Deskripsi Teknik Pembuatan dan Permainan Aramba dan Faritia oleh Bapak Faozisökhi Laia di Sanggar Museum Pusaka Nias di Kota Gunungsitoli

Abstract

This study aims to describe the functions, manufacturing techniques, and playing techniques of traditional Nias musical instruments, namely the Aramba and Faritia, as practiced by Mr. Faozisökhi Laia at the Nias Heritage Museum Studio in Gunungsitoli City. These two instruments hold an important position in Nias culture, both as accompaniment for traditional ceremonies and weddings, and as a means of musical communication in a social context. This research is qualitative-descriptive in nature. Data was obtained through in-depth interviews, participatory observation, and direct documentation of the process of making and playing the Aramba and Faritia. Data analysis was conducted through data reduction, data presentation, and conclusion drawing based on the framework of ethnomusicology theory. In this study, the author used several theories, namely Khasima Shusumu's contextual approach to music studies. The author also used Bruno Nettl's theory to analyze and transcribe the playing of the Aramba and Faritia. The author also used Curt Sach and Hornbostel's theory of musical instrument classification to classify Aramba and Faritia. Then, the theory of physical behavior was used to describe the body position when playing musical instruments. The results showed that the sounds of Aramba and Faritia were originally found in one musical instrument, namely Tutuhao. Aramba and Faritia are not only musical instruments, but also rich in cultural and symbolic values. The manufacturing process involves traditional skills with special materials, stages of burning/heating, forming the Aramba and Faritia molds, the process of mamatö the Aramba and Faritia molds, the process of forming the Aramba and Faritia hagu, and the refinement process. The technique for playing the Aramba is to hang it on a support pole, and generally the player's body position when playing the Aramba is to stand sideways and hold the Aramba mallet. The Aramba player will play the Aramba by striking the hagu (pencu) on the Aramba, while performing foot and hand movements like a dancer. Similar to Aramba, Faritia is also played in a standing position, except that Faritia is played by two people playing two Faritia instruments, one person playing Faritia with a low sound and the other playing Faritia with a slightly higher tone. Each player is responsible for playing Faritia according to their assigned tasks and predetermined playing patterns. The two players stand facing each other, making small movements such as swinging their legs alternately. Aramba and Faritia produce the following tones: Aramba is in the key of C sharp, Faritia 1 is in the key of C sharp, and Faritia 2 is in the key of E.