Sound horeg is increasingly used at various community events nowadays such as Independence Day celebrations, the Islamic New Year, and village clean-up days, which are celebrated annually. Initially, villagers used trucks to transport sound systems that accompanied village carnivals and parades. As this practice evolved, a new trend emerged in the community known as “sound horeg.” The term “horeg” itself comes from the Javanese language and means “to vibrate” or “to move,” while “sound” comes from English. In essence, “sound horeg” refers to a loud, thunderous sound that creates vibrations in the surrounding area, causing the audience’s hearts to race.  The use of sound systems—which tends to be extreme due to their high sound output—has become increasingly popular through social media. This “sound horeg” culture emerged from the creativity of local audio communities in East Java, particularly in areas like Malang, Sidoarjo, Surabaya, Banyuwangi, and Blitar, as they assembled their own loudspeakers.

As times have changed, the use of “sound horeg” has undergone a shift in value. The emergence of competition among villages to rent increasingly expensive sound systems that produce loud, thunderous sounds has become a source of pride and attracts crowds from various regions eager to enjoy the bass sounds that makes the buildings and the listeners’ hearts tremble. The rental price for a sound system varies depending on the quality and capacity of the system; for the highest-quality systems, the rental price ranges from hundreds to tens of millions, depending on the renter’s budget. Some villages collect donations from residents to rent these sound systems. The carnival becomes lively, and many vendors take advantage of this opportunity to sell food and drinks. Renting out parking lots also brings in significant profits for some people. Whereas carnivals or parades used to run from morning until afternoon, these events now take place from the afternoon until the early hours of the morning because the colorful spotlights installed look especially attractive at night. At first glance, it resembles a mobile nightclub, as some spectators join the carnival participants in dancing to the music being played. In the past, cultural carnivals showcased traditional and national culture accompanied by simple regional and national songs, but now the music has evolved into remixed tracks with extremely loud bass beats and thunderous subwoofers.

In addition to entertaining and boosting the local economy, “sound horeg” has also had negative impacts on the environment. Several incidents have reported that the vibrations from “sound horeg” have caused buildings to crack, roof tiles to fall, and even walls to collapse, crushing residents and resulting in fatalities. The loud noise produced by carnival sound systems can also cause hearing damage or even permanent deafness, as the sound levels can reach 120 to 135 decibels (dB)—far above the safe threshold for human hearing, which is 85 decibels (dB). The high-intensity sound vibrations can also trigger increased heart rate, stomach problems, and insomnia. Therefore, it is recommended that the elderly, infants, and those with heart conditions take precautions before the carnival begins to prevent any unwanted incidents. It is not uncommon for large amounts of trash to be left behind by spectators after the carnival, leaving the area filthy and unsanitary. Another negative aspect that often accompanies the “sound horeg” tradition is the presence of alcohol and erotic dances, which are presented as part of the “sound horeg” performance and act as a draw for some spectators. Meanwhile, the audience includes teenagers and even young children, who are not yet able to process the information they see and may even imitate what they witness.

The “sound horeg” phenomenon remains a point of contention among the public. While some support it, others reject the use of “sound horeg” due to its harmful effects on the community. However, to date, no regulations have been enacted by the local government to address this issue. East Java Governor Khofifah Indar Parawansa stated on one occasion that the East Java government is still identifying the appropriate legal framework—whether in the form of a Circular Letter, a Regent’s Regulation, or a Joint Circular Letter—which will be discussed with relevant parties, and noise regulations will also be incorporated into the recitals. Regulations are crucial for ensuring the safety and comfort of the community’s environment. According to M. Febriyanto Firman Wijaya, a lecturer at Muhammadiyah University of Surabaya, the government can encourage sound system operators to use environmentally friendly technology that complies with noise standards. The use of traditional musical instruments in parades or carnivals could be considered as part of cultural preservation efforts. For example, the use of gamelan instruments, flutes, trumpets, and gongs played live, combined with harmonious arrangements—as seen in traditional Balinese ceremonies—has proven to be a unique attraction for tourists without causing noise or damage. Educational themes and the use of traditional costumes also help foster creativity among the community and enhance the appeal of diverse local cultures, as demonstrated in the Jember Carnival.

We have to work together to uphold the noble values embedded in our local traditions and culture so that they are not further eroded by technology and foreign cultures that are increasingly flooding in through social media and the internet. Local culture doesn’t have to be presented with thunderous sounds; it should be presented not only as entertainment but also as a positive lesson that young people can enjoy.