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Legong Keraton Lasem + (The name Legong comes from the Balinese la … The name Legong comes from the Balinese language, Leg (flexible movement) and gong (gamelan) which blend into Legong which means flexible movements accompanied by gamelan.The Legong Keraton dance emerged around the early 19th century AD. This dance emerged from the idea of a King Sukawati named I Dewa Agung Made Karna.Initially this dance is sacred. This dance is only performed in temples to accompany Hindu religious ceremonies. In 1928, the King allowed this dance to be performed outside the palace for the people to enjoy.In 1931 this dance began to be displayed widely to support tourism. Many hotels in Bali stage this dance to entertain tourists.One of the palaces that owns and maintains the Legong Keraton dance is Puri Agung Peliatan. This palace used to often perform the Legong Keraton dance on certain occasions, such as Hindu religious ceremonies.A Legong Keraton performance always carries historical stories. One of the most popular stories is Lasem, which tells the love story of Prabu Lasem to Princess Rankesari.The dancer who appeared first was the Condong (emban) who wore a dominant red costume. Then followed by two Legong dancers who wore green costumes.In the story of Prabu Lasem, which is based on the Panji/Malat story, the two Legongs play Prabu Lasem and Princess Langkesari, respectively.The Legong Keraton Dance was designated as an intangible world cultural heritage by The United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2015. The Legong Keraton Dance is one of nine Balinese dances that received similar awards in addition to the Barong Ket Dance, Rejang Dance, Dance Joged Bumbung, Wayang Wong Dance Drama, Gambuh Dance Drama, Sidha Karya Mask, Ceremonial Bari Dance and Sang Hyang Dedari Danceial Bari Dance and Sang Hyang Dedari Dance)
NGOLAH LELUU KADADOSANG PIRANTI SANE MABUAT ANGGEN NGARDI JAGAT INDONESIA BERSIH SAKING SAMPAH + (The video and this work were made in SMP D … The video and this work were made in SMP Dwijendra Denpasar on September 20, 2021, involved 3 people, namely Satya, Kirana, and Ayu. From the video and the work that we made, we recycled organic and inorganic waste and also revived the Balinese economy by making handicrafts from waste that had a sale value. As we know Bali being a tourism island, the lack of community initiatives to reduce and recycle the use of organic and inorganic waste, can lead to the accumulation of waste. By recycling organic and inorganic waste into handicrafts that are more useful and have a selling value, it will simultaneously preserve nature, especially Bali.aneously preserve nature, especially Bali.)
Truna Jaya + (Trunajaya Dance is one of Bali's new dance … Trunajaya Dance is one of Bali's new dance creations, precisely from Buleleng Regency, North Bali. This dance art was originally created in 1915 by Pan Wandres in the form of Kebyar Legong, then refined by I Gede Manik.Trunajaya dance or also Terunajaya describes the movements of young people who are growing up, very emotional where their behavior is always trying to attract women's hearts.Although referred to as a depiction of a youth, this dance is categorized as a hard male dance which is generally danced by female dancers.Trunajaya dance is an entertainment dance whose performance can be anywhere. Including in the temple yard, field, closed or open stage, or in places other than that.Initially, this dance was a solo dance which also called “babancihan dance” because it presented characters between men and women. But along with its development, Trunajaya Dance is also performed by more than one dancer.In terms of duration, this dance is very flexible, it can be short or long. The shortest dance duration generally ranges from 11 minutes from start to finish.Historically, Trunajaya Dance is inseparable from the Kakebyaran Dance which is closely related to kebyar. It is called like that, because it is not only accompanied by Gamelan Gong Kebyar, but the movements are also very dynamic and breathe kebyar.The Trunajaya dancers use subtle male make-up. Using yellow, red and blue eyeshadow stage makeup and using slightly high eyebrows from princess dance makeup. Another characteristic of the bebancihan dance is also seen in terms of costumes, dancers wear kamen or kancut in purple prada with diamond motifs. Worn like the use of bebancihan cloth in general, there is a remnant of kamen on the left which will later be used as a kancut, besides that the dancers also wear the typical udeng, garuda mungkur (on the back), one gold flower, ear flowers (red flowers and white flowers) as well as rumbing (earing)white flowers) as well as rumbing (earing))
Wayang Sapuh Leger + (Wayang Sapuh Leger is a ritual with a shad … Wayang Sapuh Leger is a ritual with a shadow puppet show that aims to cleanse or purify a person.In Bali until now it is believed that children born in the wuku Wayang must perform a cleansing ceremony called Sapuh Leger. This is intended to avoid being chased by Kala and not being afflicted with disaster.It is said that two sons of Bhatara Shiva or Bhatara Guru have the same otonan, which is both born at Wuku Wayang. They are both named Bhatara Kala and Sang Hyang Rare Kumara. Long before Rare Kumara was born, Lord Shiva had given permission to Bhatara Kala to catch or prey on creatures who have the same otonan as him.Because his own brother had the same otonan, Bhatara Kala asked Lord Shiva for permission to eat Rare Kumara. However, Kala was asked to wait for his brother to grow up. Because Shiva was afraid of his son being eaten, Rare Kumara was cursed so that he never grew up.After feeling that his brother has grown up, Kala meets Rare Kumara and intends to eat him. However, on the orders of Lord Shiva, Rare Kumara was asked to run towards the Kertanegara Kingdom.Knowing his brother ran away, Kala chased after him. He smelled Rare Kumara's footprints and followed him and saw his little brother running. After hiding in several places, namely thick bamboo reeds, behind firewood, and a fireplace, Rare Kumara arrived at Kertanegara.Kertanegara was attacked by Bhatara Kala, and Rare Kumara ran until late at night when he arrived at the puppet show. The puppeteer Rare Kumara was asked to hide in the gamelan gender resonator.So hungry, Kala came to the puppet show and ate the offerings. Seeing this, the puppeteer reprimanded Kala to return the offerings he had eaten. Being cornered, Kala is in debt to the puppeteer and to the puppeteer, he casts a magical spell. The spell enables the dalang to free all living beings from defilements.The dalang then offered offerings as a substitute for the child born to Tumpek Wayang, so that Rare Kumara was safe. Rare Kumara was brought back to heaven by Lord Shiva.That is the brief story behind the implementation of Sapuh Leger on children born as Wuku Wayang. This story is taken from the Lontar Kidung Sapuh Leger. taken from the Lontar Kidung Sapuh Leger.)
Wayang Wong Tejakula + (Wayang Wong in Tejakula Village, Buleleng … Wayang Wong in Tejakula Village, Buleleng has received UNESCO recognition as an intangible cultural heritage. Wayang Wong is an ancient mask art dating back to the Middle Ages. In Tejakula itself, the Wayang Wong standard uses Ramayana characters. There is also another kind of wayang wong called Wayang Parwa.Wayang Wong art in Tejakula Village is a sacred art which is only performed at certain times. These Wayang Wong masks are masks over three centuries old, totaling 175 masks. All the masks are kept at Pamaksan Temple, Tejakula.Whenever there is a temple ceremony at Kahyangan Tiga Temples, Pamaksan Temple, Ratu Gede Sambangan Temple and Pura Dangka Temple (several ancient temples in Tejakula), this Wayang Wong Mask dance will be performed. Wayang Wong dancers are chosen from generation to generation based on lineage.You can also watch this Wayang Wong performance outside of holy days. However, the masks used in this performance are duplicate masks, not the original, purified masks.This Wayang Wong performance is usually held on Galungan Day or on the day of the local temple ceremony. At that time, the nomads usually returned to their hometowns so that the performance of this sacred Wayang Wong will be watched by many people. Because this performance is a combination of medieval Parwa and Gambuh arts, the languages used are Kawi and Sanskrit. the languages used are Kawi and Sanskrit.)
Átmanà Shanti (Music Performance) + (Átmanà Shanti is a dance music composition … Átmanà Shanti is a dance music composition, composed by I Wayan Arya Bisma from Pujung Kelod, Sebatu, Gianyar who is currently studying at the Indonesian Art Institute in Denpasar. "Átmanà" means by mind and "Shanti" means peace. In the context of welcoming dance music, "Átmanà Shanti" is defined as "greeted by a peaceful mind". The main idea of this work is the nature of the human mind that are changes over time. This idea then transformed into the processing of changing song patets (gending kecag kecog), as well as the song duration for each part that was uncertain.This musical composition uses the Tri Angga structure, namely: Kawitan, Pengawak and Pengecet, but in each section it is divided into several more sub-sections. In each section there is a gending penyalit or transition, which is a road or bridge to achieve the goal.Music Composition Structure :1. Kawitan (beginning) a. The composition started with pengalian section which is begins with the riyong instrument playing and continues with all the instruments. By playing several types of patets, such as: Pengeter Agung, Sunaren and Selendro Agung.b. In the pepeson section there are two parts, namely: part A and part B, and the composition is A-A-penyalit-B-B. In part A uses the patet Selendro Agung , and in this section there are terompong instruments patterns such as ngembat and nyilih asih, but it played on the riyong instrument. After that continue to the shorter penyalit section, using the patet Sunaren, Tembung and Pengeter Agung.2. Penyalit section is the connecting part between the kawitan and the pengawak section. In this penyalit section using the kebyar pattern with patet Pengeter Agung and at the end there is a modulation to the patet Selendro Alit.3. Pengawak section is a simplification of the Legod Bawa form taken from gending pelegongan. In this section highlighted the flute instrument and also uses patet Selendro Alit and at the end there is a modulation to the Sunaren patet.4. Penyalit, in this penyalit part it is the bridge between the pengawak part and the pengecet. This section uses the form of pengetog compositions, which are developed with an arbitrary count. This section uses patet Sunaren and patet Pengeter Agung.5. Pengecet section is divided into 3 parts, namely: part A, B and pekaad section. Composed with the pattern A-penyalit-B-penyalit-A-peyalit-B-penyalit-pekaad (ending). Part A adopts the nyong-nyong instrument pattern from the Barungan Gamelan Selonding, with a simple melody and uses patet Pengeter Agung, then continues with the penyalit to get to part B which still uses patet Pengeter Agung. This part highlighted the dynamics of the gangsa and kantilan instruments. The riyong, penyacah and calung instruments adorn it with the same gending pattern. Part B uses patet Sunaren, then followed by penyalit that are using patet Sunaren and Tembung. And the ending or pekaad part uses the kebyar pattern with Patet Pengeter Agung and Selendro Alit. And then in the very last part of the composition, there is a Leluangan drums pattern.The musical composition of this welcoming dance is played in the Gamelan Semarandana. Gamelan Semarandana is a combination of Gamelan Gong Kebyar and Gamelan Semar Pagulingan, which was created by I Wayan Beratha in 1987. The use of Semarandana gamelan is because it has a wider range of tones and octaves, making it possible to be more creative and flexible in composing the song. The creation of this dance music composition "Átmanà Shanti" was supported by Sanggar Seni Çudamani and the Sekaa Suling Semeton Nika Manu.ni and the Sekaa Suling Semeton Nika Manu.)

Performance by Gamelan Gong Gede + (Gamelan Gong Gede performs at the wedding of Anak Agung Ngurah Agung Damar Negara at the Pemecutan palace, Denpasar, 27 October 2002)

Geguntangan Arja + ("Arja" refers to a distinctive kind of Bal … "Arja" refers to a distinctive kind of Balinese dance theater centered around song, while "geguntangan" means "gamelan which uses guntang." Guntang is a kind of bamboo harp whose strings are made of the outer skin of the bamboo which are cut into long and thin pieces and stretches like strings. Geguntangan Arja music uses two sizes of guntang: large and small. An interesting point about Arja is that it is an entertainment theater for ordinary people that is rarely, if ever, performed for tourists. Although typically Balinese, this music differs greatly from what we normally hear, especially with the use of the guntang and the extensive use of the suling, the Balinese bamboo flute. As well, the singing style is the most unusual. A discovery for Balinese music fansusual. A discovery for Balinese music fans)
Baleganjur Benen Mua + (Baleganjur Benen Mua is a “re-fusion” (Wal … Baleganjur Benen Mua is a “re-fusion” (Wallach, 2018) of “Fix Your Face” by the DIllinger Escape Plan, for Gamelan Baleganjur. Arranged and re-conceptualized by Putu Tangkas Adi Hiranmayena for Denver, Colorado’s Gamelan Tunas Mekar, this piece uses idioms from both traditional and contemporary baleganjur sensibilities. It premiered at the 2018 “Sounding Out the State of Indonesian Music” conference at Cornell University in Ithaca, NY. Hiranmayena’s intention in creating this piece is to critique the state of global gamelan musics and question the value attribution of Balinese peoples’ identities.tribution of Balinese peoples’ identities.)
Tari Kreasi Dadu + (Dadu Kreasi Dance was created by I Nyoman … Dadu Kreasi Dance was created by I Nyoman Cerita in 2015 and performed by Gamelan Wanita Sanggar Seni udamani as the Gianyar Regency Ambassador at the 37th Bali Arts Festival.This dance tells about the legendary dice game taken from the story of the Mahabharata. Duryodhana, masterminded by his uncle Patih Sangkuni, managed to hold a dice game with the Pandavas. This gambling game was filled with the cunning and ingenuity of Arya Shakuni, and King Yudhisthira responded by risking his younger siblings, the country and all his wealth even his wife Dewi Drupadi. In the end everything was won by Duryodhana and Yudhisthira in his regret of losing everything.Dewi Drupadi who was made a bet without her knowledge, then humiliated and almost stripped in public. But with Krisna's help, Drupadi was not able to be stripped naked, Drupadi in her anger then cursed everyone present in the game, Drupadi sued the ego, power, greed of men who too often abuse women's dignity.f men who too often abuse women's dignity.)
When I open my door + (Dewa Alit's latest album is called "when i … Dewa Alit's latest album is called "when i OPEN MY DOOR".This album includes three of Dewa Alit's non-gamelan compositions including "Open My Door" played by Ensemble Modern. "Ngejuk Memedi" by Gamelan Salukat is also in this album.https://www.dewaalitsalukat.com/is album. https://www.dewaalitsalukat.com/)
Performance by Gamelan Gong Gede +
Gong Raja Due di Desa Sepang, Buleleng + (Gong Raja Due is an ancient orchestral set … Gong Raja Due is an ancient orchestral set kept at Puseh Bale Agung Temple, Sepang Traditional Village, Busung Biu District, Buleleng Regency, Bali. The origins of this gambelan are unknown, but this gambelan has been performed during the annual temple ceremony at Puseh Temple since time immemorial. This ancient gambelan can only be sounded during the odalan (temple ceremony) by only eighteen selected people called Sekaa Gemblung.The Gong Raja Due sacred orchestra consists of a pair of drums, a pair of gongs, an ancient trumpet, and an iron instrument that is tapped to determine the beat of the music. There are eighteen types of music played in this ancient orchestra. At first glance, the eighteen types of music sound the same, but can be clearly distinguished from the sound of the trumpet and the beat of the drums.This orchestra is believed to be able to connect the human world with the invisible world, which local people know as the wong Samar world. Not only that, this orchestra is also believed to be the embodiment of the god who resides in Puseh Temple. Therefore, before this gong is played, a purification ceremony must be carried out both on the musical instruments and on the eighteen chosen people who are tasked with playing them.n people who are tasked with playing them.)
Gamelan Gong Kebyar + (Gong kebyar is a Balinese gamelan bar with … Gong kebyar is a Balinese gamelan bar with a five-tone pelog that creates a musical expression with a nuance of kebyar. Gong kebyar presents “tabuh-tabuh kekebyaran” in the form of a composition that plays all the gamelan instruments simultaneously in polythmic, dynamic and harmonious accents. Musically, the Gamelan Gong Kebyar according to Sugiartha (2008: 51), is a traditional Balinese orchestra that has a strong temperament (coarse sounding ensamble). The harmonious construction that creates the unity of the Gong Kebyar gamelan is dominated by percussion instruments, plus several wind and string instruments. As a gamelan that serves to present pategak (instrumental) repertoire, accompany various types of dances and is used as a learning medium, Gong Kebyar has been known and became popular so quickly and is able to inspire the enthusiasm of Balinese gamelan lovers who have spread to almost various parts of the world.Gong Kebyar which was predicted emerging in 1915 has been known by Bali people, even now every banjar and village in Bali has Gong Kebyar that functions as various need such as performing art for both entertainment and ritual presentation. I Wayan Rai (2008: 7-8) mentions that in Bali there have been recorded no less than 1,600 barung gamelan Gong Kebyar, of course this number is increasing over time. Some of these gamelan belong to the banjar, village, formal institutions, and individuals. This number is added to the large number of Gamelan Gong Kebyar groups scattered in various cities in Indonesia and abroad.Abroad, Gong Kebyar was initially known via literature and records. One of the records was produced by Odeon and Beka who has recorded the gending-gending (the songs) Gong Kebyar, such as Kebyar Ding Sempati in Belaluan (Badung). In 1931 Sekaa Gong Kebyar Peliatan was performing in the contect of Colonial Exposition in Paris. The visit was continued in 1952 – 1953 to USA. These two tours were strengthening the existence of gamelan Gong Kebyar in the world. Until nowadays, Gong Kebyar always becomes a medium of diplomacy of Indonesian culture. Arts group and gamelan Gong Kebyar are sent and employed in the embassy of other nation, that strengthen the bilateral relation between Indonesia and other countries around the world. Gamelan Gong Kebyar has been developing so rapidly and having appreciation until nowadays, because Gong Kebyar is a simple ensemble and has high flexibility. The presentation of Gong Kebyar gives an unlimited space for the players (such as sekaa gong : kids, women, adolescence, mixed adolescence, adult including werdha/old men) to have creativeness, and can give an attractive touch with more alive and dynamic performance. The quantity of the instruments in one barungan for the gamelan Gong Kebyar is not all the same. Gong Kebyar with the most complete instrument is called the Gong Kebyar Barungan Jangkep (Barungan Ageng) which consists of 21 types of tools, each of which has its own name and specific function for its barungan, namely:1. One tungguh trompong, with 10 pencon 2. One tungguh reyong,with 12 pencon 3. A pair of giying, with 10 keys4. Two pairs of pemade, with 10 keys 5. Two pairs of kantilan, with10 keys 6. A pair of kenyur, with 7 keys 7. A pair of calung, with 5 keys 8. A pair of jegogan, with 5 keys 9. A pair of kendang cedugan 10. A pair of kendang gupekan 11. A pair of kendang krumpungan 12. One kajar 13. One kempur 14. One bende 15. One kemong 16. One kempli 17. A pair of gong lanang-wadon 18. One pangkon cengceng gecek 19. Eight cakep (pairs) cengceng kopyak20. Two small suling and eight big suling21. One rebab Musically gamelan Gong Kebyar uses pelog lima nada /pelog with five tones, the same as the pelog system with five tones in other types of gamelan , such as gamelan Gong Gede, Gong Kebyar and Palegongan, with the sequence of tones as follows : nding, ndong, ndeng, ndung, and ndang. In addition, in the Balinese gamelan tuning system there is the term ngumbang-ngisep. Ngumbang-ngisep are two equal tones, intentionally made into a slight different frequency. If these two tones pangumbang and pangisep played together at the same time, they will produce sound wave which is asthetically one of the form of beauty in karawitan Bali. In Gong Kebyar, there is also a concept of balance which is oriented towards "dualism" of good and bad or which includes similarities and differences. This concept can be seen in the themes of Balinese art, which mostly depart from this dualism, so that strong norms and ethics emerge and become part of art performances. The concept of a two-dimensional balance can produce symmetrical shapes that are at the same time asymmetrical or a harmonious and disharmonic braid which is commonly known as Rwa Bhineda. In the concept of rwa bhineda, there is also a spirit of togetherness, the existence of interrelation and competition to create interaction and competition. Balance in the second dimension is one of the basic concepts in Balinese music, including the gamelan Gong Kebyar.This is reflected in the traditional Gong Kebyar instruments made in pairs; lanang - wadon or male female, this term is used in the naming of the drums and gongs.The tuning system ngumbang – ngisep ; the same tones with different frequency, the lower tone is called ngumbang and a slight higher tone is called ngisep. The elements of tones or sounds combination have been identical in Balinese traditional music, almost all types of Balinese gamelan have playing basics varied terms, such as : kotekan, cecandetan, tetorekan and ubit-ubitan. The playing technique kotekan ; uses sangsih (off-beat), polos (on-beat). These are the symbol of balance elements which are not always parallel, but in a competitive interaction. In general, it can be observed that the structure the Gong Kebyar repertoire consists of three main parts , namely: kawitan, pangawak and pangecet. Kawitan is supposed to be the head, pangawak is body, and pangecet is the legs. These parts are portioned out equally, in which the rwa bhineda system is always in it in order to produce harmony in each part or harmony among parts. Conceptually, these two elements become dualism that is always reflected in artistic activities in Bali. reflected in artistic activities in Bali.)
Tari Cilinaya + (In Balinese tradition, Cili is a symbol of … In Balinese tradition, Cili is a symbol of beauty. This dance depicts a group of beautiful women with graceful movements, dancing with joy to show their beauty. In contrast to many other Balinese dances that highlight the sharpness of the eye, this dance is performed cheerfully and full of smiles. This dance also emphasizes the graceful side of the movements of the dancers. Inspired by the "cili" ornament found in Balinese lamak which is used when there are traditional or religious ceremonies. This dance was created by I Wayan Dibia for Sekaa Gong Putra Kencana Singapadu-Gianyar in 1986.g Putra Kencana Singapadu-Gianyar in 1986.)
Wayang Tantri + (Indonesian performer and puppet master (da … Indonesian performer and puppet master (dalang) of Balinese wayang parwa shadow puppetry. I Wayan Wija was born in Sukawati (Gianyar, Bali), the village with the most puppeteers (dalang) per capita in Bali. Wija is the son of puppet master I Wayan Gombloh, with whom he studied from age eleven. At thirteen he gave his first performance.Though a traditionally trained artist, Wija is also one of the most innovative performers. He created in l982 wayang tantri, a form of shadow puppet play that tells animal fables inset in a Sheherazade-like framework: Lady Tantri preserves her life by telling her stories to a misogynistic king. Wija popularized this little known story after a l980 presentation of it at the Bali arts academy and created new puppets with multiple joints allowing subtle, realistic movement. (Tigers scratch their haunches and deer leap with grace). In l997, the island-wide Bali Arts Festival featured a competition of Tantri wayang. Until now, Wayang Tantri is still very popular, because of its humorous story and the extraordinary ability of the puppeteer Wija in conveying the advice of Tantri stories.Wija’s collaborative work with western artists includes experiments with Lee Breuer of Mabou Mimes (see United States of America) and Larry Reed of Shadowlight Theatre in San Francisco (with whom he created Wayang Listrik/Electric Shadows in l998, and other work using a large screen, projections, and a mixture of shadow dancers wearing mask-headdresses and puppets). With composer Evan Ziporyn of Boston, Wija created Shadow Bang (2001 and 2004). In 2011, he was artist in residence at the Asian Art Museum of San Francisco. I Wayan Wija collaborated with Australian composer Paul Grabowsky and director Nigel Jamieson on the concept for the production, The Theft of Sita (1998-2000), based on the Ramayana. These international puppet experiments have involved Wija’s students at ISI Denpasar (Institut Seni Indonesia, Indonesian Institute of the Arts, Denpasar Bali branch) where he sometimes teaches and insure his legacy of innovation is inherited by the coming generation of Balinese puppeteers.Most of I Wayan Wija’s performances are solo wayang for traditional ceremonies, but this openness to extension of the Balinese tradition is an important hallmark of his work.tion is an important hallmark of his work.)
Tari Jaran Teji + (Jaran Teji dance is a dance that combines … Jaran Teji dance is a dance that combines dance depicting male and female impersonation daughter Dewi Sekar Taji with a companion when Raden Inu wander looking for his girlfriend who disappeared from Kerta Pati palace. Dewi Sekar Taji together companion posing as a valiant horseman and nobody could recognize them dressed men. Jaran Teji dance that mimicked the movement of animals is characterized by a horse. I Wayan Dibia creator in 1985, he made this dance inspired Sanghyang Jaran sacred dance. Sanghyang Jaran motions then combined with classical dance movements of Bali and Java.lassical dance movements of Bali and Java.)
Tari Pendet Peliatan + (Pendet Peliatan is a welcoming dance adapt … Pendet Peliatan is a welcoming dance adapted from the pependetan ritual dance which was developed into a welcome dance. A dance that tells about a pair of bumblebee (male and female) who are making love in a flower garden. According to the dancers, this dance began to be developed around the 1960s and is often performed in front of state guests at the Tampaksiring Presidential Palace at the invitation of President Soekarno. In addition, this Pendet Dance is also often performed in welcoming guests at Puri Peliatan and Puri Kaleran. Basically the movement of the Pendet Peliatan Dance has a condong dance movement and the pengawak of Legong Lasem Peliatan, so Pendet Peliatan is the basis for starting Peliatan style dances. basis for starting Peliatan style dances.)
SU3LIM + (SU3LIM (read: sublime) is a musical compos … SU3LIM (read: sublime) is a musical composition by I Putu Swaryandana Ichi Oka, a musician and composer from Banjar Pande, Sayan, Ubud, Gianyar. Currently Ryan (composer's nickname) is pursuing a Master's degree at the Indonesian Art Institute, Denpasar.SU3LIM takes the meaning of the word 'sublimes' which indicates the meaning of change. In terms of musical composition, composer refers to a change in the perspective on the function and aesthetics of Balinese gamelan instruments. In addition, the word SU3LIM in this musical composition consists of two syllables "Sub" and "lim" which stands for Subdivision Five which dominates the dimensions in this musical work. The use of the number 3 instead of the letter "B" in the word SU3LIM, is a sign that there are 3 functions of gamelan instruments used in this musical composition, namely; Jegog as a melodic line marker; Ugal as a marker (controller) gending; Gangsa as isen isen, which is worked into a single unit in its function of playing song patterns that have been arranged in a systematic and structured manner.ged in a systematic and structured manner.)
Sekar Jepun + (Sekar Jepun is a piece of pure music. Afte … Sekar Jepun is a piece of pure music. After theorchestra has entered, the reong twice commences animprovisation. After this, the gangsa ensembledecorates the melody announced by the flute.Sekar Jepun is a fairly recent composition. Theinterpretation by the gong kebyar of Peliatan isespecially notable for the extreme precision of theattacks and the wide range of nuances.the attacks and the wide range of nuances.)
Speech Delay (Music Performance) + (Speech Delay is a musical composition by a … Speech Delay is a musical composition by a Balinese female composer named Ni Nyoman Srayamurtikanti. Mang Sraya (the composer's nickname), a graduate of the Indonesian Art Institute in Denpasar, who is currently pursuing a Master's degree at the Indonesian Art Institute in Surakarta, has created many creative music works that still adhere to the foundation of traditional music. Speech Delay is a general term that refers to the process of speech and language delay that is incompatible for the child's development. One of Mang Sraya's sisters experienced a speech delay, but despite having speech and language delays, she has a very sharp memory and a strong imagination. This personal experience then inspired Mang Sraya and interpreted it into creative musical composition works.This work uses the ensemble Gender Wayang. The musical work system carried out in this work is based on several impacts that cause and are caused by speech delay associated with the textual work, that are:1. Speech articulation disorders are interpreted by the use of the gender wayang’s mallet handle in this composition work. In general, the gender wayang repertoire does not use the mallet’s handle to hit the blades.2. Receptive (input) and expressive (output) language disorders are interpreted by the relay system or rotating. In general the gender wayang’s musical system is performed simultaneously by all instruments. However, this work uses a rotating system.3. Have a strong imagination interpreted by using many different melodies on each instrument. This is different from the gender wayang repertoire system, which in general has one melody with polos (on beat melody) and sangsih (off beat melody) ornaments.In this work, the composer divides the composition into four parts. Each section represents the textual ideas and concepts that are made, namely:1. In the first part, the composer uses a gender wayang’s mallet handle hips. The initial part starts with Kantilan 1 by hitting several short melodies that are repeated several times. Then the Kantilan 1 player hits a note on the Pemade 1 instrument which is meant to give action to the next player. Player 1 responds by playing several short melodies that are different in response to the action given by the previous player.2. In the second part using a medium tempo. There is a melody division between kantilan and pemade. Kantilan plays 2 notes alternating at a fast pace and different sizes. In between these melodies, pemade provides an accent as a marker or explanation for the melody of the performance. Then proceed with a melody totaling 8 beats with a sequential progression of notes back and forth, each of which has a different tone arrangement. The melodies are played relay or alternately.3. In the third part, the tempo is slower and gradually accelerates. In this section the composers make a melody that is the same as each other by emphasizing the dynamics of each instrument. Then proceed with the imitation of one of the gender wayang repertoires, namely: angkat-angkatan. Gending angkat-angkatan on gender wayang is one type of gender wayang repertoire which is interpreted or often used as a wayang companion when walking towards the battlefield. In this type of gending has 2 different melodies which are played by the right hand and the left hand. The melody on the left hand usually consists of 4 beats that are repeated from beginning to end while the melody on the right hand is more agile and varies in pitch progression. In this case, each instrument has a different melody but is tied to one another or is called polyphony.4. In the fourth part, using a polymmetric technique where each instrument has a different size bar. Kantilan 1 uses the beat 5/4, pemade 1 uses the beat 10/4, kantilan 2 uses the beat ¾ and pemade 2 uses the beat 6/4. In 1 lap, all the instruments will meet on beat 30. Each instrument has a different song sentence but on beat 20, the instruments will be brought together in almost the same rhythm. Then as a closing there is a kebyar with a different tone arrangement between kantilan and pemade.Speech Delay's work has been staged at the Ancient Creative Music festival in 2020. Mang Sraya's other musical works can be heard and watched on her YouTube channel: Sraya Murtikanti. on her YouTube channel: Sraya Murtikanti.)
Sundih + (Sundih is a musical composition by the you … Sundih is a musical composition by the young composer I Putu Swaryandana Ichi Oka or fondly called Ryan. Sundih itself is a dry coconut leaf that is burned, usually used during the procession to deliver the body to the setra (grave). Sundih is interpreted as a street light, so as not to be "Kepetengan/in the dark".This composition is a creative percussion that is worked on with the medium of expressing gamelan semarandana. This is the composer's first creative percussion composition. By interpreting the meaning of the sundih, the composer wanted to make this composition a foothold and light on a long, endless journey.hold and light on a long, endless journey.)
Caru Wara + (Tabuh Caru Wara was composed by composer I … Tabuh Caru Wara was composed by composer I Dewa Ketut Alit from Banjar Pengosekan, Mas Village, Ubud. Dewa Alit was born into a family of artists in Bali. As a composer, he is known to have an "avant garde" approach but still considers traditional values. Dewa Alit is often invited to teach and compose Balinese gamelan abroad, including: Boston, Massachusetts, New York, Munich, Frankfurt, and others. In 2007, Dewa Alit founded Gamelan Salukat and has toured America in 2009 and 2010. Tabuh Caru Wara was created in 2005 which has the meaning of harmonizing the complex dynamics of values, friction, clashes, conflicts, opposite directions, the concept of complementarity and complexity contained in the cycle of days based on the Balinese calendar.le of days based on the Balinese calendar.)
Tabuh Kebyar Ding + (Tabuh Kebyar Ding is an old pre-independen … Tabuh Kebyar Ding is an old pre-independence music creation, which was created around 1925 by musician and composer I Made Regog in Belaluan, Denpasar. This percussion has a very important role historically and has a complex composition, full of dynamics, rich in ornamentation and played at a fast tempo. ornamentation and played at a fast tempo.)
Tabuh Kebyar Perak + (Tabuh Kebyar Perak is one of the extraordi … Tabuh Kebyar Perak is one of the extraordinary musical compositions by Balinese gamelan maestro I Wayan Gandera (late) from Peliatan Village, Ubud. This percussion symbolizes a silver flash of light that echoes in the universe. The dynamic melodies and chorus of music make this piece of music timeless and still one of the most interesting musical compositions to learn and perform.musical compositions to learn and perform.)
Tabuh Bebarongan Kepahingan + (Tabuh Kepahingan is a musical composition … Tabuh Kepahingan is a musical composition made by Ida Bagus Anom Mandhara Giri (often called Gus Anom) who comes from Kendran Village, Tegallalang. Gus Anom is a graduate of the Institut Hindu Dharma Negeri Denpasar who is very active in artistic activities as a musician and composer. Kepahingan is a combination of the meanings of the words kepah and ingan. Kepahingan means doing something together or also known as gotong royong (mutual cooperation). In Bali, gotong royong has been cultivated in such a way since a long time ago and has become an irreplaceable foundation of life.This bebarogan music work was created in 2014 based on the desire to unite and work together between Daha Truna Kendran and Kepitu to become one unit in the Sekaa Truna Desa Adat Kendran. Musically, this bebarongan work has a simple rhythmic pattern, depicting the sincerity and simplicity of the desire of young people to unite so that the foundation of life of kepahingan or gotong royong (mutual cooperation) can be maintained. The main purpose of cultivating this music is "ngayah" or a sincere offering without ulterior motives. The simple strains of musical melodies that are easy to hear and understand also illustrate how beautiful the sense of unity is in the implementation of the concept of kepahingan.In 2020, tabuh Kepahingan bebarongan was staged again as a reminder to Sekaa Gong Gurnita Sari of their enthusiasm and desire to unite in one organization, Daha Truna Kendran and Kepitu.ganization, Daha Truna Kendran and Kepitu.)
Kebyar Duduk + (The Kebyar Duduk dance, created by dance m … The Kebyar Duduk dance, created by dance maestro I Ketut Mario in 1925, is one of the most technically challenging dances of the Balinese repertoire, the movements are inspired by nature and connect the dancer to the Earth. Imbued with elements of great refinement, precision and strength, the dance is a reflection of our own human path seeking a balance between masculine/feminine; strength/softness; bravery/caution. The ability of the solo dancer to match and augment the powerful music of the full gamelan is one of the most demanding and impressive aspects of this dance.ding and impressive aspects of this dance.)
Tari Puspa Wresti + (The Puspawresti dance was created by chore … The Puspawresti dance was created by choreographer I Wayan Dibia and the music by I Nyoman Windha, both Balinese artists who have created many amazing dances and musical compositions. Puspawresti dance is a dance that is inspired by the pependetan dance in temples in the Bali Region.Puspawresti dance which comes from the words Puspa which means flower and wresti which means rain, was created following the movements of the Pendet, Gabor, Rejang and Baris Gede dances. Usually danced by 4 female dancers and 4 male dancers. The female dancers carry bowls filled with colorful flowers, which are escorted by male dancers carrying spears. escorted by male dancers carrying spears.)
Rejang Pala + (The Rejang Pala dance is an ancient dance … The Rejang Pala dance is an ancient dance that was created in Nongan Village, Rendang District, Karangasem Regency, has undergone two reconstructions in 1984 and 2019. In 2019 the local village carried out a reconstruction which refers to the results of a study entitled Continuity and Changes in Rejang Balang Tamak Dance in Nongan Village , Rendang District, Karangasem Regency, 2017. In addition to referring to ancient lontar palms stored in Leiden, the Netherlands, it also refers to the instructions of Ida Pedanda Istri Ratna Kania from Griya Budha Alang Kajeng, that she remembers danced the rejang with various fruit decorations on her head. The Rejang Pala dance is a sacred dance in the Usaba Desa ceremony, to welcome Ida Betara Dalem to a ‘memasar’ procession at Pura Pesamuhan Agung. The dancers are divided into three age classifications, namely: (1) children are called Rejang Alit; (2) young women are called Rejang Daha; and (3) Mothers are called Rejang Lingsir. The primary function of the Rejang Pala Dance is as a medium of ritual, as well as a medium of personal entertainment, and as an aesthetic presentation. Its secondary function, as a binder of solidarity and as a means of communication. The uniqueness of the Rejang Pala Dance can be seen in its headdress, which is decorated with various kinds of fruits.The symbol of the fruit on the head is remembering the history where the children of Ida Bhatara Balang Tamak were working in the fields and they always had lots of fruit tied on their heads. Ida Bhatara Balang Tamak is revered by the local community as a pioneer figure in Subak Abian and an intelligent figure who was feared by ancient kings. He was also a figure who opposed the feudal system which was detrimental to society at that time. Perhaps because of this, some historical versions depict him as an antagonist because of political interests. With the return of the Rejang Pala at the Balang Tamak Temple, apart from being a reconstruction of ancient dances of ancestral heritage, it is also a form of revision of the history of great figures on the ancient island of Bali.eat figures on the ancient island of Bali.)
Tari Oleg Tamulilingan Ngisep Sari + (The Tamulilingan Ngisep Sari is a duet da … The Tamulilingan Ngisep Sari is a duet dance created by I Ketut Mario in 1952 in Peliatan Village. He is a Balinese dance maestro who is famous for his extraordinary dance work. Mario invited I Wayan Sukra, a percussionist from Marga Village, Tabanan to compose his musical accompaniment. In addition, three percussion experts from Gong Peliatan were also involved in working on the music, namely Gusti Kompyang, A.A Gde Mandera, and I Wayan Lebah.The interdependence of life inspires this dance where the beauty of the flower attracts the bee to collect nectar and in return pollinate the flowers. The relationship is completely symbiotic each nurturing the other in a gentle cycle filled with love and care. This rarely performed version has its home in the Peliatan region of Bali. Taught to Sanggar Çudamani in 2015 by the original dancer of the piece late Ni Gusti Ayu Raka Rasmi who, in her 70s, is still a stunning performer and dedicated teacher. stunning performer and dedicated teacher.)
Rangrang + (The composition of Rangrang was created b … The composition of Rangrang was created by composer I Dewa Putu Rai from Banjar Pengosekan, Mas, Ubud. The word rangrang refers to that which is intertwined or knit together, just as we are interwoven with one another and the universe around us. Balinese gamelan often starts with a section called a peng-rangrang, a flowing abstraction of the core melody, 'benang merah' or ‘red thread’ that -weaves through the fabric of the composition. The piece is inspired by and a tribute to master composers of our ancestors, such as the late Wayan Lotring (master of dance, musician and composer of Gamelan Bali), and the belief that each sound, each note has a sacred resonance, each pattern an intrinsic beauty. Beauty and inspiration is brought together in a way that is rooted in those heirlooms of artistry that we have inherited and is joyfully relevant to the young generations of today.elevant to the young generations of today.)
Legong Markandeya Lango + (The dance created by one of the young choreographers from Ubud, Gede Agus Krisna Dwipayana or more familiarly called Gede Krisna, tells of the spiritual journey of Rsi Markandeya to Bali.)