The origins of Badingkut art are closely related to the creative efforts of the community in constructing a local artistic identity. As stated by Infogarut (2025), this art form was initiated in Dungusiku Village, Leuwigoong District, Garut Regency, through the initiative of a local cultural figure together with university students involved in community service activities. This initiative was motivated by the desire to create an accessible and affordable art form that could involve many community members without relying on expensive or hard-to-obtain traditional musical instruments.
According to Infogarut (2025), the use of discarded items such as buckets, pots, kettles, and other metal containers was not merely a result of economic limitations, but also reflected an awareness of the acoustic potential contained in these objects. In this way, Badingkut functions not only as entertainment, but also as an educational medium that conveys messages about creativity, environmental sustainability, and the reinterpretation of objects considered useless.
The Performance Form of Badingkut Art
Badingkut performances are generally presented as collective rhythmic performances that emphasize cohesion and interaction among performers. According to the basic concepts of percussion music explained in studies of Sundanese traditional arts, sound produced through striking serves as the primary means of constructing musical structure (Dim, 2011). In Badingkut, this structure is not bound by formal notation, but develops organically through rhythmic patterns mutually agreed upon by the performers.
As stated by Dim (2011), community-based performing arts tend to allow broad space for improvisation, resulting in variations in each performance. This characteristic is also evident in Badingkut, where tempo, intensity of strikes, and sound dynamics may change depending on the atmosphere of the event, the number of performers, and audience responses. Performances are often accompanied by simple body movements that follow the rhythm, thereby strengthening the visual and performative aspects of the art.
According to reports by Infogarut (2025), Badingkut is frequently performed at social events such as village celebrations, family ceremonies, cultural festivals, and welcoming events. In this context, Badingkut serves as a medium for unifying the community while simultaneously functioning as a symbolic communication tool that affirms the local identity of Garut society.
Badingkut performances are generally presented as collective rhythmic performances that emphasize cohesion and interaction among performers. According to the basic concepts of percussion music explained in studies of Sundanese traditional arts, sound produced through striking serves as the primary means of constructing musical structure (Dim, 2011). In Badingkut, this structure is not bound by formal notation, but develops organically through rhythmic patterns mutually agreed upon by the performers.
As stated by Dim (2011), community-based performing arts tend to allow broad space for improvisation, resulting in variations in each performance. This characteristic is also evident in Badingkut, where tempo, intensity of strikes, and sound dynamics may change depending on the atmosphere of the event, the number of performers, and audience responses. Performances are often accompanied by simple body movements that follow the rhythm, thereby strengthening the visual and performative aspects of the art.
According to reports by Infogarut (2025), Badingkut is frequently performed at social events such as village celebrations, family ceremonies, cultural festivals, and welcoming events. In this context, Badingkut serves as a medium for unifying the community while simultaneously functioning as a symbolic communication tool that affirms the local identity of Garut society.
Performers and Group Structure
The performers of Badingkut art come from diverse age groups and social backgrounds. As explained in a study on the Gondang Putra Badingkut group, participation in this art form is open and collective, allowing anyone to be involved as long as they are able to follow the rhythm and group dynamics (Putra, 2018). This pattern demonstrates that Badingkut does not impose strict hierarchies among performers, but instead emphasizes cooperation and solidarity.
According to Putra (2018), within a Badingkut group there are usually informal role divisions, such as basic rhythm players, sound variation players, and tempo stabilizers. Although these roles are not always explicitly stated, their presence is essential for maintaining musical balance during performances. Thus, Badingkut reflects the social system of its community, where individual roles are integrated into collective objectives.
The performers of Badingkut art come from diverse age groups and social backgrounds. As explained in a study on the Gondang Putra Badingkut group, participation in this art form is open and collective, allowing anyone to be involved as long as they are able to follow the rhythm and group dynamics (Putra, 2018). This pattern demonstrates that Badingkut does not impose strict hierarchies among performers, but instead emphasizes cooperation and solidarity.
According to Putra (2018), within a Badingkut group there are usually informal role divisions, such as basic rhythm players, sound variation players, and tempo stabilizers. Although these roles are not always explicitly stated, their presence is essential for maintaining musical balance during performances. Thus, Badingkut reflects the social system of its community, where individual roles are integrated into collective objectives.
Costumes in Badingkut Performances
The costumes worn in Badingkut performances generally reflect simplicity and Sundanese cultural identity. According to Putra (2018), male performers typically wear pangsi outfits, while female performers wear kebaya paired with traditional cloth and shawls. The choice of costume is not intended to create visual luxury, but rather to emphasize the close connection between the art form and everyday community life.
As stated by Dim (2011), costumes in traditional performing arts often function as symbols of cultural identity rather than merely aesthetic elements. In Badingkut, the simplicity of costumes reinforces the message that this art form originates from and belongs to the community, without creating distance between performers and audiences.
The costumes worn in Badingkut performances generally reflect simplicity and Sundanese cultural identity. According to Putra (2018), male performers typically wear pangsi outfits, while female performers wear kebaya paired with traditional cloth and shawls. The choice of costume is not intended to create visual luxury, but rather to emphasize the close connection between the art form and everyday community life.
As stated by Dim (2011), costumes in traditional performing arts often function as symbols of cultural identity rather than merely aesthetic elements. In Badingkut, the simplicity of costumes reinforces the message that this art form originates from and belongs to the community, without creating distance between performers and audiences.
Equipment and Instruments Used in Badingkut
The equipment used in Badingkut art constitutes its most distinctive characteristic. According to Infogarut (2025), Badingkut instruments consist of various discarded objects selected based on their sound characteristics. Plastic buckets produce low, muted sounds, metal pots create sharp tones, while kettles and used cans generate resonant variations that enrich the overall sound composition.
As stated by Dim (2011), the use of non-musical objects as instruments represents an exploration of aesthetics that challenges conventional boundaries of art. In Badingkut, this exploration is not only artistic but also ideological, as it conveys messages of creativity, efficiency, and environmental awareness.
The equipment used in Badingkut art constitutes its most distinctive characteristic. According to Infogarut (2025), Badingkut instruments consist of various discarded objects selected based on their sound characteristics. Plastic buckets produce low, muted sounds, metal pots create sharp tones, while kettles and used cans generate resonant variations that enrich the overall sound composition.
As stated by Dim (2011), the use of non-musical objects as instruments represents an exploration of aesthetics that challenges conventional boundaries of art. In Badingkut, this exploration is not only artistic but also ideological, as it conveys messages of creativity, efficiency, and environmental awareness.
Social and Cultural Meanings of Badingkut Art
Badingkut art holds profound social significance for its supporting community. According to Putra (2018), this art form functions as a medium for fostering social solidarity, as the processes of rehearsal and performance require cooperation, discipline, and mutual trust among group members. Furthermore, Badingkut provides a space for self-actualization for community members who may not have access to formal arts education.
As argued by Dim (2011), community-based arts such as Badingkut play an important role in sustaining cultural values amid social change. By utilizing simple objects and encouraging broad community participation, Badingkut has been able to endure as an art form that remains relevant within its contemporary context.
References:
Badingkut art holds profound social significance for its supporting community. According to Putra (2018), this art form functions as a medium for fostering social solidarity, as the processes of rehearsal and performance require cooperation, discipline, and mutual trust among group members. Furthermore, Badingkut provides a space for self-actualization for community members who may not have access to formal arts education.
As argued by Dim (2011), community-based arts such as Badingkut play an important role in sustaining cultural values amid social change. By utilizing simple objects and encouraging broad community participation, Badingkut has been able to endure as an art form that remains relevant within its contemporary context.
References:
Dim, H. 2011. Badingkut di antara tiga jalan teater. Jakarta: Kementerian Kebudayaan dan Pariwisata.
Infogarut. 2025. Kesenian Badingkut yang diciptakan untuk memanfaatkan barang limbah. Garut: Infogarut.
Putra, A. 2018. Kesenian Gondang Lingkung Seni Putra Badingkut di Kampung Citimbun Desa Dungusiku Kecamatan Leuwigoong Kabupaten Garut. Skripsi tidak diterbitkan.
Infogarut. 2025. Kesenian Badingkut yang diciptakan untuk memanfaatkan barang limbah. Garut: Infogarut.
Putra, A. 2018. Kesenian Gondang Lingkung Seni Putra Badingkut di Kampung Citimbun Desa Dungusiku Kecamatan Leuwigoong Kabupaten Garut. Skripsi tidak diterbitkan.