insitu sessions volume 1
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Insitu Sessions Volume 1
Insitu Sessions Volume 1
Insitu Sessions Volume 1

Compilation of works performed at the June 7th 2016 session at Pande Sida Karya in Desa Blahbatuh, Kab. Gianyar, Bali.

The first volume in our ongoing Insitu Sessions series includes 11 new works for gamelan by both established and aspiring artists. These were recorded at the Sida Karya gamelan foundry in Desa Blahbatuh, which provides its unique ambiance to the videos. Highlights include I Putu Suta Muliartawan’s Dependensi, realized using interlocking polyrhythmic patterns, I Wayan Arik Wirawan’s Manggurin, inspired by the sounds of gamelan instrument construction, and I Putu Arya Deva Suryanegara’s Lapas Anarki, composed for the unique instruments of the gambang ensemble and inspired by riots at a local prison.

duration: 61 min. 04 sec.
format: .WAV .MP3 (audio) .MP4 (HD video)
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Title Composer(s)
Manggurin I Wayan Arik Wirawan
Kau I Wayan Ari Widyantara
Benih I Wayan Situbanda
X I Putu Gede Sukaryana
Lapas Anarki I Putu Arya Deva Surya Negara
Skala I Made Arsa Wijaya
Bunyi Manusia I Komang Pasek Wijaya
Dependensi I Putu Suta Muliartawan
Tak Sependek Pikiranmu Yan Priya Kumara Janardhana
Supaya Lebih Cepat Evan O'Donnell
Aum (Improvisation) I Made Subandi
bonus tracks
Title Track Info
Promo (remix / smash up) Insitu Recordings
Credits (remix / smash up) Insitu Recordings
extended notes
Track 1 - Manggurin
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 proccess (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.
Composer I Wayan Arik Wirawan (Arik)
Ensemble Gamelan Pesel
Pemade Ika Yana Adnyana
  I Putu Adi Partha
Kantil I Gede Yudi Krisnajaya
  I Nyoman Yuda Pertama Putra
Calung  I Putu Arya Agus Sardi
  I Wayan Srutha Wiguna

Track 2 - Kau
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.
Composer I Wayan Ari Widyantara (Arik Pejeng)
Ensemble Selonding
Musicians I Wayan Gede Surya Adi Putra
  I Putu Wahyu Andika
  I Wayan Ari Widyantara (Arik Pejeng)
Instruments Gong Cenik, Kempur Cenik, Peenem, Nyongyong Alit

Track 3 - Benih
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.
Composer I Wayan Situbanda (Banda)
Musicians I Nyoman Resa Angga Nurbawa
  I Wayan Armawan
  I Komang Winantara
  I Wayan Situbanda (Banda)
Instruments Terompong Semar Pegulingan

Track 4 - X
Reyong are percussion instruments that are common to almost every Balinese gamelan. The shape of the pencon (small horizontal gongs) that make up reyong instruments, however, is unique and interesting. X was developed by exploring the creative possibilites that emerged when pencon drawn from a reyong 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.
Composer I Putu Gede Sukaryana (Balot)
Musicians I Made Winantara (Boy)
  I Putu Purwwangsa Nagara (Wawan)
  I Kadek Tunas Sanjaya (Emon)
  I Putu Gede Sukaryana (Balot)
Instruments Reong Gong Kebyar + Reong Angklung Saih Lima

Track 5 - Lapas Anarki
What comes to mind when you hear the word prison? Fear? Perhaps the recent unrest in Krobokan's local prison, which even invovled 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 transfered 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".
Composer I Putu Arya Deva Suryanegara (Arya)
Ensemble Gambang
Musicians I Nyoman Astadi Jaya Pramana
  I Made Agus Tara
  I Kadek Sumanjaya
  I Made Putra Antara
  I Nyoman Gili Mahendra Putra
  I Putu Arya Sanjaya Putra

Track 6 - Skala
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 exectuing rhythms on bungbung gebyog.
Composer I Made Arsa Wijaya (Wawan)
Ensemble Bungbung Gebyog
Musicians I Putu Adi Putra Kencana
  I Gede Yogi Sukawiadnyana
  I Komang Wahyu Yastawan Putra

Track 7 - Bunyi Manusia
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 capactiy for sound production is often taken for granted.
Composer I Komang Pasek Wijaya (Pasex)
Group Blam
Singers I Pande Wayan Partayana
  I Putu Fery Kencana Putra
  I Putu Cory Arsatama
  Ni Wayan Wirantini
  Ni Made Dwi Nuratniari
  Ni Made Dwi Indah Cahyani
  Ni Kadek Papmawati Jelantik
  Ni Kadek Adinda Ayu Putri
  Ni Komang Apriani Ningsih
  Ni Kadek Novi Anaperi
  Ni Kadek Dwi Anggreanti

Track 8 - Dependensi
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.
Composer I Putu Suta Muliartawan (Jo)
Musicians I Putu Daniswara
  I Made Yudha Wardana
  I Made Gede Arry Husada
  I Putu Agus Wahyu Budi
Instruments 4x Kantilan Semar Pegulingan

Track 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.
Composer Yan Priya Kumara Janardhana (Janu)
Musicians I Putu Purwwangsa Nagara (Wawan)
  I Kadek Agus Pusaka Adi Putra
  I Gede Putu Gita Kumara Putra
  I Wayan Yudi Artha
Instruments 4x Kantilan Semar Pegulingan

Track 10 - Supaya Lebih Cepat
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.
Composer Evan O'Donnell (Evan)
Ensemble Gong Kebyar
Musicians I Nyoman Mariyana
  I Gusti Bagus Parisudha
  I Gusti Sindunatha
  I Putu Wirahadi Sastra Baladinata
  I Putu Risky Mulyastra
  I Putu Resya Adi Saputra
  I Wayan Eka Wisiada Sucipta
  I Kadek Gunawan
  I Gede Suparka
  Evan O'Donnell (Evan)

Track 11 - Aum (Improvisation)
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.
Performer I Made Subandi (Subandi)
Instruments 3x Gender (1x Buleleng, 1x new instrument at Pande Sida Karya, 1x Sanggar Ceraken) + 1x Jegog Angklung
Recording Session Credits
Recorded at Pande Sida Karya in Desa Blahbatuh, Kab. Gianyar, Bali on June 7th 2016.
Recording/Photos/Videos Jonathan Adams and I Putu Gede Sukaryana (Balot)
Crew Yan Priya Kumara Janardhana (Janu)
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