariyah T.M.)

3) Dream dicokot Ulo (Soekemi / Achmad),

4) Nanggelo (Sueb)

3. Kroncong orchestra Tjendrawasih DBP S. Padimin (Lokananta record Inc.)
Song Side 1:

1) Nandur Djagung (M wise),

2) Pigeon (S. Padimin)

song side 2:

1) alongside the river solo (s.Padimin-kustiati)

 2). Kroncong Mesra (Sunarno-Supardi achijat)

:

3.Orkes Kroncong Kemayoran DBP M. Sagi
(Rhythm record Inc.)
1) The rhythm of song production with India

side one: Djali Djali (NN) singer Oje

Side two: Remembering the fate of ciptaaan Sukamto-St.P.Bustamil

Keroncong M. Sagi Info (google Explorations)

1) Keroncong
At this time Indo known musicians, and legendary violinist is M. Sagi … Listen Orkest Lief Java, Tugu Cafrino Keroncong Orchestra, George de Fretes, and Orchestra …

2) Moh. Sjah & Orchestra Kerontjong M. Sagi – Kr. Rhythm
I thought that, coupled with the previous post of today, I’d post something languid and Tranquil, something Somewhat relaxed. So, I Brought out another classic piece Indonesian krontjong from the mid-20th century, on the local Rhythm label. “Rhythm” Actually means “rhythm” in Bahasa Indonesia – thus the title of the piece as well as the name of the record labels are explained.

I posted a krontjong tune of the Same vintage, and on another independent label Indonesian (Dendang). This one is similar – it’s the style of krontjong That I Quite enjoy, featuring the walking guitar and fiddle player trading runs in Between smooth vocals. Krontjong Itself Is a Relatively new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influences. Had Krontjong changed dramatically since it was first Recorded ca. 1904, and Pls this record was released (probably the late 1940s or so). The Instrumentation was bare bones at first, featuring trios and the like. I’ve Heard That sounds krontjong 1920s influenced by Stamboel theater, with a Slightly more operatic sound, showing Further Influences at work. By the 1940s, krontjong was a Rage, with whole orchestras and popular singers getting into the act … yet, to me this music is not Easily explained. Indonesian-Hawaiian-guitar-and-fiddle-ballads?

As for the singer and band – I’m Afraid these are Muddy Waters. Mostly I am sure That “Moh.” Stands for Mohammed, and “Cr.” Stands for krontjong, but at the risk of being incorrect, I will from the original label let stand as the official record

3) Service violinist M. Sagi

Initially under the name Kroncong ago Kroncong Jakarta Betawi “… In Jakarta at that time … The composition of instruments like this is thanks to M. Sagi a violinist keroncong

Also in Indonesia (Indonesian Rhythm music co ltd) look below compare with above:

1) Dimin, Remembering the fate of M. Sagi Keroncong with Orchestra, Rhythm productions Record

Four FRAME:

HISTORY FROM THE INDONESIA Kroncong GOOGLE Exploration COMPERATIVE FOR STUDY:

Music keroncong born in Indonesia through the course of its history is long and full of unique views of its constituent elements consisting of various components of culture, ethnicity, and language. If we draw a red thread about the origin of the birth of music keroncong in Indonesia, we will be faced with the mystery of history concerning the history of the world. History of Islamic occupation in the south of the Iberian peninsula from the fifth century until the thirteenth century. Historical background that explains why the Europeans in the sixteenth century was so persistent and navigation capability to mobilize all its military power to obtain the spices from the East. The history of the arrival of the Portuguese and the Dutch in the seventeenth century to compete for hegemony in Southeast Asia through trade monopoly in the Malacca, Sunda Kelapa, and the Maluku islands. The history of slavery, and the lives of street musicians during the Dutch East Indies. History of the Indonesian people’s identity formation as an independent nation and has a cultural heritage that is not infinite number including music keroncong. Fortunately for music that eventually keroncong accepted and become the property of Indonesia, a fact which has gained international recognition.

Today when we talk about keroncong, we are faced with a terminology that contains the broad sense. Etymologically, keroncong derived from the name of a musical instrument similar four-stringed small guitar that is typically made of nylon, so that when played produce sounds crong, jreng not like the sound of metal strings. Keroncong term believed to derive from the crafters waditra in Tugu village who had inherited the art of craft skills waditra guitar. Guitar is named as an adaptation of the guitar keroncong cavaquinho brought by Portuguese sailors sailed around the world. When she arrived in the archipelago of Madeira is called braguinha guitar, because it comes from the region of Braga in Portugal. In Brazil the people named Machete used to accompany dances. In the Caribbean islands were named Cuatro guitar, because the four-stringed. When he arrived at the Polynesian Pacific, the natives call it a ukelele, or fingers that jump, because it learned how to play it but not crushed. It is interesting to note that the guitar that gained popularity as a ukulele with Hawaiian patent, while the ukulele as keroncong designation has been recognized as a patent Indonesia by Salwa El-Shawan Castelo-Branco in the dictionary of The Grove’s Dictionary of Music and Musicians, “Portugal” (2002:197) .

Thus the ukulele can be said to occupy a key position in every game keroncong music, so orkestrasinya must have crong color that serves as a rhythmic riffs (repeated patterns). In addition, the ukulele is spread and used in various types of ensembles gave instructions that the color also crong formations wherever it is played ukulele. We in Indonesia have also agreed that there is any music that may appear keroncong without bearing the label has a unique color of the game crong ukulele. It was universally believed that there is no keroncong without crong, and through the spread of ukulele music keroncong not impossible in many versions can also be found in various corners. Currently crong color can still be found among others on the island of Halmahera in the ensemble bastidor generic, in Malacca in the ensemble dondang unfortunately, in the Netherlands in the ensemble toegoenezen, in Hawaii in the Hawaiian guitar ensemble, in Suriname with krontjong ensambelnya, except in Indonesia in the ensemble keroncong orchestra.

If keroncong as waditra has worldwide, then keroncong as ensemble music, keroncong as a form of song, and keroncong as guitar playing style is a hallmark of Indonesia, which is influenced by Javanese gamelan gagrak. Orchestration keroncong usual ensemble featuring violin or flute as a bearer of a melody line, guitar as an accompanist and a carrier flow of counter-melodies, ukulele as a time-beater, and stringed cello (pizzicato) as a tune-percussion rhythm that sometimes dipertebal with stringed bass.

Just as pengendang become leader of a group of Javanese gamelan, the cellist with the typical pattern according Kusbini gedugannya became conductor in the orchestra keroncong. Gedugan it has a dual function as a bass and percussion, who led the orchestra keroncong not need it and avoid the use of drum-set in orkestrasinya. From here we can see how strong dominance in the display character string waditra chordophonic an orchestra keroncong in total from its role as the bearer of a melody to rhythm and harmony.

Orchestration keroncong Moresco actually a dance accompaniment consisting of guitar and tambourine percussion pieces of metal as a musical blend of Arab-Caucasian. Tambourine is also used in orchestral musicians keroncong Indies in Batavia in the Dutch East Indies. That’s why another version of the term emerged when the tambourine keroncong keroncong excluded from the orchestra under the influence of Javanese gamelan, so that the color of the metal triangle is no longer heard, and that is left is the color of his guitar keroncong. The color of the metal triangle is returned as a property of the Javanese dancers who wore bracelets on their legs. Currently, although the tambourine was heard in the village of Monument, orchestra keroncong in Indonesia are no longer using it.

 Keroncong community orchestra Indies in Batavia (Illustration: A.Th. Manusama (1919:12 a))
During the Dutch East Indies, keroncong appear as ars nova, a new art which is non-traditional and non-classical Western art favored by urban communities. Major cities in Java and then grow into a center keroncong, since its popularity through the Night Market in Gambir, Krokodilen community in Kemajoran, until Concours Jaar Markt in Surabaya. Keroncong when it became part of mass culture that has commercial value, so the ensemble keroncong popping up everywhere. But after independence, there was a musical revolution around the world with the birth of a popular rhythmic music rock youth. Rhythmic rock music quickly spread through recording technology and the music of today that displace the popularity of conventional rhythmic music including keroncong.

The musicologist, conventional music is music with rhythms that aksentuasinya falls on the first beat, like the rhythm of the dance walsa in three counts, or Marcia in a four-count rhythm. Conversely rock rhythms provide a fresh breath while accentuating it moves from the first beat which was marked by the beat of snare-drum stick on the second beat of the rhythmic pattern of the game bass-drum and hi-hat cymbal. The move gave birth to characters sinkopatik accentuation, continuous dependence, giving rise to the psychological sensation of questions unanswered. Not surprisingly, when the rhythm of rock managed to attract the younger generation, and quickly mastered the universal musical life.

There is no denying that the drum-set occupies a key position in the rhythm of rock. Currently there are no popular music of any kind which does not use a drum-set, ranging from a simple band to the symphonic band or a sophisticated light music orchestra. Rock rhythm through drumming sets worldwide and became the basis of all kinds of popular music today. Along with the popularity of conventional music become marginalized and is considered the representation of music past that have been deprecated, which is only interested by the elderly only.

In this case the existence of music keroncong facing a dilemma, because on the one hand its popularity will further decline if it retains a conventional rhythm, while on the other hand the use of drum-set in the orchestration keroncong will kill characteristics of the music. Time quickly passed when the music finally keroncong music moved from the mass culture industry into the commercial value of cultural traditions that are classified as ethnic music. Type of music such as this are always vulnerable to the threat of extinction, so the concept of preservation and revitalization agenda. Fortunate that the social capital of keroncong lies in the support part of Indonesian society that ensures that the music that has been born for centuries will not become extinct. However, revitalization efforts need to continue to be done for any purpose, including the purpose of reconstruction, go-international goals, or for experimental purposes and archiving.

Go-international effort against keroncong music ever made by Rudi Pirngadie through keroncong Stay Fresh orchestra performances that bring the gagrak Keroncong-beat in the New York World’s Fair in 1964. Keroncong beat is a concept that explores rhythm gedugan keroncong in the form of a cello, rhythmic riffs ukulele, and banyu milli guitar to accompany all types of music including Western songs. No fewer singers like M. keroncong Rivani, Rita Zahara, and Sayed managed to attract the attention of American society in the West like the song I left my heart in San Francisco that dikeroncongkan. Experimentation Keroncong beat did not bring results caused partly because they do not have strong cultural roots in Indonesia. It’s possible that the failure was also due to the characteristic rhythm of the exotic, are powerless against the sensational rock rhythms. But after all, innovation Pirngadie has successfully demonstrated the value of bargaining position and keroncong music of Indonesia in the international arena.

Go-other international efforts can be done through the preparation of packaging for keroncong orchestra as conducted by RRI through Jakarta Studio Orchestra Isbandi leader in event Star Radio Television type Keroncong. Similarly, experimentation Singgih Sanjaya through arable Light Keroncong in orchestral format that still maintains grip keroncongnya. This effort is more suitable for the preservation of keroncong music as music that is packaged in an artistic tradition of musicals. This effort is more academic and respectable in lifting keroncong as a repertoire of Indonesia in international forums, is more than just offer a generic rhythm.

Go-international effort is also meant to promote to the international world that keroncong is music of Indonesia, through patents or intellectual property rights, followed by various publications about keroncong of the researchers. So far, researchers such as Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, and Like Hardjana has many roles, while foreign researchers such as Ernst Heins Bronia Kornhauser and contribute to them. Research Philip Yampolsky producing generic recording keroncong singer of the 1930s a different color of her voice with singer keroncong today, in addition to over the years Philip has been paying great attention to the ethnic music of the archipelago.

Go-international effort also requires us to appreciate the maestro who has managed to develop keroncong music since the days of the Dutch East Indies until today to appear as one of mainstream music of Indonesia, as has been pioneered by the community of Monument in Krontjong Toegoe, Kusbini in Keroncong Original, Gesang in Langgam Keroncong, Andjar Langgam Any in Java, and the singers who have contributed to musical life keroncong from generation to generation. It is expected that hopefully with the rapid music education in Indonesia, the musicians academic younger generation would instinctively moved them to participate in maintaining awareness that has been inherited ancestral heritage of our nation.

Thus the efforts of true international go-to music keroncong not solely lie in the spread and popularity internationally keroncong music, or at archiving the figure of his music in the form of scores, or in the form of an immanent keroncong orchestra performances, but more focused on the attitudes that reflect the desire of the creators, musicians, and researchers keroncong Indonesia to behave in a musical.

In the end we are morally obligated to maintain and support the international confidence that keroncong is the music of Indonesia, as well as Portuguese music known as Fado, the blues became the identity of the American Negro music, flamenco from Spain, and Argentine tango as a folk song, music that is popular national with songs that are not just sung but also expressed coração, or from my heart most deeply.

Save the Music Kroncong We

Reading several publications bulletin “Tjroeng”, appears twisted keroncong community spirit Indonesia (KKI), both fans, musicians, singers, and observer keroncong willing to dig back and preserve the art of music began to recede keroncong perceived prestige. The number of KKI probably increasing in line with the increase of population in Indonesia, but the percentage may decrease. Can it be said keroncong music began to recede pamorya?

When compared with the 70 state may have a point. At that event keroncong music events sponsored by the government or state can be said solid. Among them, who have not lost from memory is always held regularly every year the radio star contest election from the local level (provincial) to the national level. Selection was sponsored (held) by the Ministry of Information, and Radio Republik Indonesia (RRI), which is an institution under the auspices of the Ministry of Information always contest election broadcast radio star tsb. At that point is contested not only music but also of a kind keroncong seriosa and “entertainment”, or more dekenal today as a kind of pop.

Enthusiastic people to follow the holding of a huge radio star. This event proved that disiakan by RRI until late at night is always awaited by the pendenganya. And music keroncong among the community at that time occupied a higher position, more popular when compared with other types seriosa music and entertainment. The development of conditions in society may also influence the development of public taste for music that exists. Naturally formed polarization taste and appreciation of music as well as influence the development of music itself. Shifting tastes, especially among young children (teenagers) who preferred type of entertainment or pop music. Many emerging pop music groups such as Shania Twain, Favourit Group, D’lloyd, Pambers, Mercys etc. Also, slowly but surely, began creeping up the popularity of dangdut music which at that time better known as the musical “Malay”. Even dedengkot dangdut music like Oma Irama at the beginning of his musical career through pop music, and some single song was popular at that time. The situation now, the popularity of both kinds of music is higher (more fans) far left and seriosa kroncong kind of music.

Not satisfied with the container provided by the government as a race, the musicians of the pop music pop star held his own elections, at both regional and national level, better known by the voters “Pop Singer”. More pop music events were held, while the event to music keroncong the less even none at all.

Subsequent developments, with the abolition of the Ministry of Information from the ranks of the cabinet, automatically lost the election race is also a calendar of activities that include music radio star keroncong therein. Means also lost a place to socialize and popularize music keroncong among the community at large.

Is this the series of events ultimately lowering overall prestige keroncong music and fans began to be abandoned?

Indonesia in the eyes of society as a whole may prestige keroncong music dropped dramatically when its criterion is the amount of numbers keroncong Pengemar or music lovers. But among his own popularity or prestige KKI keroncong music still exists and is maintained, only the numbers might be smaller than the pop music fan or dangdut. The addition of the number of fans are also not very significant, perhaps waiting for changes in appetite along with the addition of age are not music fans keroncong. In fact, keroncong music community still exists, even not only in Indonesia but expanded to other countries brought by the Indonesian people are migrating to other countries, like Malaysia, Suriname, the Netherlands etc.. In the countries mentioned above, remain consistent keroncong music community enjoys and plays music keroncong.

Membeci favor or a type of music or songs, related to the taste, so its very subjective, can not be forced. Walk naturally obey the existing environment and habits. Pop songs sung by Shakira music grop or by the music group King in Indonesia very loved among teens or children smell gede (ABG), but maybe the songs the group had not known at all by the people of Suriname. The villagers may be more familiar with the artist Waljinah with the song “stinky Kekeknya”. In conclusion, globally, which have more prestige or more popular? Keroncong pop music or music? Please readers perceive themselves to answer the other questions mentioned above.

The problem faced by communities in Indonesia and dibelahan keroncong other world is how to maintain sustainable existence keroncong music. This needs to get attention in light of concerns from some quarters who doubted the durability of music keroncong against the “onslaught” other kinds of music, especially pop music. As quoted by news websites antara.co.id, October 19, 2008, carried stories about the great hope maestro keroncong Indonesia, “Gesang”, asking people keroncong music fan to help preserve the flow of original music this Java (meaning keroncong) to stay alive all time. Behind the hope he implies there is concern that Indonesia began to recede keroncong music prominence. Gradually, if no effort “nguri-uri” keroncong music, it is not impossible will be extinct abandoned fans. This situation is a challenge and an opportunity entire human community to restore the luster keroncong keroncong music maestro hopes for “Gesang” keroncong can be realized.

How do we attempt to preserve the artistic culture keroncong music?

, There are various types of keroncong, there Keroncong Original, Langgam Keroncong, Stambul Keroncong, coupled with Krontjong Toegoe. Of each type had a “formula” or “grip” on their own [regarding this formula has been published in previous bulletins Croeng]. Looking at the formula or pakemnya, keroncong music can be categorized as serious music, equivalent to classical music because there are rules that must be fulfilled to be called as music keroncong. Therein lies the beautiful and “adiluhungnya” keroncong music! So if there are some residents say that the music keroncong is “tacky” or “old school” Shah-Shah was only because of different perceptions, but it was a big mistake! Not just anyone and not many who can create and play music “pure” keroncong properly. Only people who have special talents. Therefore, keroncong music that is played without obey the rules, or that there can be said to deviate as keroncong contemporary or experimental music. Usually the young people who like to experiment so that music was born CongDut (keroncong Dangdut), CongRock (alloy keroncong and rock), CongLan (alloy keroncong and gamelan), etc.. How do we respond to the birth of the type music.

2:10 th Year Anniversary Asia Africa Confrence memorable in 1965, national lokanata kroncong song record
a) Cover

 PERKEMBANGAN MUSIM POP DI JAKARTA MENIMBULKAN PERSAINGAN DENGAN  POPULARITAS KRONCONG BETAWI(MINGGUAN DJAJA,1962)
 
1.VERSI SATU:
Semenjak pemulihan kadaulatan ,perkembangan seni  musik  DI iNDONESIA PADA UMUMNYA DAN DI iBUKOTA JAKARTA(BETAWI)  pada khususnya, telah berlangsung sangat mengembirakan(sepintas lalu “Musik” yang dimaksud disini ialah pengungkapan kesenian oleh bangsa Indonesia dengan perantaraan alat musik Barat dengan alat musik rakyat seperti kendang,canang dsbnya.Dengan sendirinya juga musik gamelan,kecapi,gambang kromong dll tidak dicakup dlamnya)
Kwantitatif dan kualitatif perkembangan tadipun mengembirakan . Mengenai kwantitas, semenjak Indonesia merdeka  semakin banyak orang bangsa Indonesia mempelajari musik atau berkecimpung dalam dunia musik. Hasilnya tampak segera, orkes dan band berfmuncuolan secepat tumbuhnya cendawan dimusim hujan.Apabila dilakukan penelitian dari orkes tersebut ,tidak mengherankan jika ditemui jumlahnya mencapai ribuan, profesional maupun amatir. Ini hanya di Ibukota jakarta saja,dimana di Ibu Kota jakarta  boleh dikatakan bila kita melalui sebuah kampung ,bahkan sebuah lorong tanpa mendengar musik yang dimainkan  oleh musisi yang tengah berlatih atau  sedang mengadakan pertunjukan.
Mengenai Kwalitas, taraf teknis musik  kita pada umunya saat ini jauh lebih tinggi dibandingkan pada masa penjajahan, yang pada masa itu bangsa Indonesia hidup dibawah tekanan penjajah sehingga terkekang pula dalam pengungkapan seni.Kini sudah dibawakan musik komponis dunia yang termasyur,karya yang termasuk abadi,serta dibawakn secara baik,bukan suatu soal bagi orkes Ibukota yang mengkhususkan diri untuk itu (Orkes simfoni Amatir Jkaarta,orkes  musik tiup sperti Orkes Radio Jakarta.)
 
Berbagai corak orkes atau band Jakarta.
Namun juga akan anda tinjau bersama kami dalm tulisan ini bukanlah perkembangan orkes itu, melainkan perkembangan dengan repetoire yang terdiri atas lagu Indonesia semata-mata yang dikenal sebagai musik populer ,khusus yang ada di Jakarta.
Bersandarkan corak repetoire,orkes dapat dibagi dalam beberapa golongan ,yaitu a.Golongan yang membawakan repertoire campuran(lagu seriosa,hiburan,keroncong dan lagu daerah) misalnya orkes saiful Bahri,
b.Golongan yang khsus membawakan lagu kroncong yang jumlahnya banyak sekali,dianataranya Orke Kroncong Sagi dibawah pimpinan  Isbandi.
c.Orkes yang membawakan lagu Joget seperti Bukit Siguntang.
d.Orkes yang khusu membawakan lagu daerah dalam gaya modern misalnya
(1) Lagu tapanuli  sepertisinondang Tapianauli,Bela Martandang,Orkes Nahun dsbnya.
(2)Lagu Maluku seperti Orkes Didi Pattirane, Benny Tatuhey dsbnya.
(3) Lagu Minang seperti Gumarang,Kumbang Tjari,OSRIA -Oslan Husein
(4)Lagu Khas betwai  seperti orkes Puspadjaja
(5) Lagu sunda seperti Reka Mustika sari dari MUs D.S.
(6)Lain-lain daripada itu ada pula orkes atau band remaja yang bergaya khas dan dewasa ini sangat digemarai para teenagers(anak Muda atau ABG) karena gaya lagunya yang tampak”envogue” dalam masyarakat  kaula muda tersebut.Siapakah diantara msusisi muda kita tersebut dalam langgam istimewa dibawakan oleh Rahmat Kartolo,Koes Bersaudara,Papen dsbnya dengan lagu Patah Hati (rahmat Kartolo9), Selalu dan Telaga Sunyi dari Koes bersaudara, lagu melankolik -romantis. Namun adapula lagu bercorak gembira seperti Kueh Putu,Pije_Piye dll .
LAGU DAERAH
Proses adaptasi lagu daerah dan lagu rakyat daslam repertoire orkes,band berlangsung dan meluas cepat sekali terutama di tahun-tahun setelah perang Dunia ke dua seperti lagu khas jakarta Djai-djali, Persi(Rusak Atau tak rusak), Kramat Karam dsbnya. yang diadaptasi dengan repertoire Gambang Kromong. Lagu Maluku seperti Kole-kole, Patanh Tjingke, Goro-gorne,dsb. Dari tapanuli seperti Inang Sargi. Dari Jawa Tengah seperti Kembang Katjang serta dari sunada lagu es Lilin.
Serentak dengan meningkatnya taraf teknis musikal bangsa kita, maka berkat adaptasi orkes/band dalam versi modern ,kini dunia mengetahui bahwa perbendaharaan musik Indonesia asli kaya sekali dan bermutu musikal tinggi . Disamping lagu-lagu nasional seperti Bengawan solo dan sapu tanggan , dewasa ini lagu daerah seperti O Ina Ni Keke(MInahasa),Angin Mamiri(Sulawesi selatan), Lamang Tapai (Sumbar)O Ale alogo (tapanuli) dan banyak lagi yang lain dinikmati oleh para peminat musik tidak saja didalam ,tetapi juga diluar negeri.
GUMARANG
 
Salah satu orkes yang terkenal di Jakarta yang dapat dikatakan pelopor dalam memperkenalkan lagu-lagu daerah kepada umum,dalam hal ini Minangkabau adalah orkes Gumarang. Kalau dalam tulisan ini Gumarang kami kemjukakan,bukanlah disebabkan oleh puilih kasih. Ada sesuatu yang menarik perhatian pada orkes ini,kecual8i fakta yang disebut siatas  bahwa Gumarang lah dapat dikatakan pelopor dalam memeprkenalkan dan mempopulerkan algu-lagu daerah khususnya MInang. Yakni saling pengertian yang sangat mendalam dan semangat kerja sama yang baik sekali  dalam orkes ini, yang menyempatkan mereka semenjak pembentukannya sehingga kini menempati salh satu kedudukan terkemuka di Indonesia pada umumnya dan di Jkarta pada khususnya.
Sejarah jadinya Orkes Gumarang didahului sebuah epristiwa yang pada waktu itu bahkan para pembentuk orkest itu sewndiri mungkin tak menduga akan berbuah dengan terciptanya sebuah orkes modern yang khususnya membawakan lagu Minang dan yang kemudian menjadi termashur.
Pada waktu itu tahun 1953, PERFINUI membutuhkan hiasan musik khusus untuk fiolm yang tengah dibuatNy berjudul Harimau Tjampa, jakni lagu-lagu Minang yang bercorak Joget. Untuk maksud itu  Usmar ismail,presiden direktur PERFINI merangkap produser dan sutradara film tersebut, telah meminta bantuan para musisi “anak-anak Minang” yang ada di jkarta.
Demikianlah kami berkumpul, cerita Asbon dalm eprcakapannya dengan kami,”Kami bertukar pikiran mengenai lagu-lagu yang akan kami bawakan untuk film tersebut. Alhasil terciptalah sebuah paduan suara yang memberikan hiasan musikal pada film tadi.Kemudian sebagai lanjutan kerjasama ini terbentuklah Orkes Gumarang ditahun 1954, awalnya dibawah pimpinan Anwar Anif,kemudian diganti oleh Alidir dan semenjak 1956 oleh Asbon.
Repetoire yang dibawakan terutama lagu-lagu rakyat Minang yang dipermodern. Para peminat film tentunya masih ingat,bahwa “Harimau Tjampa” telah mendapat hadiah dalam salah satu fetival film internasional untuk hiasan musiknya.
SAINGAN DARI BAND ANAK MUDA (TEENAGERS)
Sebagaimana lazimnya kehidupan orkes/band pada umumnya juga Gumarang tidak bebas dari masa-mas naik dan tureun, akan tetapi semenjak tahun 1957 sampai 1962 grafik perkembangannya menunjukan tendensi meningkat, demikian ulasan Asbon. Salah satu faktor yang mendorongnya ketingkat semakin tinggi itu adalah saling pengertian dan semangat kerjasama yang baik sekali diantara anggota-anggotanya disebabkan soal-soal yang tidak memungkinkan tenaganya kepada orkes, misalnya soal pekerjaan,perubahan penghidupan, harus melanjutkan pelajaran dikota lain atau diluar negeri. Akan tetapi sampai sebegitu jauh kekosongan-kekosongan yang terjadi dalam susunan orkes senantiasa berhasil diisi lagi dengan etnaga baru.
 
KEKURANGAN GUMARANG SAAT iNI
Asbon menyatakan pendapat pribadi bahwa masih banyak biduanita-biduanita kita pada umumnya kurang dapat menampilkan kepribadian sendiri atau pembawaan yang khas dalm membawakn lagunya, Yang dimaksudkannya ialah lagu-lagu daerah, Menurut Asbon, mereka masih terlampau terpengaruh oleh gaya biduanita luar negeri,nisalnya Connie Francis. Hal ini sangat disayangkan. ia menyebutkan hanya seorang biduanita yang telah memiliki pembawaan sendiri dalam hal ini Tuty Daulay.
Asbon sendiri sampai segebitu jauh telah menciptakan banyak lagu-lagu Minang, antaranya yang terkenal adalah Laruik Sandjo (Larut malam),perfini telah membuat film bersandarkan lagu ini,akan tetapi entah mengapa sampai kini filmnya belum direalese, lagu lain Baju Kurung, Jika Berpisah,Kata rang susuak dll. Apakah Aransmen lagunya disusun sendiri? kami bertanya,jawab Asbon tidak, dalam hal ini kerjasma anggoat gumara, begitu uuga dengan aransmennya, Lihatlah repetoire lagu karang asbon KOK I JO dibawah ini.
 
 
 
THE DEVELOPMENT OF POPULAR MUSIC SONG IN JAKARTA WHICH MADE DECLINE THE KRONCONG BETAWI ( weekly Djaja Magazine)1962
SEASON OF POP IN JAKARTA TO CREATE COMPETITION popularity Kroncong Betawi (WEEKLY DJAJA, 1962)1.VERSI ONE:
Since recovery kadaulatan, the development of music art GENERALLY IN INDONESIA AND in the capital Jakarta (Betawi), in particular, has been going very encouraging (cursory “Music” is meant here is the disclosure of art by the Indonesian people through the medium of Western musical instruments with folk musical instruments such as drums, cymbals dsbnya.Dengan itself also gamelan music, harp, xylophone, etc. are not covered kromong dlamnya)
Quantitative and qualitative development of tadipun encouraging. Regarding quantity, since Indonesia’s independence more and more people of Indonesia to learn music or dabbling in the music world. The results appear immediately, orchestra and band as fast as the growth of fungi season berfmuncuolan hujan.Apabila been studied from the orchestra was, not surprisingly, found the number in the thousands, professional and amateur. This is only in the capital Jakarta alone, where the capital city of Jakarta can be said if we go through a village, even a hallway without hearing music played by musicians who were trained or are currently performing.
Regarding quality, the technical standard of our music in general is much higher today than in colonial times, which at that time the Indonesian people living under colonial pressures that constrained in disclosing seni.Kini also been brought to the world renowned music composer, including the immortal works, and dibawakn well, not a matter for the Capital orchestra that specializes to it (Jkaarta Amateur symphony orchestra, wind orchestra just as Jakarta Radio Orchestra.)Various shades of orchestra or band Jakarta.
But you will also review with us preformance of this paper is not the orchestra’s development, but development with a repetoire that consists of Indonesian songs simply known as popular music, specially in Jakarta.
Rests style repetoire, the orchestra can be divided into several groups, namely a.Golongan who brought a mixture of repertoire (songs seriosa, entertainment, keroncong and folk songs), such as orchestra saiful Bahri,
b.Golongan who khsus kroncong rendition of that number a lot, Sagi Kroncong Orke dianataranya led Isbandi.
c.Orkes that the song dancing like Siguntang Hill.
d.Orkes who khusu rendition of the region in such a modern style
(1) Songs Tapanuli sepertisinondang Tapianauli, Bela Martandang, etc. Nahun Orchestra.
(2) Music of Maluku as Didi Pattirane Orchestra, Benny Tatuhey etc.
(3) Lagu Minang like Gumarang, Beetle Tjari, OSRIA-Oslan Husein
(4) Typical betwai Songs like orchestra Puspadjaja
(5) Lagu sunda like Reka Mustika sari from MUS DS
(6) Other than that there is also the orchestra or the band’s typical style teens and adults is very digemarai the teenagers (young children or teenagers) because of the style songs that seem “envogue” in the young subjects tersebut.Siapakah community among our young is msusisi in a special style, sung by Grace Kartolo, Koes Brothers, Papen etc with the song Broken Heart (Mercy Kartolo9), Always and Lake Lonely from Koes brothers, melancholic-romantic song. However adapula patterned happy songs like Kueh Putu, Pije_Piye etc.
LOCAL SONGS
The process of adapting traditional songs and folk songs daslam orchestra repertoire, the band’s ongoing and expanding rapidly, especially in the years after World War into two like a typical song Đại jakarta-Djali, Persi (Damaged Or not damaged), etc. Kramat Karam. adapted to the repertoire Gambang Kromong. Maluku songs like Kole-kole, Patanh Tjingke, Goro-gorne, etc.. From Tapanuli like Host Sargi. From Central Java as well as from sunada Katjang Flower song Candle ice.
Concurrent with the increasing technical level of our nation’s musical, the adaptation thanks to the orchestra / band in the modern version, now the world knows that the indigenous Indonesian music repertory very rich and high-quality musicals. In addition to such national songs solo and broom Bengawan tanggan, today’s folk songs like O Ina Ni Keke (Minahasa), Wind Mamiri (South Sulawesi), Lamang Tapai (Sumatra) O Ale alogo (Tapanuli) and many others enjoyed by music enthusiasts not only within but also outside the country.
Gumarang
One of the famous orchestra in Jakarta who can say the pioneers in introducing folk songs to the public, in this case is the orchestra Gumarang Minangkabau. If in this paper we Gumarang kemjukakan, was not caused by puilih love. There is something to draw attention to the orchestra, called Siatas kecual8i facts that can be said Gumarang was a pioneer in popularizing algu memeprkenalkan and traditional pieces, especially Minang. That is a very deep understanding and a spirit of excellent cooperation in this orchestra, which took them since its formation so that now occupies a leading position salh one in Indonesia in general and in Jkarta in particular.
History would Orchestra Gumarang preceded a epristiwa which at that time even the shaper orkest sewndiri probably did not expect it will bear fruit with the creation of a modern orchestra, especially the song M9nang and who later became famous.
At that time 1953, PERFINUI require special musical decoration for the middle fiolm dibuatNy Tjampa titled Tiger ‘s descendants Minang songs are patterned dancing. For the purposes of the Usmar Ismail, president of Perfini concurrent film producer and director, has enlisted the help of the musicians’ children Minang “in jkarta.
So we gathered, the story Asbon preformance eprcakapannya with us, “We exchange ideas about the songs that we’ll bring to the film. As a result created a choir that gives the film a musical ornament tadi.Kemudian as a continuation of this partnership was formed Orchestra Gumarang ditahun 1954 , initially under the leadership of Anwar Anif, later replaced by Alidir and since 1956 by Asbon.
Repetoire brought mainly folk songs Minang modernized. Movie enthusiasts must still remember, that “Tiger Tjampa” has received a prize in one of the international film fetival to garnish his music.
Rival OF YOUTH BAND (Teenagers)
As is usually the life of the orchestra / band in general is also Gumarang not free from the ride and tureun-mas, but since 1957, and 1962 growth charts show the tendency to increase, so review Asbon. Salag one factor that pushed him to the level the higher it is the mutual understanding and spirit of excellent cooperation among its members due to the problems that do not allow energy to the orchestra, for example about the job, changes in livelihood, should pursue studies another city or overseas. However, until so far vacancies that occur in the composition of the orchestra always managed to be filled again with new etnaga.LACK OF CURRENT Gumarang
Asbon personal opinion that there are many ladies-ladies we are generally less able to display its own personality or innate characteristic dalm membawakn song, He is referring to is folk songs, according Asbon, they are still unduly influenced by forces outside the country songstress, Connie Francis nisalnya . This is unfortunate. he mentions only one female vocalist who has had the bearing itself in this case Tuty Daulay.
Asbon own until segebitu far has created many Minang songs, among them the famous is Laruik Sandjo (Late night), the film rests Perfini has made this song, but for some reason until now has not been direalese movie, another song Baju Kurung, If Separated, The word now susuak etc. Is Aransmen own songs composed? we ask, answer Asbon not, in this case working together of  gumarang orkes members , also with  it aransment,Assbon  rock song repetoire KOK JO  please look  below.

 VERSION TWO
1.Orkes Gumarang  sibp.Asbon degan Penyanyi Yuni amir,Oslan Husein dan Nurseha.1) Gumarang Orchestra leader Asbon with Singer Yuni Amir ,song Ya Musthapa productions  Mesra Record Inc The Song Ya Mustapha history

Ya Mustafa, also spelled Ya Mustapha, is a famous Egyptian song of unclear origin, whose lyrics are composed in 3 different languages: Arabic, French and Italian. There are also versions in the Greek and Turkish languages, where they are very popular in the respective countries (“Μουσταφά”). The music of the song is similar to Greek music. It was very popular in the 1950s and early 1960s. The song has been performed in many different versions by many different singers worldwide. One of the earliest singers to record this song in the 1950s was the Turkish-French singer Dario Moreno. The song became popular in Europe with the help of the Egyptian-born Palestinian singer Bob Azzam, who released it in 1960 in France. Azzam’s version was also a hit on the UK Singles Chart, where it spent 14 weeks and peaked at number 23[1]. In Spain, in 1960, the song reached #1 in the charts in both versions sung by Bob Azzam and by José Guardiola [1]. Bruno Gigliotti, the brother of famous singer Dalida, also covered the song. The song also featured in a few Egyptian movies, including one starring the Egyptian actor Ismail Yassin in the 1950s, and another film featuring Sabah from the same era. In 1975, the Turkish Cypriot actress and singer Nil Burak sang Ya Mustafa. The song was also copied by the Indian composers Nadeem-Shravan. Other singers who reproduced exactly the same song include the Lebanese singer Reeda Boutros and the American singer and actress Angélica María.

This song, with its Greek style music and polyglotic lyrics, can be considered as a historical tribute to the cosmopolitan era in the Egyptian city of Alexandria. During that era, a large cosmopolitan polyglotic community, mainly Greeks, Jews and Italians, lived in Alexandria. A sizable portion lived in the Attarine district, where the events of the song takes place.

The refrain of the song is “Chérie je t’aime, chérie je t’adore, como la salsa del pomodoro” (Darling, I love you, darling, I adore you, like tomato sauce).

The Gumarang Asbon History

Gumarang Orchestra and other Minang record like  Kampuang Nan Jauh Dimato(the homeland which far from eyes)

and Gumarang 1971

Orkes Gumarang

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang. Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin. Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta.

Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya.

Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.  Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba. Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

 Album Gumarang – Kampuang Nan Jauah di Mato

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf. Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan. Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH). Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha. Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu.

Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.  “Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta. “Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman.

Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya.

Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional.

Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini. Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

2.Musik Minang ERA 1960-1970

1) Oslan Husein

oslan huseinGumarang, Teruna Ria, dan Kumbang Tjari
IRAMA musik Latin sudah masuk dalam ramuan aransemen musik lagu-lagu Indonesia sejak pertengahan tahun 1955. Pelakunya adalah seorang yang bernama Asbon Majid, pemimpin orkes Gumarang. Dengan maksud memberi alternatif lain dari seriosa, keroncong, dan hiburan, Asbon memasuki unsur-unsur musik Latin yang pada masa itu memang sedang populer di Indonesia.

oslan-tahu

Detail information on musical album is important for history. Look at this album entitled Tahu Tempe by singer Oslan Husein which published by Irama record on 1960-ies. This album attached a note written by Sjahrul Nawas on it’s back cover. Sjahrul Nawas said that this album presented songs concerning about basic need of the Indonesian people in era 1960-ies.

This album responded toward speech of Presiden Soekarno who said that Indonesian people will never been hungry, because Indonesia is a rich country. So that this album presented songs entitled Tahu Tempe (a traditional food made of soya-bean), Nasi Djagung (rice made of corn), Sepiring Nasi (A Plate of Rice).

But what made this album special is a song entitled Lebaran, which became national anthem and sung every Idul Fitri season. Also finally, we know that the composer of this classic song is M. Jusuf, a leader of Orkes Widjaja Kusuma, a band for this album. Who has any information about M. Jusuf? Please share us

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang.

Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin.

Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya.

Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.

Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba.

Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf.

Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan.

Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH).

Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha.

Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.(siapa yang memiliki rekaman orkes Gumarang dibp alidir,harap memberikan info,teriam Kasih- Dr Iwan S)

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.Bagaimanakah profiole Mas Yos, mari kita lihat pada sampul piring hitam berjudul Dari Mas Yos Kasih Maafkan Beta ,berupa rekaman musik orkes eslhinta dbp Mus Mualim. dibawah ini :

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu. Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.

“Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta.

“Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman. Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya. Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.

Pada era ini musik barat dilarang diputar di Radio,  sehingga musik dalam negeri memperoleh kesempatan.,sperti lagu minang , seperti cuplikan dari tulisan surat kabar Padang Post dibawah ini:

Sejarah munculnya kreatifitas seniman dalam memopulerkan lagu-lagu Minang. Frans Sartono (kompas.com), menjelaskan, pada era 1950-1960-an, pembatasan pemutaran musik pop Barat di radio berimbas pada kreatifitas seniman lokal untuk berbicara dengan bahasa daerah dalam lirik lagu. Orkes Gumarang yang personelnya adalah Urang Awak mempopulerkan lagu berbahasa Minang, seperti Ayam Den Lapeh sampai Laruik Sanjo. Mereka mengakomodasikan unsur musik Latin yang saat itu banyak digemari di negeri ini. Oslan Husein, dengan bahasa Minang pula, memopulerkan lagu seperti Kampuang nan Jauh di Mato, dan Elly Kasim dikenal lewat Bareh Solok.
Dengan penelusuran yang lebih lengkap mengenai sejarah munculnya lagu-lagu Minang yang bersinergi dengan musik-musik lain, Theodore KS, penulis masalah industri musik (kompas.com) menguraikan, bahwa di masa 50-an muncul grup-grup musik yang menggubah lagu-lagu Minang dengan warna musik lain, seperti musik klasik. Orkes Gumarang dengan irama Latin

Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional.

Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini.

Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

 Nuansa Minangkabau yang ada di dalam setiap musik Sumatera Barat yang dicampur dengan jenis musik apapun saat ini pasti akan terlihat dari setiap karya lagu yang beredar di masyarat. Hal ini karena musik Minang bisa diracik dengan aliran musik jenis apapun sehingga enak didengar dan bisa diterima oleh masyarakat. Unsur musik pemberi nuansa terdiri dari instrumen alat musik tradisional saluang, bansi, talempong, rabab, dan gandang tabuik.

Ada pula saluang jo dendang, yakni penyampaian dendang (cerita berlagu) yang diiringi saluang yang dikenal juga dengan nama sijobang[14].

Musik Minangkabau berupa instrumentalia dan lagu-lagu dari daerah ini pada umumnya bersifat melankolis. Hal ini berkaitan erat dengan struktur masyarakatnya yang memiliki rasa persaudaraan, hubungan kekeluargaan dan kecintaan akan kampung halaman yang tinggi ditunjang dengan kebiasaan pergi merantau.

Industri musik di Sumatera Barat semakin berkembang dengan munculnya seniman-seniman Minang yang bisa membaurkan musik modern ke dalam musik tradisional Minangkabau. Perkembangan musik Minang modern di Sumatera Barat sudah dimulai sejak tahun 1950-an ditandai dengan lahirnya Orkes Gumarang.

Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya.

2.Orkes Kumbang Tjari dibp.Nuskan sjarif dengan penyanyi Elly Kasim.

Kumbang Tjari
Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.
“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH. “Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.
PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan). Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek Manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.  Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan. Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.  Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.
Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam. Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene. Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.
Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya.

Mengikuti sukses Gumarang, Kumbang Tjari pun tak kalah terkenalnya. Adalah Nuskan Syarif yang menakhodai grup musik yang berdiri tahun 1961 ini. Meskipun mengagumi Gumarang, Nuskan berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang.
Memasuki studio rekaman piringan hitam (PH), album Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taratak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan).
Selain Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang.

Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene.

Seribu lagu setahun

Melihat perkembangan awal lagu-lagu pop Minang ini, wajar saja kalau sebagian penggemar lagu Minang prihatin dan kecewa dengan lagu Minang sekarang. Salah satu faktor yang menyebabkan lagu-lagu Minang tempo dulu bisa hinggap lebih lama di telinga pendengarnya adalah tidak banyaknya industri rekaman, apalagi ditahun-tahun 50-an tersebut. Dalam setahun bisa dihitung dengan jari lagu yang beredar. Belum lagi pada masa itu rekaman piringan hitam (PH) dengan gramafon sebagai medianya. Bahkan untuk tampil di RRI saja harus melewati seleksi yang ketat. “Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba,”

SEMENTARA itu, orkes Kumbang Tjari dipimpin oleh Nuskan Syarif, Teruna Ria oleh Oslan Husein, dan Zaenal Combo oleh Zaenal Arifin. Tiga orkes ini memasukkan rock’n’roll pada lagu-lagu Minang dan non-Minang, seperti Kampung Nan Jauh Di Mato, Tirtonadi, dan Bengawan Solo.

Kumbang Tjari

Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.

“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH. “Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.

Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak.

Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI.

“Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960.

Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.

“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu.

Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH.

“Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.

PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan).

Kemudian elly Kasim merekam beberapa piring hitam antara lain :

1.Lagu  Kasiah Tak Sampai diiringi Band  electrica dibp Iwan Setiawan ,diproduksi oleh Indah record,LP Sterio side 1 berisi lagu Kapan Kamai,Kasiah tak sampai,Gulai paku,Djangan Tjoba2,Batanam Mumbang dan Sutan Betawi

side 2 berisi lagu :Batjontiak,Putus Kasiah,Sunguik Apolo,Permohonan dan gadih Bajua.

2.Lagu Anak Salido direkam oleh Philips

Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.

Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan.

Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.(salam kepada Pak Nuskan sjarief,masih ingat saya Goan pemain tenis yang dilatih oleh ayah anda alm Bachtiar sjarief di Padang,masih ingat kita pernah bertemu dilapangn seberang sungai dikaki bukit gunung padang dulu sekitar tahun 1960,nama saya sekarang Iwan Suwandy-Dr Iwan)

Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.

Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam.

Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an.

Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene.

Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.

PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan). Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek Manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.  Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan. Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.  Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.

Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam. Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene. Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.

Album Elly Kasim – Main Kim

Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya.

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Pada  era 1959-1970 Orkes Kumbangtjari dibawah pimpinan Nuskan sjarif ( Saya pernah bertemu dengan Nuskan sekitar tahun 1959, baik dipadang saat lagi berlatih  Tennis lapangan dengan ayahnya alm Pak Bachtiar  Sjarief dan tahun 1959 betermu di Jakarta saat bertanding tennis ke Semarang di Jakarta, terakhir Nuskan sjarif sebagai ppegawai negeri bertugas di Papua barat (IB saat itu) dan menciptakan lagu Apose,dimanakah Nuskan Sjarief saat ini ? harap yang mengetahuinya memberikan ifo,ayahnya Bachtiar sjarief pelatihku sudah almarhum-Dr Iwan)

 lihat piringhitam Nuskan sjarif deng orkes Kumbang Tjarinya,djuga lagu Elly Kasim alias cik Unieng ,

english version:

 Orchestra GumarangTowards the end of 1953 and early 1954, there are some young people from West Sumatra, among others, called Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairul, Taufik, Syaiful Nawas, and Awaludin who later became Chief of Police. Together with several other men gathered at their house in Jalan Jambu Yus Bahri, Menteng, Central Jakarta. They agreed to set up a music group to continue the pursuit of Hearts Comforter orchestra that hummed Minang songs. They named the group Gumarang orchestra. The name was taken from the legendary story Minang, Cindue Mato, the main character has three pets. Three animal is the rooster Kinantan savvy, Binuang the burly bull, and Gumarang the Pegasus flight of white fur like a lightning so that according to legend can travel the world in an instant. Anif Anwar also was asked to become a leader. First discussed is how the concept of music that will be brought to Minang songs that have been popularized by the Comforter Heart by Radio Republik Indonesia (RRI), Jakarta.

Heart Songs Comforter radio broadcast that, among other things, Kaparinyo, Paddle Palinggam, Fate Sawahlunto, and Sempaya.

The influence of Latin songs (such as Melody d’Amour, Besame Mucho, Cachito, Maria Elena, and Quizas, Quizas, Quizas) who are not able to tune them tepis. That’s why Latin music into a new element in musical arrangements Gumarang. In those days it was not easy for a singer or a group to perform at the RRI. They must pass the test in front of a jury, as is appropriate participants of a race. Although Anwar Anif only led for nine months, he managed to bring Gumarang RRI pass the test. Alidir replace it turns out that a shorter stay longer and then handed over to the Asbon Gumarang leadership, in May 1955.

 Album Gumarang – Kampuang Nan Jauah in Mato
Asbon not only reinforces the dominance of Latin music in the songs that have been brought Gumarang usual, but also the creation of new songs and other creations Gumarang personnel. During this Asbon join pianist who has a touch of Latin, Januar Arifin, and singer Hasmanan (later became director), Nurseha, and Anas Yusuf. Gumarang greatness can not be denied thanks to frequent this group perform in RRI and enliven the event Fun Stage. Success Gumarang win the hearts of the people causing the appearance of the orchestra that continues in other places, such as the State Palace, Arts Building, and Istora. During Alidir leadership, Gumarang had recorded several songs under the auspices of the state company, Lokananta, in Solo. Recordings made at Studio RRI Jakarta and the results are brought to Lokananta to be printed in the form of LPs (PH). In this first recording Gumarang play with drums, bongo, maracas, piano, guitar, and bass betot. They still retain tramp gamat and dancing while integrating it with the Beguine, rumba, and cha-cha. Minang sound of musical instruments, such as talempong, it gives associations in Latin rhythms, as well saluang. That is why Latin rhythms easily combined with Minang songs.

Suyoso Karsono who led the record company Rhythm in Jakarta was secretly interested in Gumarang. As a businessman, a man known by the name of Mas Yos knew that rhythm that was delivered Gumarang not only able to present the songs Minang accordance with the original, but it also has a concoction of Latin rhythms are very appreciated by the public.

“Actually it was only in the Latin rhythm tempo, so that songs can be accepted also by the Minang community outside Minang,” said Asbon when accepting an offer to record a song rhythm.

Ayam Den Lapeh Gumarang record creation A Hamid, Jiko Bapisoh and Laruik Sanjo Asbon creation, creation Yobaitu Syaiful Nawas, Takana Adiak creation Januar Arifin, Clothes Karuang, Ko Upiek Lah Tower, Titian Nan Lapuak, Fate Sawahlunto, and other songs that clearly once combined with the rhythm of the cha-cha, known as a dance in South America. “Cha-cha it is becoming a favorite of society at that time, as we love to ride tricycles from the outhouse to the Studio Rhythm. When finished recording, Nurseha Asbon escorted by rickshaw to his home in Grogol. You see, the recording was started at eight in the evening usually ended at two in the morning, “said one singer Gumarang, Syaiful Nawas, who had become a daily reporter Alert, guide, Purnama, Trio, Assorted, Sinar Harapan, Abadi, Voice Reform, and magazines Selecta. “I am in charge of writing all the events having taken part in the recording process.

Mas Yos provide the ingredients and I write in various newspapers and magazines Selecta and Varia. In fact, the daily wrote Gumarang guide the editorial plan.

While direct Asbon give PH a new from the factory to the RRI, “said Syaiful Nawas, grandfather of five grandchildren who are now every day at home eating his own head, Padang Raya.Hasilnya, and Ayam Den Sanjo Laruik Lapeh reverberate not only in the RRI, but also in special stores that sell PH in Jakarta and outside the city. Screening Gumarang songs that are at the request of the public who visit the shops and buy their PH. Sanjo Laruik which means late twilight, and Ayam Den Lapeh as an analogy lost lovers, become popular songs nationally.

So popular is the second song, Sanjo Laruik dilayarputihkan by Perfini in 1960 with famed director Usmar Ismail as well as actors and actresses Farida Bambang Irawan Oetojo a leading role. While producing Ayam Den Film Stupa Lapeh in the same year with director H Asby and Gondosubroto, while Asbon and trusted Gumarang illustrations fill this film music. The story is taken from the lyric. The kucapang the accomplish / Saikua Tapang Saikua lapeh / Tabanglah juo nan ka Rimbo / Oi is unfortunate juo. That is, who chased missed, held apart.

Minang 2.Musik ERA 1960-1970

1) Oslan Husein

Gumarang, Teruna Ria, and Beetle Tjari
Latin music has been included in the ingredient musical arrangements of songs in Indonesia since mid 1955. The culprit was a man named Asbon Majid, leader of the orchestra Gumarang. For the purpose of giving an alternative to seriosa, keroncong, and entertainment, Asbon enter the elements of Latin music in those days it was popular in Indonesia.

Detailed information on the musical album is Important for history. Look at this album entitled Know Tempe by the which the singer Oslan Husein published by Rhythm records on 1960-ies. This album attached a note written by Sjahrul Nawas on it’s back cover. Sjahrul Nawas said that this album songs presented Concerning about the basic need of the Indonesian people in the era of 1960-ies.

This album responded toward the speech of President Soekarno, the WHO said that Indonesian people will of never been hungry, Because Indonesia is a rich country. That So this album entitled Know Tempe presented songs (a traditional food made of soya-bean), Djagung Rice (rice made of corn), A plate of Nasi (A Plate of Rice).

But what made this special album is a song entitled Lebaran, the which Became the national anthem and sung every Idul Fitri season. Also finally, We Know That the composer of this classic song is M. Joseph, a leader of Orchestra Widjaja Kusuma, a band for this album. Who has any information about M. Joseph? Please share us

Towards the end of 1953 and early 1954, there are some young people from West Sumatra, among others, called Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairul, Taufik, Syaiful Nawas, and Awaludin who later became Chief of Police. Together with several other men gathered at their house in Jalan Jambu Yus Bahri, Menteng, Central Jakarta. They agreed to set up a music group to continue the pursuit of Hearts Comforter orchestra that hummed Minang songs.

They named the group Gumarang orchestra. The name was taken from the legendary story Minang, Cindue Mato, the main character has three pets. Three animal is the rooster Kinantan savvy, Binuang the burly bull, and Gumarang the Pegasus flight of white fur like a lightning so that according to legend can travel the world in an instant. Anif Anwar also was asked to become a leader.

First discussed is how the concept of music that will be brought to Minang songs that have been popularized by the Comforter Heart by Radio Republik Indonesia (RRI), Jakarta. Heart Songs Comforter radio broadcast that, among other things, Kaparinyo, Paddle Palinggam, Fate Sawahlunto, and Sempaya.

The influence of Latin songs (such as Melody d’Amour, Besame Mucho, Cachito, Maria Elena, and Quizas, Quizas, Quizas) who are not able to tune them tepis. That’s why Latin music into a new element in musical arrangements Gumarang.

In those days it was not easy for a singer or a group to perform at the RRI. They must pass the test in front of a jury, as is appropriate participants of a race.

Although Anwar Anif only led for nine months, he managed to bring Gumarang RRI pass the test. Alidir replace it turns out that a shorter stay longer and then handed over to the Asbon Gumarang leadership, in May 1955.

Asbon not only reinforces the dominance of Latin music in the songs that have been brought Gumarang usual, but also the creation of new songs and other creations Gumarang personnel. During this Asbon join pianist who has a touch of Latin, Januar Arifin, and singer Hasmanan (later became director), Nurseha, and Anas Yusuf.

Gumarang greatness can not be denied thanks to frequent this group perform in RRI and enliven the event Fun Stage. Success Gumarang win the hearts of the people causing the appearance of the orchestra that continues in other places, such as the State Palace, Arts Building, and Istora.

During Alidir leadership, Gumarang had recorded several songs under the auspices of the state company, Lokananta, in Solo. Recordings made at Studio RRI Jakarta and the results are brought to Lokananta to be printed in the form of LPs (PH).

In this first recording Gumarang play with drums, bongo, maracas, piano, guitar, and bass betot. They still retain tramp gamat and dancing while integrating it with the Beguine, rumba, and cha-cha.

Minang sound of musical instruments, such as talempong, it gives associations in Latin rhythms, as well saluang. That is why Latin rhythms easily combined with Minang songs. (Who has a recording orchestra Gumarang dibp alidir, please provide the info, teriam Love-Dr Iwan S)

Suyoso Karsono who led the record company Rhythm in Jakarta was secretly interested in Gumarang. As a businessman, a man known by the name of Mas Yos knew that rhythm that was delivered Gumarang not only able to present the songs Minang accordance with the original, but it also has a herb that is very popular Latin rhythms masyarakat.Bagaimanakah profiole Mas Yos, let’s look at black plate cover titled From Mas Yos Love Forgive Beta, in the form of recorded music orchestra eslhinta DBP Mus Mualim. below:

“Actually it was only in the Latin rhythm tempo, so that songs can be accepted also by the Minang community outside Minang,” said Asbon when accepting an offer to record a song rhythm. Ayam Den Lapeh Gumarang record creation A Hamid, Jiko Bapisoh and Laruik Sanjo Asbon creation, creation Yobaitu Syaiful Nawas, Takana Adiak creation Januar Arifin, Clothes Karuang, Ko Lah Upiek Tower, Titian Nan Lapuak, Fate Sawahlunto, and other songs that clearly once combined with the rhythm of the cha-cha, known as a dance in South America.

“Cha-cha it is becoming a favorite of society at that time, as we love to ride tricycles from the outhouse to the Studio Rhythm. When finished recording, Nurseha Asbon escorted by rickshaw to his house in Grogol. After all, the recording was started at eight in the evening is usually done at two early days, “said one singer Gumarang, Syaiful Nawas, who had become a daily reporter Alert, guide, Purnama, Trio, Assorted, Sinar Harapan, Abadi, Voice Reform, and Selecta magazine.

“I am in charge of writing all the events having taken part in the recording process. Mas Yos provide the ingredients and I write in various newspapers and magazines Selecta and Varia. In fact, the daily wrote Gumarang guide the editorial plan. While Asbon directly give the new PH from the factory to the RRI, “said Syaiful Nawas, grandfather of five grandchildren who are now every day at home eating his own head, Padang Raya.

In this era of western music banned from playing on the radio, so the music in the country get the chance., Just as Minang songs, such as excerpts from the writings of Padang Post newspaper below:

Creativity of artists in the history of the emergence of popularized Minang songs. Frans Sartono (kompas.com), explaining, in the era from 1950 to 1960’s, the playback restrictions of Western pop music on the radio impact on the creativity of local artists to speak the local language in the lyrics of the song. Gumarang orchestra that its personnel are Urang crew popularize Minang language songs, such as Ayam Den Lapeh until Laruik Sanjo. They accommodate the elements of Latin music that was a lot of rage in this country. Oslan Husein, with Minang language also, popularized the songs like Deep in Mato Kampuang nan, and Elly Kasim known through Bareh Solok.
With a more complete search on the history of the emergence of Minang songs that synergize with other music, Theodore KS, author of the music industry issues (kompas.com) describes, that during the 50’s show musical groups who composed songs Minang with colors other music, like classical music. Gumarang orchestra with Latin rhythms

As a result, and Ayam Den Sanjo Laruik Lapeh reverberate not only in the RRI, but also in special stores that sell PH in Jakarta and outside the city. Screening Gumarang songs that are at the request of the public who visit the shops and buy their PH. Sanjo Laruik which means late twilight, and Ayam Den Lapeh as an analogy lost lovers, become popular songs nationally.

So popular is the second song, Sanjo Laruik dilayarputihkan by Perfini in 1960 with famed director Usmar Ismail as well as actors and actresses Farida Bambang Irawan Oetojo a leading role. While producing Ayam Den Film Stupa Lapeh in the same year with director H Asby and Gondosubroto, while Asbon and trusted Gumarang illustrations fill this film music.

The story is taken from the lyric. The kucapang the accomplish / Saikua Tapang Saikua lapeh / Tabanglah juo nan ka Rimbo / Oi is unfortunate juo. That is, who chased missed, held apart.

 Shades of Minangkabau in West Sumatra in any music that is mixed with any type of music today would be visible from every work songs that circulated in masyarat. This is because the music Minang be formulated with any kind of music so good to hear and be accepted by society. The element consists of music giver nuances of traditional musical instruments saluang, Bansi, talempong, Rabab, and gandang tabuik.

There is also saluang jo sang, namely the delivery sang (sing stories) are accompanied saluang which is also known as sijobang [14].

Minangkabau in the form of instrumental music and songs from this region are generally melancholy. This relates closely to the structure of society who have a sense of brotherhood, family relationships and a love of high home supported by habit go wander.

The music industry in West Sumatra is growing with the emergence of artists who can blend Minang modern music into a traditional Minangkabau music. The development of modern Minang music in West Sumatra has been started since the 1950’s was marked by the birth of Gumarang Orchestra.

They are already gone, but left a trail of music and modern Indonesian Minang. Gumarang with Latin rhythms and rock’n’roll Teruna Ria had her songs and her music.

Beetles 2.Orkes Tjari dibp.Nuskan Sjarif with singer Elly Kasim.
Beetles Tjari
Meanwhile, in Padang tersebutlah a young man named Nuskan Sharif crazy music. I was so huge desire for music and have a guitar, money to buy clothes Lebaran bought the guitar used in the junkman. Nuskan, is proud of its popularity Gumarang, in 1954 was on vacation in Jakarta. He did not waste the opportunity during his stay in the capital city and offer his songs, Kok Upiak Lah Tower, to Gumarang. Apparently the song is received and played on the show Happy Stage at RRI. “The song I have written notation and the lyrics as the tape recorder not yet popular as now. I went back into the field and continue his career as an amateur singer while deepening my knowledge of guitar playing,” said Nuskan also known as Physical Education teacher at Junior High School I Padang until the year 1960. Moving to Jakarta, Nuskan continue a career as a gym teacher, while his ability to play the guitar and creates song increasing. On the advice of Anas Yusuf, Nuskan decided to join the Gumarang. However, Asbon who already know how good the young man actually suggested it to form his own band.
“That was the beginning of the birth of the orchestra Tjari Beetle in 1961. Although I admire Gumarang, I tried to make different music. If Gumarang dominant with piano, guitar melodies Beetle Tjari forward,” continued Nuskan, a father of nine children and grandfather of 10 grandchildren. This is where Nuskan show keperkasaannya as a guitar player, not only in terms of technique, but also in terms of sound exploration. An excerpt of his guitar to remind listeners will vote saluang, a bamboo flute typical Minang. This hallmark has not second to none until now. This is punctuated Hasmanan, one Gumarang singer who writes his impression impression on the cover-PH. “As the new orchestra which still must fight to win sympathy and popularity, attracting the very breath and penghajatan provided ‘Beetle Tjari’ on-track lagunja. Hidangan2 they still feel very close to the original methods lagu2 Minang people brought. Petikan2 guitar often reminds people Nuskan Sjarif will the sound of original music alat2 Minang like talempong, fiddle, and saluang, “the inscription on the front cover of the PH.
PH beetles first Tjari contains Asmara Dara songs sung by Elly Kasim, Darek Randang sung Nuskan Sharif, Taraatak Appliances (Elly Kasim and his friends), Mak Tatji (Nuskan Sharif), Apo Dajo (Elly Kasim and his friend), ideals of Joy (Elly Kasim and Nuskan Sharif), Mari Cha Cha Cha (Nuskan Sharif), Girls Tuladan (Nuskan Sharif), Beetle Djanti (Elly Kasim), Langkisau (Nuskan Sharif and his friends), Kureta Solok (Nusikan Sharif et al), and Oi, the Moon (Elly Kasim et al.) Together these beetles Tjari Elly Kasim became a singer of songs that is irreplaceable Minang until now. Women born in Tiku, Agam regency, West Sumatra, on 27 September 1942, was famous for songs such as Kaparinyo, Paddle Palinggam, Curved Nine, Barek Solok, Lamang Tapai, Sala-lauak, The Lady, Lansek Manih, Main Kim, Mudiak Arau, and much more. The songs that have been published in dozens of PH, tapes, or VCD for over 40 years. However, beetles Tjari then forced vacuum when Nuskan as a gym teacher accepted to be placed in Sukarnapura (now Jayapura), Papua, in July 1963. “I really enjoy the profession as a gym teacher. Sent to West Irian I regard as a mandate that must be implemented. After I left, my dear friends are not willing to continue the Beetle Tjari,” said Nuskan. While in Jayapura, he could also develop the seeds of singers and created a number of songs. High Cliff was born in January 4, 1935, at the age of 70 years before today, Nuskan still diligent jogging in the morning and stay ready to perform with his Tjari Beetle. Although only two years (1961-1963) in the music scene, beetles Tjari became the first group to perform at TVRI when the state television station was inaugurated in 1962. This orchestra also fill the opening of Balinese Room, Hotel Indonesia, and later performed with Gumarang and Taruna Ria in the show titled “Big Three” at Istora.
Nuskan back to Jakarta 29 November and in January 1969 Beetle Tjari formed again with different personnel and do not wear frills “orchestra” again. Beetles Tjari led Nuskan and went back as before began to enter the recording studio and stage events to fill a variety of tours to Malaysia together with Elly Kasim, Benjamin S, Ida Royani, and Ellya wage earner. In addition Tjari Gumarang and beetles, also not be forgotten that reinforce the orchestra Teruna Ria rock’n’roll rhythm in Minang songs. The dissolution Teruna Ria cause main singer, Oslan Husein, founded Osria. Meanwhile, other personnel, Zaenal Arifin, founded Zaenal Combo, who ruled the musical arrangement recorded almost all singers in the late 1960s until the early 1970s. Singers who accompanied Zaenal Combo, namely Syriac Lilies, Ernie Djohan, Alfian, a duo Tuty Subarjo / Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, or Lily Marlene. Zaenal Arifin, songwriter Bayur Bay, died March 31, 2002. Asbon died on March 16, 2004, while Oslan Husein and Nurseha precedes both a few years earlier.
They are already gone, but left a trail of music and modern Indonesian Minang. Gumarang with Latin rhythm and the Ria Teruna rock’n’roll me a song and music. While the guitar sound a la saluang Nuskan Sharif could still be enjoyed until now with the Beetles Tjari him.
Following the success Gumarang, Beetle Tjari was no less famous. Sharif is a menakhodai Nuskan music group founded in 1961. While admiring Gumarang, Nuskan trying to make different music. If Gumarang dominant with piano, guitar melodies Beetle Tjari forward. This is where Nuskan show keperkasaannya as a guitar player, not only in terms of technique, but also in terms of sound exploration. An excerpt of his guitar to remind listeners will vote saluang, bamboo flute typical Minang. This hallmark has not second to none until now.
Entering the recording studio LPs (PH), the album’s first Beetle Tjari contains Asmara Dara songs sung by Elly Kasim, Darek Randang sung Nuskan Sharif, Taratak Appliances (Elly Kasim and his friends), Mak Tatji (Nuskan Sharif) , Apo Dajo (Elly Kasim and his friends), ideals of Joy (Elly Kasim and Nuskan Sharif), Mari Cha Cha Cha (Nuskan Sharif), Girls Tuladan (Nuskan Sharif), Beetle Djanti (Elly Kasim), Langkisau (Nuskan Sharif and his friends), Kureta Solok (Nusikan Sharif and his friends), and Oi, the Moon (Elly Kasim et al.)
Besides Gumarang and beetles Tjari, also not be forgotten that reinforce the orchestra Teruna Ria rock’n’roll rhythm in Minang songs.

The dissolution of lead singer Ria Teruna main, Oslan Husein, founded Osria. Meanwhile, other personnel, Zaenal Arifin, founded Zaenal Combo, who ruled the musical arrangement recorded almost all singers in the late 1960s until the early 1970s. Singers who accompanied Zaenal Combo, namely Lilies Syriac, Ernie Djohan, Alfian, a duo Tuty Subarjo / Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, or Lily Marlene.

A thousand songs a year

Looking at the early development of Minang pop songs of this, it’s natural that some fans of the song concerned and disappointed by the Minang Minang song now. One of the factors that cause Minang songs of the past can perch longer in the listener’s ear is not the number of the record industry, especially ditahun-50s are. Within a year can be counted on the fingers of outstanding songs. Not to mention at that time was recording LPs (PH) with a gramophone as a medium. Even to perform at the RRI just need to go through a rigorous selection. “In those days it was not easy for a singer or a group to perform at the RRI. They must pass the test in front of a jury, as is appropriate participants of a race, “

TEMPORARY, the orchestra led by Nuskan Beetle Tjari Sharif, Teruna Ria by Oslan Husein, and Zaenal Combo by Zaenal Arifin. Three enter rock’n’roll orchestra in songs and non-Minang Minang, such as Kampung Nan Far Mato, Tirtonadi, and Solo.

Beetles Tjari(Kumbang Tjari)

Meanwhile, in Padang tersebutlah a young man named Nuskan Sharif crazy music. I was so huge desire for music and have a guitar, money to buy clothes Lebaran bought the guitar used in the junkman. Nuskan, is proud of its popularity Gumarang, in 1954 was on vacation in Jakarta. He did not waste the opportunity during his stay in the capital city and offer his songs, Kok Upiak Lah Tower, to Gumarang. Apparently the song is received and played on the show Happy Stage at RRI. “The song I have written notation and the lyrics as the tape recorder not yet popular as now. I went back into the field and continue his career as an amateur singer while deepening my knowledge of guitar playing, “said Nuskan also known as Physical Education teacher at Junior High School I Padang until 1960. Moving to Jakarta, Nuskan continue a career as a gym teacher, while his ability to play the guitar and creates song increasing. On the advice of Anas Yusuf, Nuskan decided to join the Gumarang. However, Asbon who already know how good the young man actually suggested it to form his own band.

“That was the beginning of the birth of the orchestra Tjari Beetle in 1961. Although I admire Gumarang, I tried to make different music. If Gumarang dominant with piano, guitar melodies Beetle Tjari forward, “continued Nuskan, a father of nine children and grandfather of 10 grandchildren. This is where Nuskan show keperkasaannya as a guitar player, not only in terms of technique, but also in terms of sound exploration. An excerpt of his guitar to remind listeners will vote saluang, bamboo flute typical Minang. This hallmark has not second to none until now. This is punctuated Hasmanan, one Gumarang singer who writes his impression impression on the cover-PH. “As a new orchestra which still must fight to win sympathy and popularity, attracting the very breath and penghajatan provided ‘Beetle Tjari’ against song-lagunja. Hidangan2 they still feel very close to the original methods lagu2 Minang people brought. Petikan2 Nuskan Sjarif guitar often reminds one of the original sound of music alat2 Minang like talempong, fiddle, and saluang, “the writing on the cover of the PH’s.

Meanwhile, in Padang tersebutlah a young man named Nuskan Sharif crazy music. I was so huge desire for music and have a guitar, money to buy clothes Lebaran bought the guitar used in the junkman.

Nuskan, is proud of its popularity Gumarang, in 1954 was on vacation in Jakarta. He did not waste the opportunity during his stay in the capital city and offer his songs, Kok Upiak Lah Tower, to Gumarang. Apparently the song is received and played on the show Happy Stage at RRI.

“The song I have written notation and the lyrics as the tape recorder not yet popular as now. I went back into the field and continue his career as an amateur singer while deepening my knowledge of guitar playing,” said Nuskan also known as Physical Education teacher at Junior High School I Padang until the year 1960

Moving to Jakarta, Nuskan continue a career as a gym teacher, while his ability to play the guitar and creates song increasing. On the advice of Anas Yusuf, Nuskan decided to join the Gumarang. However, Asbon who already know how good the young man actually suggested it to form his own band.

“That was the beginning of the birth of the orchestra Tjari Beetle in 1961. Although I admire Gumarang, I tried to make different music. If Gumarang dominant with piano, guitar melodies Beetle Tjari forward,” continued Nuskan, a father of nine children and grandfather of 10 grandchildren.

This is where Nuskan show keperkasaannya as a guitar player, not only in terms of technique, but also in terms of sound exploration. An excerpt of his guitar to remind listeners will vote saluang, bamboo flute typical Minang. This hallmark has not second to none until now. This is punctuated Hasmanan, one Gumarang singer who writes his impression impression on the cover-PH.

“As a new orchestra which still must fight to win sympathy and popularity, attracting the very breath and penghajatan given à ¢ â, ¬ â” ¢ Beetle Tjarià ¢ â, ¬ â “¢ against song-lagunja. Hidangan2 they still feel very close to the methods lagu2 original Minang people brought. Petikan2 Nuskan Sjarif guitar often reminds one of the original sound of music alat2 Minang like talempong, fiddle, and saluang, “the writing on the cover of the PH’s.

PH beetles first Tjari contains Asmara Dara songs sung by Elly Kasim, Darek Randang sung Nuskan Sharif, Taraatak Appliances (Elly Kasim and his friends), Mak Tatji (Nuskan Sharif), Apo Dajo (Elly Kasim and his friend), ideals of Joy (Elly Kasim and Nuskan Sharif), Mari Cha Cha Cha (Nuskan Sharif), Girls Tuladan (Nuskan Sharif), Beetle Djanti (Elly Kasim), Langkisau (Nuskan Sharif and his friends), Kureta Solok (Nusikan Sharif et al), and Oi, the Moon (Elly Kasim et al.)

Then elly Kasim record some black plates, among others:

1.Lagu Kasiah It Up Band accompanied electrica dibp Iwan Setiawan, manufactured by Bayer records, Sterio LP side 1 contains the song When Kamai, Kasiah not until, curry nails, Do not Tjoba2, Batanam Mumbang and Sutan Betawi

Side 2 includes songs: Batjontiak, Disconnect Kasiah, Sunguik Apolo, Application and Silly Bajua.

Children 2.Lagu Salido recorded by Philips

Together these beetles Tjari Elly Kasim became a singer of songs that is irreplaceable Minang until now. Women born in Tiku, Agam regency, West Sumatra, on 27 September 1942, was famous for songs such as Kaparinyo, Paddle Palinggam, Curved Nine, Barek Solok, Lamang Tapai, Sala-lauak, The Lady, Lansek manih, Main Kim, Mudiak Arau, and much more.

the end @Copyright Dr Iwan Suwandy 2011