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KAWIH
Hayati Mayang Arum
Overview
This video introduces Sundanese 'kawih' (songs), differentiating them from 'tembang' (traditional songs with specific poetic structures) and 'kakawihan' (children's play songs). It traces the historical roots of kawih back to 1518 CE, highlighting its deep integration into Sundanese life and culture, from daily activities like farming and bathing children to artistic expression. The video explores different types of kawih based on rhythm (free or rhythmic) and accompaniment, and distinguishes between classical and modern kawih based on their structure, lyrical content, and instrumentation. Finally, it provides a framework for analyzing kawih by examining its lyrics, word choice, imagery, figurative language, and underlying message.
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Chapters
- Kawih refers to any song found in Sunda land.
- Tembang are Sundanese songs that adhere to specific poetic rules called 'pupuh', which have defined patterns of rhyme and meter.
- Kakawihan are songs typically sung during children's games, with examples like 'Oray-orayan' and 'Cingcangkeling'.
- The primary difference lies in their context and structure: kawih is general, tembang follows strict poetic forms, and kakawihan are associated with play.
Distinguishing between kawih, tembang, and kakawihan is crucial for understanding the nuances of Sundanese musical and poetic traditions.
Songs like 'Oray-orayan' and 'Cingcangkeling' are examples of kakawihan, sung during children's games.
- Kawih has a long history, with evidence of its existence dating back to at least 1518 CE, as noted in the ancient manuscript 'Sanghyang Siksakandang Karesian'.
- This manuscript lists various forms of kawih, indicating its established presence in Sundanese culture.
- The existence of 'paraguna' (experts or musicians) mentioned in historical texts further emphasizes the importance and recognition of kawih.
- Kawih is deeply intertwined with the daily lives and cultural identity of the Sundanese people.
Understanding the historical depth of kawih reveals it as a foundational element of Sundanese cultural heritage, not a recent development.
The manuscript 'Sanghyang Siksakandang Karesian' from 1518 CE contains early records and mentions of various types of kawih.
- Kawih is integrated into various Sundanese activities, including lullabies for children ('pepende'), songs sung while working in rice fields ('ngawuluku'), and during preparations for planting ('naseuk').
- Activities like bathing children, working in the fields ('ngaria di huma'), and even scaring birds away from crops ('ngeprak manuk') are often accompanied by singing.
- These practices demonstrate that kawih is not just entertainment but a functional part of Sundanese social and agricultural life.
- The tradition of singing during work or daily routines reflects a deep connection between the people, their environment, and their artistic expression.
Recognizing kawih's presence in everyday Sundanese life highlights its role as a cultural thread that binds communities and activities together.
Singing is often done while working in the fields ('ngaria di huma') or during the process of planting seeds.
- Kawih can be categorized by rhythm: 'Irama Merdeka' (free rhythm), where the singer dictates the tempo, and 'Irama Tandak' (rhythmic), where the tempo is clearly defined and followed.
- Kawih are also classified by their accompanying instruments, such as 'Kawih Kacapi' (accompanied by kacapi), 'Kawih Degung' (accompanied by gamelan degung), 'Kawih Calung' (accompanied by calung), and 'Kawih Pop Sunda' (modern Sundanese pop songs).
- The same melody can be classified differently based on the accompanying musical ensemble.
- Pop Sunda incorporates modern pop music elements while retaining Sundanese characteristics.
Understanding these classifications helps in appreciating the diversity and adaptability of Sundanese music across different styles and instrumentation.
The song 'Mawar Bodas' can be classified as 'Kawih Kacapi' if played with a kacapi, or 'Kawih Degung' if played with a degung ensemble.
- Classical kawih, created before approximately 1850, often uses poetic forms like 'sisindiran' (rhyming couplets) or 'pupuh' (traditional poetic meters).
- Classical kawih may incorporate elements of 'karawitan' (Javanese classical music) and feature specific instrumental sounds ('catrik', 'uluk-uluk', 'sinyur', 'bungur', etc.) that define its character.
- Modern kawih, developed from around 1850 onwards, typically uses free verse poetry ('puisi bebas') or 'sajak' (modern Sundanese poetry).
- Modern kawih is often accompanied by modern instruments and frequently addresses contemporary themes, though it may still retain Sundanese musical nuances.
The distinction between classical and modern kawih allows for a deeper analysis of their lyrical content, musical structure, and historical context.
Classical kawih might use 'sisindiran' in its lyrics, while modern kawih would likely use free verse or 'sajak'.
- The structure of kawih lyrics includes word choice ('diksi'), repetition of sounds ('purwakanthi'), denotative and connotative meanings, imagery ('citraan'), and figurative language ('gaya bahasa').
- Internal elements ('adegan batin') include the main theme or idea ('jejer'), the emotional feeling evoked ('rasa'), and the overall mood or tone ('wirahma').
- The 'amanat' or message conveyed by the songwriter is a crucial component.
- Analyzing kawih involves examining its lyrics, diction, rhythm, instrumentation, and message to determine its type (classical/modern) and its relevance.
Understanding these analytical components provides a systematic approach to interpreting the meaning, artistry, and cultural significance of any kawih.
Analyzing the lyrics of 'Bubuy Bulan' involves looking at its simple, repetitive language, its evocative imagery of a moon and a child, and its underlying feeling of longing or gentle observation.
Key takeaways
- Kawih is a broad term for Sundanese songs, distinct from the more structured tembang and the game-specific kakawihan.
- Kawih has deep historical roots in Sunda, dating back centuries and deeply embedded in cultural practices.
- The integration of kawih into daily Sundanese life, from work to childcare, underscores its cultural importance.
- Kawih can be classified by its rhythmic style (free or strict) and the musical instruments used for accompaniment.
- Classical kawih often features traditional poetic forms and instrumentation, while modern kawih embraces free verse and contemporary sounds.
- Analyzing kawih involves dissecting its lyrical elements, emotional impact, and the message it aims to convey.
- The study of kawih offers insights into Sundanese history, culture, and artistic expression.
Key terms
KawihTembangKakawihanPupuhSanghyang Siksakandang KaresianIrama MerdekaIrama TandakKawih KacapiKawih DegungKawih Pop SundaSisindiranPuisi BebasSajakPurwakanthiCitraanGaya BahasaJejerRasaWirahmaAmanat
Test your understanding
- What are the key differences between kawih, tembang, and kakawihan in Sundanese tradition?
- How does the historical context, as evidenced by the 'Sanghyang Siksakandang Karesian' manuscript, inform our understanding of kawih's significance?
- In what ways is kawih integrated into the daily life and cultural practices of the Sundanese people?
- How can one differentiate between classical and modern kawih based on their lyrical content and musical accompaniment?
- What are the essential elements to consider when analyzing a Sundanese kawih?