Children’s songs, according to Seto Mulyadi (Kak Seto, as cited in Pikiran Rakyat, October 26, 2002), are songs that are appropriate for children to listen to and sing. They contain both entertainment and educational elements, feature cheerful and funny melodies, are not too loud or fast-paced (unlike rock or underground music), have easy-to-understand lyrics, and typically convey moral messages that support children’s development—such as kindness, friendship, holidays, and diligence.
Children’s songs reflect their time: simple, honest, and full of color. From their playful lyrics to cheerful melodies, children’s songs have accompanied the growth of generation after generation. In Indonesia, they are more than entertainment—they are tools of education, character building, and cultural identity. This article traces the long journey of Indonesian children’s songs, from the days of Ibu Sud and A.T. Mahmud to the rise of YouTube, from vinyl records and cassette tapes, radio to the streaming and silver screen.
In the era of vinyl records, music was still consumed by a small segment of society. Various music genres, including children’s songs, gained popularity—especially in big cities. Radio played a crucial role, providing children’s songs access into urban homes.
Post-independence in the 1950s, songwriters like Ibu Sud, Pak Kasur, and Pak Dal laid the foundation for children’s music with timeless songs like Bintang Kecil, Naik Delman, Naik Kereta Api, Burung Kutilang, and Menanam Jagung.
By the 1960s, A.T. Mahmud emerged as a major figure, alongside other composers like Pranajaya, Magdalena Christy, Soetoto, and S.M Mochtar. A.T. Mahmud penned legendary songs such as Pelangi, Ambilkan Bulan, and Paman Datang. During this time, TVRI launched Ayo Menyanyi, a TV program for elementary school children hosted by A.T. Mahmud, featuring songs by Ibu Sud, Pak Dal, Pak Tono, Kusbini, and more.
Following the success of Ayo Menyanyi, TVRI introduced another program in 1969, Lagu Pilihanku, a competition-based show with five participants selected through auditions.
These programs sparked the interest of record labels like Remaco, Elshinta, Bali, Canary Records, Fornada, and J&B Records in producing children’s music on vinyl. Many of A.T. Mahmud’s songs were included.
More on early children songs records, the website Iramanusantara.org has numbers of samples, click here
In the 1970s, children's songs began to thrive as an industry. The advent of cassette tapes expanded music access to all social layers. Record companies saw the children’s music market—especially within families—as commercially valuable.
Big-name musicians like Koes Plus even entered the children’s music scene. In 1974–75, they released Pop Anak-Anak Vol. 1 & 2 via Remaco, featuring songs like Tri Lila Lili, Puk-Ami-Ami, Lompat Katak, and Mari Bernyanyi. Their success was followed by The Mercy’s, who released Pop Anak-Anak Vol. 1 in 1975.
This decade also saw the rise of child singers performing kids’ songs. Chicha Koeswoyo gained fame with Heli and Taman Mini (written by Nomo Koeswoyo). Yoan Tanamal released Si Kodok (1977). Dina Mariana, Adi Bing Slamet, Vien Is Haryanto, Bobby Sandhora, Ira Maya Sopha, and Debby Rhoma Irama were also popular child singers.
By the late ’70s and into the ’80s, children’s music became increasingly diverse in style, language, and themes—from pop, rock, disco, Javanese pop, Malay pop, religious songs to jazzy tunes. Well-known musicians like Candra Darusman and Oddie Agam contributed. Adult singers also embraced children’s themes, like Kumpul Bocah (1986) written by Dodo Zakaria and popularized by Vina Panduwinata.
The ’90s and early 2000s are often seen as the golden era of Indonesian children’s music. Child singers received significant exposure on TV and even in feature films.
Popular TV shows like Tralala Trilili (hosted by Agnes Monica), Cilukba, Kring Kring Olala, and Klap Klip introduced stars like Joshua Suherman, Sherina Munaf, Chikita Meidy, Trio Kwek Kwek, Tina Toon, Tasya Kamila, Geofanny & Saskia.
Songwriters and producers like Papa T. Bob, Kak Nunuk, and Elfa Secioria created hits such as Diobok-obok (Joshua), Persahabatan (Sherina), Bolo Bolo (Tina Toon), and Susan Punya Cita-cita (Ria Enes & puppet Susan).
This era peaked with the children’s musical film Petualangan Sherina (2000), directed by Riri Riza and produced by Mira Lesmana. Songs like Jagoan, Persahabatan, and Lihatlah Lebih Dekat became massive cross-generational hits.
As children’s shows faded from television, films began to play a bigger role in presenting children’s music.
Ambilkan Bulan (2012): A musical fantasy film based on A.T. Mahmud’s songs. Interestingly, the soundtrack was performed by adult artists like Sheila on 7 (Ambilkan Bulan), The Changcuters (Libur Telah Tiba), Cokelat (Mendaki Gunung), and Judika (Kereta Apiku).
Surat Kecil untuk Tuhan (2017): Featured Purwa Caraka Choir performing classic children’s songs. Won the AMI Award for Best Children’s Album.
Naura & Genk Juara (2017): A modern children’s musical film with moral and friendship themes. Songs by Mhala and Tantra Numata were mostly performed by Naura herself, with some collaborations. The hit single Berani Bermimpi won two AMI Awards in 2018.
In today’s digital era, YouTube and Spotify have become the main distribution platforms. Despite increasing challenges, new songwriters continue to emerge—names like Arsha Composer, Ari Zenal, Bianca Nelwan, Dimas Wibisana, Popo Hanoto, Quinn Salman, and Rendyadi Amnar.
Arsha Composer’s Air dan Teh won the 2024 AMI Award for Best Music Producer. Other notable works include Tarian Bebek (Arinaga Family), Kata Ajaib (Glitter), and Naik Delman (Jasmine Ayudhya), all nominated at AMI Awards 2024.
The success of the 2025 film Jumbo—which used a modern version of Kumpul Bocah by Maliq & D’Essentials as its soundtrack—highlights the enduring bond between children’s music and cinema. The film also popularized Selalu Ada di Nadimu, written by Lale, Ilman, and Nino.
From Naik Kereta Api echoing in classrooms and on RRI radio, to a modern rendition of Kumpul Bocah on the big screen, Indonesian children's songs have come a long way. They remain the sound of childhood, tools of learning, and vessels of nostalgia. Our job now is not just to remember them—but to revive them, so that future generations will always have songs to grow, laugh, and dream with.
