In the 29th edition of Angkringan, CICP UGM invited Ahmad Yusrifan (Mas Yus) to share his experience researching the phenomenon of sound horeg, which has become a distinctive form of entertainment in village carnivals in East Java and several other regions in Java. Sound horeg refers to a collection of large-scale sound systems with powerful bass whose vibrations can be felt physically by the body and the surrounding environment.
As it has developed, this phenomenon has sparked debate in society. On one hand, sound horeg is seen as lively popular entertainment that strengthens social cohesion. On the other hand, various negative narratives have emerged, such as being considered disruptive to public order, uncultured, associated with negative behaviors like alcohol consumption, and even labeled as a “social pest.” Some religious institutions and Islamic boarding schools have issued fatwas declaring the practice forbidden. Interestingly, these dominant narratives on social media mostly come from outsiders who are not directly involved, while the perspectives of local communities as active participants are rarely heard or given space in broader discourse.
Driven by this concern, Mas Yus and his team conducted field research in June 2025 in a district in East Java. They attended a village carnival where sound horeg was the main attraction. The event also featured other performances such as bantengan, kuda lumping, and dancers to enliven the atmosphere. Mas Yus also examined the socio-economic background of the local community, most of whom are farmers, dairy cattle breeders, and agricultural laborers (known as manol). This context is crucial for understanding why sound horeg has developed and gained popularity.
The findings show that sound horeg holds multiple meanings for the local community. Economically, it stimulates local economic activity. Residents can recover their financial contributions through trading activities, and parking management revenues are often allocated for public purposes such as renovating community facilities. Socially, sound horeg acts as a unifying force, fostering togetherness (guyub) by creating a space for collective interaction.
Mas Yus reflects on sound horeg as a cultural product of wong cilik (ordinary people), emerging from marginal communities and developing outside mainstream cultural flows. Its organic growth often leads to stigma and a lack of full recognition as a legitimate cultural form. Moreover, sound horeg reflects how communities construct their own tastes in entertainment. Nevertheless, not all community members support its existence. These differing views highlight ongoing social dynamics and serve as a space for social negotiation within the community.
In conclusion, sound horeg cannot be understood superficially through widely circulated narratives on social media. For those directly involved, it carries diverse meanings. Mas Yus also points to an ongoing discourse regarding its position within cultural studies: should it be understood as a subculture, or as part of popular culture? This question is significant, given that cultural expressions emerging from lower socio-economic groups are often perceived as “low” or not fully recognized as legitimate culture.
