In its implementation, the Blangikhan ritual is always accompanied by performing arts routines using Islamic music as their background song (Aswir & Misbah, 2018). Islamic nuance can be indicated through the signs in the musical components, including the instruments operated, the music model, the lyrics or poems played, and the performance. Stuart Hall emphasizes that Identity is not fixed, natural, or essential but is socially constructed, negotiated, and shaped by historical, cultural, and social contexts (Hall, 1997). He emphasizes the role of power, representation, language, and hybridity in identity formation, highlighting identity construction’s complex and dynamic nature. Identity is influenced by factors such as race, gender, social class, and religion. Identity can also be considered how individuals and groups position themselves in society (Jhally, 1997).
Related to this argument, Islamic musical offerings in the Blangikhan ritual, i.e., Hadrah music, are played during the procession. Hadrah’s music originated from the Middle East (Iswanto, 2015). Hadrah music is identic as Islamic art due to its presentation, which is always accompanied by the lyric of sholawat poetry or recitation of dhikr accompanied by the drumming of the tambourine as the main instrument in Hadrah music (Indrawan, 2012). This music has a distinctive rhythm pattern, with improvised songs to blend the atmosphere and momentum of the event. Hadrah music is generally played in Muslim communities as an arrangement of praise and prayer towards God and the Prophet Muhammad SAW (Sasongko, 2018). In practice, Hadrah music can vary in diverse regions and different cultures. Some variations in instruments, songs, and performance styles exist among Muslim communities worldwide. Hadrah music originates from Islamic traditions in several world regions, especially in the Middle East and Southeast Asia (Fikri, 2014). This music is usually used in religious events or certain celebrations in Islamic culture. Hadrah music often strengthens a sense of togetherness and love of religion (Aswir & Misbah, 2018). Hadrah performances allow audiences to express their religious feelings and participate in a shared spiritual experience (Iswanto, 2015).
The Muslim Identity in the Blangikhan ritual accompanies another musical beat called the Bedana dance. This dance is presented with a Malay-Islamic nuance. Bedana dance is believed to have developed along with the history of Islam in Lampung and depicts the friendly life and culture of the Malay people of Lampung. Aligned with its Islamic history, the dancers also wear clothing that combines traditional clothing styles with Islamic dress styles. In its presentation, Metahuman Bedana music also uses lyrics or sholawat poems arranged to the strains of music like zap in popular music among the Malay community (Moshinsky, 1959). The instruments found in the accompanying music for the Bedana dance include the tambourine, banjo, keyboard, and percussion (drum, cymbals, and tambourine)(Aprilia, 2019).The Blangikhan ritual activity also presents band music that performs and plays Lampung pop songs and Indonesian pop songs with religious themes. The popular religious song, specifically with the Holy Month theme, is considered part of Islamic music and represents Islam in the Blangikhan ritual content due to its lyrics.
In Blangikhan ritual activities, music is an important part of entertainment for all people who attend the activity, especially the Muslim community. Islamic music is one of the elements or performances of performing arts displayed in Blangikhan ritual activities that become a marker of the Muslim Identity representation in Lampung. It can be seen from the signs of ‘Islam’ in the music, which features Hadrah music and the chanting ofsholawat accompanied by tambourine beats. Tetabuhan music accompanies Bedana dance, which also presents sholawat in a musical arrangement combined with Malay rhythms, and the last one is band music that performs religious pop songs i,e., “Ramadhan Tiba”. The multi-ethnic life of Lampung society triggers cultural crossover or hybrid processes in the context of music. The interaction between the native Lampung and immigrant communities develops the musical pattern occasionally. Musical easily identifiable factors include musical instruments, scale systems, harmony systems, ensemble form, and methods for producing musical works. Moreover, Lampung’s traditional artists have their way of creating a performance that combines traditional or modern types of music with ‘Islamic’ elements.
Furthermore, how music can be said to be ‘Islamic’ music or not can be noticed based on the arrangement of the music itself (Jamil, 2022). This music is part of a tradition produced by the Lampung people themselves. The types of music such as Hadrah and sholawatplayed in the Blangikhan ritual indicate that this music is a part of ‘Islamic’ art (Aswir & Misbah, 2018). Lampung Hadrah music is played with tambourine instruments using traditional Lampung drumming patterns known as Tikol drumming patterns. This drumming pattern is a basic rhythm that accompanies the sung prayer-poems (Iswanto, 2015). The Bedana Kreasi music is composed and arranged functions to accompany the modern and development of the traditional Bedana dance. The Lampung traditional artists produced works of art that presented the needs and developments in the community’s cultural context. It has been explained previously that Lampung society is strongly influenced by Malay-Islamic tradition. Therefore,the performances, whether the public can enjoy music or dance more efficiently, are presented in these ritual activities.
The last one is related to the regulatory aspect, precisely, a process of setting or implementing rules, regulations, or policies by the government or other regulatory institutions to control or direct the behavior of individuals, groups, or sectors in society. The main goal of regulation is to create an acceptable, safe framework that functions well for the benefit of the community. Rules include financial regulations governing banking activities, environmental laws governing industrial waste disposal, traffic regulations governing road use, and more. In the Blangikhan ritual, this activity is organized by the local community, namely the Batu Putu village community, together with Lampung Sai, the Lampung Traditional Balancing Council (MPAL), and the Lampung Community Communication Forum (Fokmal). This traditional institution supports community activities to preserve Lampung’s cultural traditions. Therefore, the Blangikhan ritual also presents performing arts characteristic of Lampung cultural traditions. The music in the Blangikhan ritual certainly has a form of presentation in a series of processions. There are three parts in the Blangikhan ritual procession series, including the opening part, the core part, the watering or bathing ritual, and the closing part, which enters the entertainment program. It also refers to the form of music played. The first part of the Blangikhan ritual processions usually begins with a gathering of traditional elders and religious figures, regional officials, and the community in the Nuwo Balak courtyard. A procession is carried out towards the Kali Akar river, which is the location of the ritual. In this procession involving mekhanai(singles) and muli(girls) who are participants in the core ritual procession and as a symbol of self-purification, the two bridal couples as symbols who wear clothes from two major Lampung traditions, namely Saibatin and Pepadun, and the Pencak Silat (Material Arts) players. In this procession, Hadrah music is played to mark the beginning of the series of ritual processions and as musical accompaniment to the spectacle until it arrives at the ritual location.
Hadrah music in the Blangikhan ritual is performed by standing or walking, holding a tambourine in the left hand, and beating with the right hand while chanting sholawat poetry. The sound or tone color of the tambourine instrument is “Tak,” which is struck in the middle with the hand or fingers open, thus producing a highmiddle sound. As for “Dung,” it is hit in a half circle of the tambourine with the hand or fingers closed so that it creates a low sound and is the center of gravity. In this regard, the musicians’ clothes when playing Hadrah music are decorated with motifs from Tapis Lampung, such as jackets, headbands (kopiah), sinjang tumpal cloth, and black trousers.
The event continued with the Bedana dance performance. Some rituals involve dance or movement as a form of presentation. These gestures can have symbolic meaning and are used to honor spiritual entities or to achieve unity with nature or God. As previously explained, this dance is accompanied by zapin music, which includes the Prophet’s prayer lyrics. Apart from being performed at Blangikhan ritual events, this creative bedana dance is often served at other events, such as weddings. Related to the musical accompaniment of the Bedana dance, this creation was composed or arranged using the strains of Lampung Bedana music or, more impressed by Malay zapin music. The instruments found in the accompanying music for the dance include the tambourine, bano, keyboard, talo balak, and percussion (drum, cymbals, and tambourine). The third part of the Blangikhan ritual procession is the closing part. After the main march has been completed, everyone continues to eat together. In some traditions, special foods are served as part of the ritual. These foods often have symbolic meaning and may be consumed by ritual participants to draw energy or blessings from spiritual entities. In other words, this procession is the end of all the ritual processions. We will enter a free event, namely enjoying entertainment from a music band performing regional Lampung pop songs and Indonesian pop songs. According to available information, the band is a musical group brought in at the request of the organizing committee. In previous years, this band’s music was not included in the Blangikhan ritual activities. It has become a phenomenon due to shifts and developments in community activities, such as the Blangikhan ritual.
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