The term manggurin or manggur refers to the process of tuning a gamelan. The shape of the keys and pencon (small horizontal gongs) are established using traditional tools like the panggur (a steel chisel) and newer tools like the electric grinder. The sounds generated throughout the tuning and shaping processes (manggurin) drew my attention and inspired a composition that draws on the techniques it requires and the atmosphere it creates. The sound of scraping the panggur, striking the keys, and grinding inspired various rhythms in the piece. The composition is performed on Arik’s unique Gamelan Pesel, which includes pemade, kantil, calung, as well as both small and large flutes.
In search of perfection it is necessary to utilize more than one way of thinking. It is not enough to follow a single path. It requires new and different ways of pursuing the same goal. They may be different, but they share the same purpose. Like the process of opening a shell that is difficult to crack. Kau is an expression of the turmoil and anxiety that ensues when you have yet to achieve perfection.
The seed is the beginning of everything. A small, simple, plain seed lies nearby. Something mighty will originate from that little seed. But instant gratification is not its nature, for it will take time and will struggle to reach the sky. Let the seed grow, let the seed find her own identity, and in time she will manifest a jungle, for its goal is very real. Forgive those seeds that harbor such wishful thinking.
Reong are percussion instruments common in almost every Balinese gamelan. The shape of the pencon (small horizontal gongs) that make up reong instruments, however, is unique and interesting. X was developed by exploring the creative possibilities that emerged when pencon drawn from a reong gong kebyar and an angklung were combined in an unusual shape resembling an X. In this unique shape the contrasting tones of the two tunings were then blended into new and interesting textures.
What comes to mind when you hear the word prison? Fear? Perhaps the recent unrest in Krobokan’s local prison, which even involved a few deaths, makes you afraid. Prisons are occupied by inmates who violate the law, so should we be surprised if commotion and anarchy are commonplace? With the recent events at Krobokan Prison in mind, the composer has transferred the events into a new musical composition for gamelan gambang. In this work the music has an aggressive character that attempts to violate the tradition. While it might sound like the music does not sit well within the gambang tradition, behind the composition lies several musical features drawn from it, including both rhythm and dynamics. Through manipulating these elements the composer created a new musical work, which he calls Lapas Anarki.
What happens when three parts that consists of the same elements are played at slightly different tempos? Skala is performed by three musicians listening to different metronomes on headphones while executing rhythms on bungbung gebyog.
In general, sound comes from living things or when two objects collide. Humans have the capacity to be aware of all the actions in their life, including the production of sound, which resonates in the throat and exits the mouth. However, today we are often unaware of the process by which we produce sound and thus our capacity for sound production is often taken for granted.
Technology is having an increasingly large impact on people’s lives, especially youth. The use of mobile phones and laptops is now more commonplace than traditional games. In fact, each teen now possesses at least one cellphone, if not two or three. Dependence on technology is hindering our productivity and is having a negative impact on our health, even weakening the function of our brains. This situation stimulated the composer to produce a musical work with four kantilan from a gamelan semar pagulingan saih pitu. Polyrhythms are employed in order to achieve interdependence between patterns and along with the elements of melody, tempo, tone, rhythm, and dynamics, these are arranged into a piece of music called Dependensi.
9. Tak Sependek Pikiranmu
The product of the local music scene where loyalties have led to a paradoxical situation. Even after sabotage ensued, I was there when you needed me. You assumed art was a competition, only in search of an image. However, if you continue down this path, your breath will not be longer than the duration of this work, which is not as short as you think.
The road through Lodtunduh is a mess right now. Hotel construction, a new watermain, the rainy season, and years of neglect have all conspired to make it a corroded and treacherous strip of gravel. Add tourist traffic and you have an adrenaline pumping, edge of your seat, make-you-feel-more-alive experience. This piece was written as encouragement to all those who weave their way through such chaos everyday. In my car back in Brooklyn I’d blast 70s classic rock riffs to get through it. Here, I offer the gamelan equivalent, progressive rock on metal instruments, perfect for skirting potholes and tour buses.
Improvisation using three gender wayang and one jegog angklung. All four instruments were situated around a hole in one of the furnaces at Pande Sida Karya, which is normally filled with water and used for cooling hot metals. I Made Subandi (Subandi) stood in this hole encircled by the instruments and performed on all four, including one gender instrument that was intentionally positioned backwards. The performance location and number and placement of the instruments was imagined by I Made Subandi (Subandi) on site just minutes before the performance.
Many thanks to Pande Sida Karya for allowing us to recording in their space.
Recording session coordinator(s): I Putu Gede Sukaryana (Balot), I Wayan Arik Wirawan (Arik)
Recording date(s): 2016/06/07
Recording location(s): Pande Sida Karya, Desa Blahbatuh, Kab. Gianyar, Bali
Audio recording: Jonathan Adams, I Putu Gede Sukaryana (Balot)
Video recording: I Putu Gede Sukaryana (Balot)
Crew: Yan Priya Kumara Janardhana (Janu)
Audio mixing: Jonathan Adams
Audio mastering: Jonathan Adams
Video editing: I Putu Gede Sukaryana (Balot)
Photography: Jonathan Adams
Cover art: Jonathan Adams
