Cablaka

He still maintains the structure of lenggeran, calung music, crooked and Banyumasan vocal characteristics, but with inserts of dangdut movements and rhythms that create an erotic impression. This mixing is a form of defense of the fringe arts against the domination of the noble arts, as well as a manifestation of minority groups who wish to survive. This defense was conveyed by Otniel Tasman dialectically and emotionally.