Purpose and Structure of Inclusion in Babatu Orchestra Devotion

Toki Batu music, which was developed by Anez, has actually been known by the Ulahahan people for a long time, only as a game played by children after returning from their gardens. The Idea of Birth of Stone Music is one of the traditional musical instruments made from the creativity of its people. Art can be relized through skill in demonstrating something or multidimensional expertise in creating something inventively (Marianto, 2017). This music was originally part of the community’s self-entertainment when crossing the river. The children played on the bank of the river, hitting the rocks around them. As a young composer, Anez Latupeirissa tries to develop Toki Batu’s music through his creativity. One form of development is by forming a community. Since appearing for the first time as performer at the Pesparawi event in 2018, the Toki Batu group has increasingly existed and been active in various pieces of training conducted and scheduled by Anez. Initially, this group was given the name “Babatu Music” group, then changed its name to “Beta Ulahahan Ethnic Music,” but over time and with various considerations through suggestions and input from several music artists, it was finally agreed to change the name. from “Beta Ulahahan Ethnic Music” to “Ulahahan Babatu Orchestra” or UBO for short on October 7, 2021.

Before forming the community, Anez trained several people in Ulahahan village who were still in school until they were adults to play Toki Batu music. After training them, then groups are formed from members who have been trained by bringing common goals in the concept of community. The emergence of a community is based on existing goals as a community concept, as stated by Siagian (2016), who explained that community is a form of group that works together to achieve certain goals. Every member of the community has demands to follow all existing processes and rules in achieving goals (Puspawatie, 2019). The purpose of the Ulahahan Babatu Orchestra is to become a traditional music group to prove that traditional music belonging to Ulahahan Village is able to compete with other wellknown music globally. The group wants to introduce Ulahahan village as a village in the interior of Seram Island through Toki Batu music so that it is more widely known by the local community even outside the Maluku region. This goal provides an understanding that the Ulahahan Babatu Orchestra group seeks to strengthen a regional identity through Toki Batu music.

Another goal of the Ulahahan Babatu Orchestra community is to accommodate the creativity of young people in the Ulahahan Church Congregational Sunday School and develop their musical abilities. The group teaches the younger generation to preserve traditional music, which is still relatively new. The younger generation is the most important part of the concept of preserving and teaching them to play an active role in maintaining local wisdom values (Suparno et al., 2018). The enthusiasm that is still high and the abilities that must be improved for young people are the foundation for them to continue carrying out activities that must be preserved. As a group with artistic elements, the Ulahahan Babatu Orchestra community plays a role in the concept of education for the community. Members who are members of it have the desire to learn and can play Toki Batu music. As most of its members are not from people who are experts in the field of music, in the community they are taught and nurtured to be able to play Babatu music. They can develop their creativity and express themselves in Toki Batu music by becoming members. The concept of education and training carried out in the Ulahahan Babatu Orchestra community is a form of non-formal education. Irwan (2017) said that training is included in nonformal education, which provides practical, usable skills related to needs, business opportunities, and economic or industrial potential for the community. Non-formal education is an alternative to empowering and providing training for people outside of school. Therefore, in this case, the Ulahahan Babatu Orchestra community plays a role in improving society’s quality in the non-formal education concept.

Out of the several goals of the community, the most important part is that the group was created to become an expectation of the group that together achieve goals. The group hopes to show Ulahahan Village’s potential as a village with Toki Batu music and to introduce it to the wider community. This hope is embodied in the music group, which continues to be held as a symbol of preservation. Kay (2000) said that preserving artistic activities collectively is looking at oneself about selfimage and the image of a region. The development of some members, which initially consisted of 29 people when it was formed, has now increased to 75 people from various backgrounds in 2021 (Table 1). The increase in the number of members shows that more and more people are interested in the existence of the Ulahahan Babatu Orchestra community. According to Kapoyos, Suharto & Syakir (2022), the people’s enthusiasm for supporting the preservation of traditional music is to use it as entertainment. However, besides placing it as entertainment, enthusiasm can also be shown by contributing and being involved in playing the music group.

The Ulahahan Babatu Orchestra group began to be in demand by the Ulahahan community from children to adults and developed into a musical ensemble group consisting of; a group of inflatable bamboo (kuma tiplam), a group of Toki Batu (Pele Vatwam) and a group of choirs (talioro kumi). With an inclusive concept in groups, members come from various ages and gender with the following categories (Table 1). The group has members consisting of students. Music lecturer, music student, government doctor on duty at the Telutih District Health Center, UKIM Ambon theology degree graduate, two Church servants, one Congregational Council member, and a Church building guard (tuagama). In playing musical instruments, each member has their role in using instruments such as bamboo flute, water feather flute, bamboo toki, bamboo toki, stone toki, and choir. Meanwhile, the youth and the elderly play musical instruments Toki Batu, bamboo flute, bamboo winding, bamboo string blowing, sariki, rumba fruit, guitar, ukulele, cajon, string bass, and others.

Embracing diversity, inclusion, and equality is one step in shaping community culture by aligning goals, group styles, and change (Sahir et al., 2022). Group members in the community participate in learning and move in the way learning communities are formed and how individuals are divided into work (Henley, 2009). The inclusive concept of the community is freedom which does not limit anyone from being able to join the group because the more people who want to be involved, the more people who are proud of traditional music in Maluku, especially in the village of Ulahahan. Inclusiveness in the Community as a pattern for musical groups, is used as a way to position all members equally regardless of background, age and gender (Arasli et al, 2020). Social inclusion is a process that empowers certain individuals or groups to participate in social life (Simarmata, 2017). The concept of inclusiveness in the Ulahahan Babatu Orchestra can be identified with various members from various ages and different backgrounds; even some members are not from a class of musicians who are good at playing music. Another influence that occurs in the inclusion process is the emergence of opportunities to utilize the music community in various activities. Group members who come from the church can use music as accompaniment for religious activities or members who come as lecturers will have the opportunity to invite the community to present Toki Batu music performances at events at their university. This thinking has become an opportunity in inclusive ownership to promote mutual support (Roffey, 2013).

Leadership As Control

Leadership is an important part of the nature of a leader. This gives the role of how a leader manages and controls a community to achieve goals. Leadership is one of the success factors in the community, the better the pattern of leadership, the better the quality of the community they lead (Marwan et al., 2020). So, the policy of a leader has a big influence on the comunity. The inclusive concept of this orchestra illustrates that leadership is open to accepting members from various backgrounds. In this case, the community can be considered an “act of hospitality” (Higgins & Lee, 2010). In which community leaders welcome someone with open arms without seeing or measuring their musical abilities and experience.

The Ulahahan Babatu Orchestra music group has a “cultural” pattern. That is, leadership is based on who is older, he must be respected. As a community that was born in an environment with a cultural structure, the island of Seram has a culture that guides its life. Society upholds respect for elders who are more experienced in life. The culture that exists in the environment is then brought into the community by arranging personnel based on age. The culture in the Ulahahan environment adopted by this community provides space for the formation of individual behavior as members, especially for younger members. According to Utaminingsih (2014), the environment significantly influences the formation of one’s personality. So that in the community, children will be taught to respect elders, as is the culture in Ulahahan. Respect for parents is part of the culture in Ulahahan, which must be maintained and preserved. Traditional parents play an important role in the Ulahahan community. For every problem that occurs, Indigenous Parents are involved in finding solutions to problems that occur. Therefore, this orchestra group teaches this so that future generations will still adhere to this culture as a daily life value in Ulahahan Village. For the ages of PAUD children up to grade 3 elementary school, they will be responsible for playing musical instruments that are played easily, such as hitting stones and bamboo only as a rhythm. Elementary school children from grades 4 to high school are responsible for playing the bamboo flute in the form of a flute group. Furthermore, the young men are given the role of playing the bass flute or water feather flute. This group is categorized as a kuma tiplam (blowing bamboo) music group, but in their children’s flute group, they are also a choir group (talioro kumi). The Toki Batu Group (Pele Vatwam) is a musical group consisting of adult musicians entrusted with playing more than one musical instrument for each player.

A leader or elder must have the ability to motivate its members. They believe that fostering a community by maintaining the quality of music is not just training children to read musical notation (number notes), sing, and play musical instruments but also motivating them to keep their enthusiasm in playing music. The method used by the group is to use musical experiences from musical groups that already exist in art. Musical groups are shown to children through video media to encourage them to make music and work well together because the music community can help develop trust when they learn to listen to others and learn to work together (Higgins & Lee, 2010). Apart from that, other motivations are also given to members who are still studying by encouraging them not to forget their education. In motivating education, namely by providing opportunities for children to read textbooks before starting to practice playing music. Even in training processes, practice activities are temporarily stopped when children are in the school exam period. Education is an activity that children should not abandon as group members. Because basically, playing music is a complementary science in the world of education which acts as a creative process. This is in line with the opinion of Jaffurs (2004), who said that the music community is an informal music learning space, therefore, informal pedagogy can go beyond the direct physical environment.

The Role of Music Groups: Art and Society

The life of the Ambonese people, who have been in contact with music since their ancestors, certainly sparked other areas around them to join in making music. This influence cannot be overcome, let alone music as an expression and an expression that gives a sense of comfort to those who play music or those who listen to it. Supported by regional unity that forms a brotherhood among the people of Maluku, which strengthens music and lights up in various regions, even in small villages like Ulahahan. Anez’s life, through music in Ambon City, inspired him to develop music in the land of Ulahahan. It was well received by the community and created a concept culturally. Anez’s strong determination to build this band represents the uniqueness of the Ulahahan region. The name of the Toki Batu musical instrument originates from a local story. In the past, in Ulahahan, Telutih, Seram Island, when people came home from work from the forest and crossed the river, they would rest on the edge of the river. While resting, they will sound the small stones on the river’s banks, and the stones are sounded as a rhythmic sound to determine the tempo of the song when they whistle or sing. Everything was done to entertain themselves from feeling tired and exhausted after a long day of work. This habit makes them accustomed to the sound of music and feel comfortable. Shwartz & Fouts (2003) say that the tendency to listen to one type of music turns out to have an effect on a person’s identity or characteristics in everyday life. Culturally, local Maluku musical instruments are created both by utilizing the sounds of objects in nature, such as stone, wood, bamboo, and snail shells, as well as by receiving musical instruments from outside Maluku, which is a tradition in Maluku (Tamaela, Izaac, 2015).

The influence of behavior occurs through the learning process through the inclusive concept. As Welch et al. (2014), the higher the normalized singing ability, the more positive the self-concept and sense of inclusive social involvement, regardless of age, gender, or ethnicity. Thus, learning music in this orchestra group is an important part of improving the ability of its members to play Toki Batu music. Apart from studying music, the music community teaches togetherness and solidarity in playing music because Toki Batu music cannot be played individually. Music must play simultaneously to create harmony in the rhythm, so the members will feel compelled to cooperate.

As an art born in Ulahahan Village through local wisdom, of course, Toki Batu music is a regional art not owned by other regions. This has the potential to introduce Ulahahan Village as a creative and unique village through Babatu music created with the creativity of its people. As the aim is to introduce Babatu music and bring out regional identity, Babatu music has been expressed as a concept of community identity through music and shown to the wider community. In this case, the social function has been validated in its role as art in society. In line with Anderson’s opinion (2016), the emergence of a community helps present identity with its ideology. The work of Babatu Orchestra as a creative space that teaches people how to play music certainly makes them feel comfortable and safe. Through playing music, the members create creations with various materials used in playing Babatu music. The concept of music provides a happy atmosphere for those who play and those who listen, so Toki Batu’s music functions as a recreation for players and those who listen to it. It is because music provides a sense of security and comfort in unfavorable situations (Denora, 2004).

Art is a medium of expression. Art is shown to convey concepts and feelings in a person. Music can be a medium for conveying feelings. This is inseparable from the existence of communication. As the people of Maluku cannot be separated from music and singing, both communicate with each other to convey feelings of happiness, happiness, anger or sadness. Toki Batu music is one of the parts of community expression as a medium of communication to the wider community through the identity that is formed. Through Babatu music, the Ulahahan people try to show the wider community that they have potential in the field of music. Later, this music group also became an accompaniment in worship activities at the Ulahahan Village Church which played Christian spiritual music. The Babatu Orchestra Ulahahan Community is also a non-formal educational facility. As a community that teaches Babatu music to its members, of course, Babatu’s music is a medium to improve the creativity and skills of members, especially the children in Ulahahan Village. From these findings, the orchestra’s role in society has functions in the fields of recreation, communication, education, and religion. This role was formed due to management within the orchestra Ulahahan Community which influenced the emergence of this perception. The success of a community in achieving its goals depends on good management, so it is determined by how the community manages all available resources to create effective activities in achieving goals (Sabariah, 2017).

Management influences societal roles, such as applying cultural values adhered to by groups as the basis for rules to respect older people. Inclusion within groups prevents exclusion from occurring in society, the existence of a motivation to learn for children, and group goals to empower the community. Since the emergence of Toki Batu music, the people in Ulahahan Village have understood this as a phenomenon of local wisdom which is managed to become an art with positive potential. Thus, it forms a community as a space for interaction. Then the community plays a role in the interaction of members who demand each individual in Toki Batu’s musical arts activities. Members are required to be proactive, reflexive, and creative in the concept of an inclusive group as belonging together and affirming identity. Because building music is one way of strategy to assert self and group identity (Denora, 2004), then of all the benefits that exist from forming a community, it is in line with the opinion of Laing & Mair (2015) that forming local community groups, they are the communities that benefit the most from an inclusive process.

REFERENCES

Anderson, B. (2016). Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso Book.

Arasli, H. (2020). Constructive Leadership and Employee Innovative Behaviors: A Serial Mediation Model. Sustainability (Switzerland), 12 (7), 1-17.

Barker, C. (2003). Cultural Studies: Theory and Practice. In Cultural Studies: Theory and Practice(2nd edition).

Chen, V. H.-H. (2014). Cultural Identity. Key Concepts in Intercultural Dialogue, 22.

Creswell, J. W. (2008). Educational Research. Planning, conducting, and evaluating quantitative and qualitative research (3rd ed). Pearson Education, Inc.

DeNora, T. 2004. Music in Everyday Life. Cambridge: Press Syndicate the University of Cambridge.

Fieldman, E. B.. (1967). Art As Image and Idea. New Jersey: Prentice-Hall, Inc.

Gilbert, P. (2010). Respons Emosi Musikal. CV Lubuk Agung.

Gutama, P. P. B. Bambang W. (2020). Inklusi Sosial dalam Pembangunan Desa. Reformasi, 10(1), 70-90.

Henley, J. (2009). “The Learning Ensemble: Musical Learning Through Participation. Unpublished, Disertation. Brimingham City University.

Higgins, Lee & Patricia S. C. (2010). Free To Be Musical: Group Improvisation in Music. Maryland: Rowman & Littlefield Education.

Irwan, M. (2017). Evaluasi Program Pelatihan Keterampilan Mengolah Limbah Kertas Semen Pada PKBM Cahaya Kota Binjai. JPPM (Jurnal Pendidikan dan Pengabdian Masyarakat), 4(2), 121- 132.

Jaffurs, S.E. (2004). The Impact of Informal Music Learning Practices in Classroom, Or How I Learned to Teach From a Garage Band. International Journal of Music Education, 22 (3), 189 – 200.

Kapoyos, R. J., Suharto, S., & Syakir, S. (2022). Bia Music: Traditional Music Heritage and Preserving Tradition Across Generations. Harmonia: Journal of Art Research and Education, 22(2), 298-310. https://doi.org/10.15294/ harmonia.v22i2.37619

Kay, Alan. (2000). Art and community development: the role the arts have in regenerating communities. Community Development Journal, 35(4), 414- 424.

Laing, J & Mair, J. (2015). Events and Social Inclusion. Leisure Science: an Interdisciplinary Journal, 37(3), 252-268.

Latupeirissa, N. A. (2021). “Babatu : Musik Tradisional Alifuru di Ulahahan Oleh : Nelsano A. Latupeirissa, M.Sn – Musisi Alifuru Dosen IAKN Ambon.” TerasMaluku.Com. Retrieved from https://terasMaluku.com/headline/2021/03/19/ Babatu-musik-tradisional-alifurudi-Ulahahan-oleh-nelsano-a-latupeirissa-m-sn-musisi-alifuru-doseniakn-ambon/

Lemay, R. A. (1999). Roles, identities, and expectancies: Positive contributions of role theory to Normalization and Social Role Valorization. In R. J. Flynn & R. A. Lemay (Eds.), A quartercentury of Normalization and Social Role Valorization: Evolution and impact. Ottawa, ON: University of Ottawa Press.

Marianto, M. D. (2017). Seni dan Daya Hidup Dalam Perspektif Quantum. Yogyakarta: Scritto Books dan BP ISI Yogyakarta.

Marwan. (2022). Manajemen Kinerja dan Budaya Komunitas: Suatu Tinjauan Teoritis. Yayasan Kita Menulis.

Milles, & Huberman. (1992). Analisis Data Kualitatif. Universitas Indonesia Press.

Nethsinghe, R. (2009). To The Land of The Tea Trees From the Island of Tea: A Learning Experience in Performing Art For Children of Sri Lanka Community in Melbourne. Victorian Journal of Music Education, 12(1), 19-28.

Netsinghe, R. (2013). The Notion of Authenticity in Multicultural Music: Approaching Proximal Simulation. International Journal of Multicultural Education, 15 (2), 1-15.

Nugent, Paul D. & Jennifer Flynn. (2020). Reviving Organizational Culture with the Concept of Tradition: A Symbolic Interactionist Perspective. International Journal of Business & Applied Sciences, 9(1), 54-58. Puspawatie, Susiana. (2019).

Strategi Pengelolaan Paduan Suara Perguruan Tinggi: Studi Kasus Paduan Suara Mahasiswa Universitas Palangkaraya. Jurnal of Music Science, Tehnology dan Industry, 2(2), 219-230. https:// doi.org/10.31091/jomsti.v2i2.868

Reeves, S., Kuper, A., & Hodges, B. D. (2008). Qualitative research: Qualitative research methodologies: Ethnography. BMJ, 337(7668). https:// doi.org/10.1136/bmj.a1020

Roffey, S. (2013). Inclusive and Eksclusive Belonging – The Impact on Individual and Community well- being. Educational & Child Psychology, 30 (1), 38-49.

Sabariah, Etika. 2017. Manajemen Strategis. Yogyakarta: Pustaka Pelajar Sahir, Syafrida

Hafni., dkk. (2022). Kepemimpinan dan Budaya Komunitas. Yayasan Kita Menulis.

Schwartz, K. D., & Fouts, G. T. (2003). Music Preferences, Personality Style and Developmental Issues of Adolescents. Journal of Youth and Adolescence, 32(3) 205–213. https://doi. org/10.1023/A:1022547520656

Şensen, E. (2015). Role Theory and Its Usefulness In Public Relations. European Journal of Business and Social Sciences, 4(1), 136–143.

Siagian, Sondang. (2016). Manajemen Sumber Daya Manusia. Jakarta: Bumi Aksara.

Simarmata, R. (2017). Perspektif Inklusi Sosial dalam UU Nomor 6 Tahun 2014 Tentang Desa: Kebijakan dan Tantangan Implementasi. Transformasi Sosial, 19(37), 7-27.

Small, C. (1998) Musicking: The Meanings of Performing and Listening. Middletown: Wesleyan University Press.

Spradley, James P. (2016). The Ethnographic Interview (Reissue Edition). Long Grove: Waveland Press, Inc

Suparno. (2018). Mempertahankan Eksistensi Budaya Lokal Nusantara di Tengah Arus Globalisasi Melalui Pelestarian Tradisi Gawai Dayak Sintang. Jurnal Pekan, 3(1), 43-56.

Tamaela, Izaac, C. (2015). Contextualization of Music in the Moluccan Church. Vrije Universiteit. Utaminingsih,

Alifiulahtin. (2014). Perilaku Komunitas. Malang: Universitas Brawijaya Press

Veblen, K.K. (2007). The Many Ways of Community Music. Internasional Journal of Community Music. 1(1), 5- 21.

Warsilah, Henny. (2015). Pembangunan Inklusi Sebagai Upaya Mereduksi Eksklusi Sosial Perkotaan: Kasus Kelompo Marjinal di Kampung Semanggi, Solo, Jawa Tengah. Jurnal Masyarakat dan Budaya, 17(2), 207- 231.

Welch, G. F. Et al., (2014). Singing and Social Inclusion. Frontier in Psychology, 5 (Article 803), 1-12. https://doi. org/10.3389/fpsyg.2014.00803

Willingham, Lee. (2021). Community Music at the Boundaries. Ontario: Wilfrid Laurier University Press

Wehner, Leslie E. (2014). Role Theory, Narratives, and Interpretation: The Domestik Contestation of Roles. International Studies Review, 16(3), 411-436. https://doi.org/10.1111/ misr.12149

Yerichuk, D & Krar, J. (2019). From Inclusion to Inclusivity: A Scoping Review of Community Music Scolarship. Internasional Journal of Community Music, 12(2), 169-188. http://doi: 10.1386/ijcm.12.2.169_1