From “Pakem” to “Dibawa Kalem”: Negotiating Authority and Inclusivity in Keroncong Music Through Tabuhan Practice

DOI

10.2991/978-2-38476-624-6_27How to use a DOI?

Keywords

Tabuhan Practice; Keroncong Music; Pakem; Cultural Negotiation; Inclusivity

Abstract

Tabuhan is one of the primary modes of musical practice in keroncong performance, alongside rehearsal and stage performance. More than merely a space for gathering and social bonding, tabuhan functions as a cultural space where the production and reproduction, distribution, as well as consumption of musical knowledge and aesthetic values are negotiated across generations. This study examines the historical transformation of tabuhan practices in keroncong music, particularly the shift from adherence to “pakem”, as a musical rules and authoritative norms considered canonical, toward practices that are more flexible and inclusive. This research employs a parallel emic autoethnography method to position the researcher’s experiences, involvement, and reflections as both an insider and outsider within the tabuhan practices under study. Through the perspectives of cultural studies and ethnomusicology, this article explores how tabuhan functions as a space of oral transmission, participatory learning, and the negotiation of authority within keroncong communities. In earlier periods, tabuhan tended to be perceived as exclusive due to the dominance of seniority and rigid musical standards, often discouraging younger generations from participating. However, contemporary tabuhan increasingly accommodates intergenerational participation, diverse musical expressions, and broader public engagement beyond keroncong practitioners themselves. This transformation demonstrates that authority in keroncong music has not entirely disappeared, but continues to be renegotiated through communal interaction. The article argues that tabuhan practices play a significant role in sustaining keroncong as an intangible cultural heritage through a balance of continuity, adaptability, and inclusivity.

Copyright

© 2026 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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TY  - CONF
AU  - Mustika Andini
AU  - Bani Sudardi
AU  - Sri Kusumo Habsari
AU  - Fitria Akhmerti Primasita Habsari
PY  - 2026
DA  - 2026/10/19
TI  - From “Pakem” to “Dibawa Kalem”: Negotiating Authority and Inclusivity in Keroncong Music Through Tabuhan Practice
BT  - Proceedings of the 3rd International Conference on History, Social Sciences, and Education (ICHSE 2026)
PB  - Atlantis Press
SP  - 392
EP  - 407
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-38476-624-6_27
DO  - 10.2991/978-2-38476-624-6_27
ID  - Andini2026
ER  -